STORM Festival Shanghai: China’s Debut Music Experience

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For being the world’s most populous country, China is still catching up with the rest of the world when it comes to live music experiences. In 2013, event promoters A2Live radically changed the music landscape of the country by introducing a Tomorrowland inspired two-day experience known as STORM Festival. Featuring over two dozen of the world’s most renowned DJs, STORM Festival is in a way tearing down the country’s Great Firewall by providing access to such a diverse group of artists who previously have never toured China before.

Now in its third year, STORM Festival welcomes A-Trak, Booka Shade, Keys N Krates, Klangkarussell, Skrillex, Tiesto and more to both Shanghai’s local and growing ex-pat communities. This year, A2Live has also partnered with International Music Summit, a Europe-based industry conference, for the inaugural edition of IMS China to discuss the changing facets of the Chinese entertainment industry.

STORM Festival launches tomorrow in Shanghai at the Xuhui Bingjiang Greenspace.
Tickets are still available for STORM Festival HERE.

FAULT Magazine Weekly Playlist: Ofelia K

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Ofelia K is a rising indie pop artist hailing from Los Angeles, California who first caught our attention with her ephemeral tracks “White T-Shirt” earlier this year. The West Coast dwelling singer has an undeniable penchant for penning heartfelt lyrics and tender indie folk songs. Paired with her laidback good looks and sweet style, Ofelia K is one of our artists to watch, and so we’ve invited her to share some of her favorite songs, both past and present.

Alex Winston – Velvet Elvis

“I love the character in this song…a little deranged. So quirky and fun. RAC’s remix of it is awesome too.”

Modest Mouse – Float On

“An all-time favorite. Such a feel good song in the best, non-cheesy way possible.”

Lykke Li – Gunshot

“The drums are amazing. I can’t listen to this at a low volume.”

Bruce Springsteen – I’m On Fire

“Talk about a classic, sexy jam! Love his cadence in this…everything about it is just right.”

Xiu Xiu – I Luv The Valley OH!

“The guitars and the grit of this track are addictive and his voice is just so special.”

Follow Ofelia K on:

Gin Wigmore Releases Third Studio Album – Exclusive Interview with FAULT Online

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New Zealand singer-songwriter Gin Wigmore is hardly new to the music industry. She’s been playing since the age of 14 and her previous two albums have gone platinum over eight times in New Zealand. Now she’s getting ready to release her third album, Blood to Bone, out October 2nd. Gin took some time off tour and spoke to us about the emotional turmoil that got her in the studio in the first place and how her new record is basically a documentation of the latest chapter in her life.


You’ve been writing music since you were 14, you’ve got strong retro-soul influences and people say that you’re New Zealand’s take on Amy Winehouse. What’s your opinion on that?

I would say I’m my own unique artist and that I’ve got my own kind of music and things to say. The comparisons are always going to be there because I people need to figure out how to put you in a box, but I believe that we’re both very different artists.


Blood to Bone is your next album set to be released on October 2nd. What have you done differently on this one as opposed to the rest? Have you shifted gears musically in any way?

Yeah, I think so. As you get older, you evolve and you experience more things. You go through more things in life and you’ve got more things to write about. The last two years have been filled with a lot of stuff. That made me feel like I needed to explore more with writing and to speak out about what I felt at the time. That’s how the idea of writing another album came about. And musically, I just wanted to make music that I wasn’t bored with and I wanted to make sure that I was challenging myself. That was the main motive behind this record. To write about what was going on and accompany that musically with things that I hadn’t tried before. Which also involved working with a lot of people that I’ve never worked before, co-writers that I’ve never written with, which really opened the door in the way that I was doing things. A lot of the stuff is more electronic; we’ve used synthesizers and stuff like that, moving a bit away from that traditional band sound. And also, producing this album for the first time was really cool as well, I had the responsibility of making all those big decisions, like on the players and what kind of things to choose, what tracks to take. It’s a strong, more genuine record in that sense.


You’ve also done the album with Charlie Andrew. What was that like for you? Did you have him in mind as a producer firstly and the songwriting was just an unexpected bonus?

I’ve been a big fan of Charlie’s for a long time. What he’s done with the Alt-J boys is awesome. I love how he’s kind of a mad scientist and really has a beautiful way of manipulating sounds and making them really original to his kind of sound, so I did have him strongly in mind as a producer of this album. And then I spent two weeks with him in Brixton and we wrote New Rush together and worked on another track of mine, but New Rush was the first one out of the gate that really set the sound for this album. And I’ve also learned a lot from Charlie, he kind of gave me the confidence to take upon the role of producing this album by myself. So that’s what I decided to do in the end. He taught me a few tricks and how to manipulate sounds in different ways, how to make synthesizers sound cool and interesting. He taught me a lot in those two weeks of working together.

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So you just mentioned that this was the first time you produced your own album. Was this also the first time you tried your hand at producing overall?

