Tove Lo bares her soul on revealing cover shoot for FAULT Magazine Issue 24


“You have your whole life to write your first record,” explains Tove Lo. “I had two years to write this one.” The 28-year-old Swede’s breakthrough came in 2014 with the arrival of her debut studio album Queen of the Clouds, which spawned numerous hit singles like  “Habits (Stay High),” a drug-and-sex-fueled post-breakup bender anthem echoed around the world. Fame, when it came, seemed overnight. The freshly minted pop sensation won a legion of fans, and the excitement bubbling up around her imminent follow-up album started taking on new levels of ferocity. So how do you repeat a career high of that of magnitude? How do you give fans more of the same without reinventing the wheel? Tove Lo’s answer is Lady Wood, and the new album finds her at her best. It’s infectious pop, a battle cry for self-empowerment, and endless truth telling about relationships imbued with the twisted wit—decidedly Scandinavian—that we’ve come to expect from her.


When it comes to your songwriting, you’re quite revealing. What does it feel like to reveal so much of yourself to the entire world?

It’s amazing, and also kind of scary. When you’re in a creative bubble, you know exactly how you feel about everything, but the world can receive it differently. You know what I mean—It’s like, “I hope they understand what I’m saying here,” because it is so personal. But mostly, I’m so proud of this record. I’m excited to share more stuff from Lady Wood.


Is the creative process very different when you’re writing songs for other artists?

When I write with someone else in mind, I have to be with that person to figure out what they want to say and think about their voice. You see what kinds of melodies suit them. When I’m writing a song that’s for someone else, it’s the same way movies can inspire me. I love creating a scenario in my head and describe what’s going on, while pulling at those emotions that I can relate to. When it’s a song for myself, it’s very easy and introspective. It just comes and I blurt it out, you know? I’m putting my heart to paper.


What was the overall concept for Lady Wood? 

Lady Wood is a double album and there’s a second part coming up with two more chapters later on. “Fairy Dust” and “Fire Fade” are the first two chapters, and the whole album is about the past two years of my life. It’s been a fucking emotional rollercoaster—in the best and worst ways possible. [Laughs] Lady Wood is all about chasing that rush. How do I feel the most alive? Sometimes it’s stress, sometimes it’s love, and other times, it’s being high getting off the stage. The album takes you through the different stages: The chase, the rush, the peak, and the downfall. The beginning is when I hear the fans shouting my name and I’m about to hit the stage. “Fire Fade” is when it all sort of starts to wear off and I’m losing connection with the fans a bit, and I’m trying to get back to that first chase. You feel vulnerable there. It’s where you start to reveal your true self.



The track “Cool Girl” was inspired by Rosamund Pike’s memorable monologue in David Fincher’s Gone Girl? That’s so specific!

It was sort of a coincidence! I had just seen the movie. I’d also remembered being in a similar situation where it was a back-and-forth with this person. I felt uneasy about it, you know? It was like, “Do I really know this person? Do they really know me?” She changes herself so much for someone else. Why do we—and not just girls—do that? Why do we change ourselves for someone else and then expect that person to love us for who we are? Why do we play mind games? Why do we try to make someone we like feel insecure so they will like us more? It’s strange the things we do to others to make them love us. [Laughs] It’s like the less emotion you show, the more in control you are. It’s like you can’t let your emotions get ahold of you. Why is it so bad to be emotional?


They sometimes call you “The saddest girl in Sweden.” Is that a source of irritation?

That doesn’t bother me. I don’t know if it’s because I’m Swedish. [Laughs] It doesn’t bother me to say that I’ve been depressed and I’ve struggled with dark thoughts. It’s not something that I find shameful. Everyone’s sad sometimes. Even though I’m living my dream, which is fucking awesome and amazing, I still have days when I don’t want to get out of bed. If you experience all these highs, you’re going to get the lows—that’s just how it’s always been. I definitely appreciate the small things in life as much as I do the huge things. There are people who are surprised when they meet me like, “You’re nice!”


Do you still sometimes stop and think, “This is all fucking crazy right now”?

Yes! In Miami, we went to this amazing, beautiful house and had so much fun jamming on stage with Maroon 5, and then we went back to our hotel and jumped into the ocean. It’s like, “What the fuck is happening?” [Laughs] We just performed for 15 thousand people! As often as I can, I try to think about that. It can get stressful and things can get intense, but I wouldn’t change it for anything. I’m here to live my life to the fullest.


What is your FAULT?

Where do I even begin with this? [Laughs] Well, my FAULT is that for every TV show type thing we do now, we have to include in the contract that I won’t flash the camera.




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The Vamps appear on FAULT Magazine’s Online Cover

After spending the year touring the world, The Vamps are ready to go back into the studio and start working on their third studio album. Currently just back from India, the band sat down to chat upcoming single All Night, relationships and what makes them tick. It’s been a full year for the boys and they keep going on strong. They’re releasing a book next week, working on a third album and also managing their own record label. Busy times ahead, but nothing short of exciting. FAULT chatted to Brad, the band’s singer, ahead of The Vamps upcoming release All Night featuring Matoma, and here’s his take on it all.



You’ve just finished a world tour and have travelled all around the globe over the past year. What were your highlights?

We recently did a show in Poland and we never ever played a show there. We initially put the show on an 800 capacity venue which we thought was enough and then it went up to a 3000 capacity venue. And we actually sold that out. I think going to a new place and having no idea how you’re going to be perceived by an audience to then go and sell out a crowd that big – that was just an incredible moment for us. That was one of the highlights of the whole year and it was such a good gig.