Yes, first time I was producing overall. I’ve obviously been writing everything and co-writing and stuff like that, but this was the first time I was producing. So, I produced it with a friend of mine, Stuart Crichton, and we had it all down in 3 weeks. It was quick as well.


From many perspectives, this for you is an album of many firsts. You’ve been going through a lot of change throughout the past years. Producing the album, starting a new life, getting a new home etc. How did that translate into your music?

I think it’s all about getting older really. I’m 29 now and you start to really own your good things and your bad. There’s a lot of confidence that comes with that, so I got to write the album really honestly. And I was lucky to see what the honesty was, with me as a person. How I see my relationships, how I do things well, how I don’t do things well. All those changes brought me to a point where I could speak honestly about what was going on. And I think that’s a goal with songwriting. I’ve become more and more of a songwriter. I can really express how I feel about things as honestly as I can.


Since it’s an album of many firsts, what other firsts would you like to try your hand at?

Musically, I don’t know yet. I’m not sure. I wouldn’t mind doing a really soul album at some point. I’d love to give a crack at that cause I’ve never really explored soul music. But I did kind of have this idea that it would be really cool to make a soul album. Next record, who knows. There are so many unexplored territories, musically speaking, especially in this day and age. It would take me a lifetime to even touch on half the things that you can explore musically.

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So you’re now living in LA, right? Did you find the adjustments difficult? I’ve got friends who transitioned to calling LA home and have often struggled along the way. What do you reckon is the key to adjusting there as a creative person?

I think you have to come over here with a purpose, you know. Millions of people don’t really make things and try to achieve really good things. I think you need to have a clear idea of what you’ve come here to do and not compromise on that. If you have a good goal, then that’s all you need.


How does being in LA expose you to different forms of music? Also, being in America, being in a completely different environment, how did that impact your songwriting?

Well, as opposed to New Zealand, in LA I’ve got around different types of people, different cultures all over the place and that means that you’ve got all kinds of music going on. Tons of Jazz clubs, soul clubs, all these big thriving musical communities that are very concentrated. And these were all factors that contributed to my songwriting.


Do you plan on going on a headline show after the album release?

Yes, we’re in the States now and we’re coming to the UK, playing London on the 7th of October. We’re playing London, Manchester and then we’re heading to Germany. Also, we’ve just sold out our London show and it’s so cool cause it’s been so long since I’ve played in London, like 3 or 4 years or so.


What’s your FAULT?

I think it’s the fact that I think I know how to do everything. And I really don’t.


                      Blood to Bone is set to be released in the UK on October 2nd on Island Records.

Words: Adina Ilie














Credit: Vic Lentaigne

‘Cazzette’ – The Electronic Music Duo Chat with FAULT Online

You may not recognise this duo without their cassette-tapehead pieces but Cazzette have burst onto the electronic music scene with their breakthrough track ‘Beam Me Up’ in 2012 and have been going from strength to strength with each release. Sebastian Furrer & Alexander Björklund both hail from Sweden, the same Sweden that gave the world Icona PopAlesso and Avicii (who Cazzette have performed alongside.) We sat down with the young producer to learn their process and their plans for the future.
FAULT: We just checked out your new video “Genius” and got a bit jealous. Was it an average day for Cazzette in Ibiza? How did you go about making this beautiful video? 

Cazzette: We wish! Usually we are in and out in less than 12 hours. It was an amazing experience to actually stay on the beautiful island that is Ibiza. That particular day we played alongside Avicii, Zedd and Ruby Rose. We just tried to have as much fun as possible and just be ourselves, which we feel gave the video a very genuine vibe.


Your recently released “Desserts” EP sounds terrific to us, and just like your previous works this one has a new sound. Why do you like experimenting with the music rather than sticking to one genre, and do you plan doing it in the future? 

Evolving as producers is the top priority for us and the agenda has never been about fitting the buzz sound of the time. It feels natural for us to explore within music and see what comes out of it. Too often people in dance music get stuck in bubbles with what’s hot at the time and for us that just isn’t appealing atall.


What are you working on at the moment?

 We are in North America right now on an awesome tour and are on the road for the next couple of months. As always we are spending as much time in the studio as possible, but the tour has been pretty time consuming, especially after getting the EP finished.
You are originally from Sweden that is famous for its electronic music. How did Sweden Dance Music scene influence your music production? It must be hard to believe in yourself when working in such a saturated market.

Actually seeing all these other producers succeeding was a huge motivation for us in the beginning. If they could do it, so could we. As a result there are a lot of creative people to bounce of in Sweden and some of our favourite moments have been alongside amazing singers and songwriters from the country, like Jonas ‘The High’ who we recorded ‘Sleepless’ with.


How did you like Creamfields this year? Any interesting UK festivals scheduled for the next summer?

Creamfields this year was great. We extended our set with 30 mins since mr.(Martin)Garrix was late. It’s pretty rare to get a whole two hours on the main stage of a festival these days and it’s cool to build a longer set at a festival. As always the crowd were a lot of fun too, we had a blast.


As far as we know you guys were making your music distantly via Skype. Has it changed now? Do you also work in a studio?

Not as much as you might think! We each have our own studios and still send files back and forth. It is rare you will find us in the same room unless we are recording a vocalist or something. It sounds weird, but that’s just how it works for us.


What’s your approach to music production?  

It’s about having fun and doing interesting things with live music and technology. Our approach is definitely more song orientated now. Those one off ‘bangers’ just don’t really do it for us.
What’s your FAULT?
It’s never our fault!
Words: Ksenia Safrey


As London Fashion Week rolls into town, FAULT are reporting from the key shows you need to know for SS16. Read our curated guide to the season here on the blog and Follow FAULT Magazine on Instagram and Twitter for live updates.


Anya Hindmarch


After the notoriety of her last few seasons, all eyes were on Anya Hindmarch to see what wild reinvention she’d come up with next. And she didn’t disappoint; after the fashion revival of Kellogg’s, and the chic transformation of road signs, Hindmarch turned her attention to the great British high street for her SS16 offering.

Hindmarch has shown inimitable skill in tapping into nostalgia, and the show space was agog today as high street favourites were reinvented for high fashion purposes. Tessellation also played a key theme, with logos and lines cleverly spaced, and models performing gymnastic moves in the mirrored set to kaleidoscopic effect.

But on to the pieces; John Lewis’ famous diagonal stripes were emblazoned across coats, jumpers and leotards in muted shades of burgundy, charcoal, teal and of course, forest green, with ‘John’ printed across the front of handbags too. Mothercare’s and Nationwide’s blue logos got the same treatment; printed onto swing coats and knee-high boots for a gloriously retro 60s vibe. WHSmith’s garishly 1970s logo was big and bold on vinyl coats and bags, burning bright in shades of burnt orange, rust and umber.

But the piece de resistance? Boots’ classic logo, printed on to… boots. Turning a high-street chemist into a high fashion holy grail – Anya Hindmarch, we salute you.

Laura Hudson


Amanda Wakeley


Amanda Wakeley is one of those brands that I am excited to see season after season. It’s not the kind of brand that goes out of it’s way to shock or make a statement, it is just one of those brands that consistently delivers each time.

This season, Wakeley felt drawn to the inspiring and gravity defying work of Santiago Calatrava. Calatrava is a Spanish-born architect, originally trained, as a structural engineer who used his training and design skills to create works of art. The strength and delicacy of his work is what Wakeley has attempted to convey in her SS16 collection.

What worked really well in this collection was the use of colour. Using dark tones with a pastel pink and white, didn’t deter from the silhouette yet was strong enough to hold its ground. Let’s not forget the beautiful print that used lines and tone to create in depth structures within the garment. It truly reflected the modern and structural approach of Calatrava.
The silhouette for the collection was overall quite soft. Long lengths of chiffon flowed in the models’ wake, beautifully minimilatist jackets were belted at the waist and thick oversized sweaters with sheer panelled backs.

This season marked a milestone birthday for the brand, 25 years young and still with so much more to give. Amanda Wakeley has built her brand on the ideals of a strong and independent woman. This woman shines through in each collection and I can’t wait to see to what heights she reaches next.

Emma Ellen




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Toga revealed its SS16 collection on the final day of Fashion Week and boy, was it a show to remember! Described as “Petals, Minerals, Squiggles”, designer Yasuko Furuta studied her “complex woman” through themes based on the natural elements.

A clay backdrop and a trio of trees set the backdrop for a collection inspired by nature and weather. Trans-seasonal daywear kicked off the show, with pieces perfect for the chaotic weather both in London and in the designer’s home city of Japan; the white mesh coat, nude ruffles and gingham and vinyl dresses weren’t exactly practical, but so chic.

Detailing featured heavily throughout the collection, with layers of tiny bronze fish-scale sequins and multi-coloured ruffles catching the eye as each model sashayed down the runway. This attention to detail and over-exaggeration of some pieces sometimes made for a chaotic look, but what is nature if not a bit wild?!

Laura Hudson




Sequins, sequins and more sequins are all you should ever expect at an Ashish show.
This brand is like no other – Ashish Gupta’s Indian heritage often comes into play influencing the texture, print and colour of a collection, but there is also this punk attitude of the 1980s London that always seems to sneak its way into the brands style. Garments are known for being sequined and studded, and sexy yet dominating. This unique balance of juxtaposition means that there is never a dull moment at an Ashish show.
This season celebrated the label having shown their collections at London Fashion Week for 10 years. Such a milestone can only be celebrated with excessive amounts of glitter and jewels. However, this was surprisingly not the direction the brand went. Instead, the collection was fun and bright. Some models walked the runway, others glided on skateboards. This youthful approach had girls and boys in loose fitting shorts, shirts and shift dresses – some of which were sheer, but all were adorned it a brilliant rainbow of sequins, Ashish style.
In a youthful celebration, where girls were boys and boys were girls, the brand instilled the idea that whilst 10 years have come and gone, this label has still so much to give and so many more fashion weeks to make their own.

Emma Ellen