Word on the street is that you’ve got quite some interesting pre-show rituals. Care to talk me through them?

We do. We have ‘the chin’. So basically, before every show, we do like a little speech and in the speech, everyone has an object in their hand and nobody can have the same object – so maybe like a cereal box, an orange – and then we rub our chins together. The amount of seconds that we rub our chins together is equivalent to the date that we’re playing the show.


That’s not something you hear every day. How did it come about?

I don’t really know! It started with the chin definitely. That was the first part of the ritual. It started at our first gig; we wanted to do something before every gig. So we started to rub our chins together.


Chins aside, you’ve just announced a new single – All Night featuring Matoma. This is the first new material that we get from you guys in a while. How does it relate to what’s going to come next?

It’s the first song off of our third album. The album is going to be released in a format that it hasn’t been before, so that’s something that’s exciting for us. But All Night is the first piece of new music off of our next body of work. It’s quite representative of everything else that’s about to come. It’s an atmospheric song. In terms of development of music as a band, it’s very different in the sense that it’s unlike anything we’ve ever done. But lyrically – it’s probably the most mature and self-representative song we’ve written.


In terms of new material, you’re currently working on your third studio album – Do you have any other collaborations in mind for the new one?

Not as of yet, we haven’t got anything confirmed. We’ll usually go into the studio, write the songs and then have a look back and think what songs would be fit for collaboration. You don’t want to go in and just do collabs for the sake of doing them, if it didn’t benefit the song. So there are a few songs I’d imagine to have features on, but we haven’t got anything else confirmed.



Have you shifted gears in terms of sound in any way?

I think we have done that, we definitely have. I think it’s just the nature of musicians really. You get quite stuck in a rut if you keep doing the same thing. So pushing yourself and challenging yourself to do different things is part of not getting bored. So yeah, we’ve definitely changed sonically. Not exactly changed, but we have developed. The album sounds a bit more current. Obviously the whole music industry has shifted a bit. So it’s a bit more current in the sense that it’s a bit more dancy, a bit more Justin Bieber –Skrillex kind of sound. So we’ve taken influence from that but kind of put our print on it.


You set up your own record label as well. What drove you towards it?

I think we’ve always been interested as a band in working in the music industry. You’ve got these people there who are heavily involved with your project and your band and they get to experience the whole journey with you as well. They’re just as invested as you are. If you’ve got the right team around that is. They want to see the final project as much as you do. If you find a group or a musician and help develop them and see them grow – and basically the whole process – it’s a very nice and rewarding process.


You’ve also got a book coming out next week – can you share with us like your favourite bits and bobs?

You get to see a side of The Vamps that nobody has ever seen before, which is a good thing. People have their own perception of you because of the things that they read and I think it’s nice that they will get to see our take on things, in our own words. There are a few stories, a few drunken night stories in there, we chat about stuff that goes on behind the scenes, relationships and all that.


After spending so much time touring, you must have quite a few stories under your belt. What’s one the most ridiculous things that’s ever happened to you lot while traveling?

Somehow – I don’t even know how – we ended up in a leopard printed limousine. I don’t even know how it really happened to be honest. We just went for dinner and next thing we knew, there was a leopard print limousine outside. That’s probably the most rock star thing we’ve ever done.


What’s your FAULT?

I’ve got a few to be honest. I’m late to a thing quite often, that’s a big fault. And I’m terrible at texting back.



FAULT Magazine talk new music with Tor Miller


While many know of Tor Miller from 2015 tracks Midnight and Carter & Cash, with the release of his debut album ‘American English’ today, we have been introduced to a whole different side of his artistry. From upbeat track Chelsea to the stripped back Washington Square Park, Headlights and Stampede tearing at the heartstrings while Tor croons without the large production of ‘Midnight’ to hide behind, it’s great to see how diverse Tor truly is as an artist. The debut is strong and a record which screams to be listened to live (lucky for us he is off on tour and coming to the UK in October). We sat down with the NYC born musician during the leadup to the release of  ‘American English’ to discuss dream gigs, touring and his musical background.


Countdown to the album release, are you happy with the final product?

I’m just so relieved. I finished the record a year ago and at this point, I’m just happy for it to be out. I’m so excited for it and I think the fans will be too.


Has there been a lot of changes made over the year?

I think the label were waiting for the time to be right and everything being in order. It’s a different way of working for me as I’d have just thrown it all out there and been on to the next one.


What can people expect to hear that they haven’t already?

It’s a much larger record and the arrangements are so lush and full. There’s a lot more uptempo number compared to the EP also and a better balance. It’s more of my influences and broad musical tastes coming through.



You’re about to leave on tour, excited?

Very excited and my band consists of so many close friends that it’s like a friends road trip. It’s great and what I realised is that I’ve been throughout Europe and the rest of the world more than I’ve been around the United States so it’s kind of crazy because it’s such a diverse and beautiful country.


Where do you feel most at home the stage or the studio?

At this moment, I’d say the stage but I’ve been in and out of studios my whole life and I’m growing more accustomed to that lifestyle and I’m putting my head into production a lot more so in time it’ll hopefully be more balanced.


You’re very classic in your music training, what was it like to get in the studio and learn about producing and all the technical side of music?

It’s nuts, I went to engineering school which covered a broad spectrum but it just wasn’t where my heart sat so I left that to the people who enjoyed it. Picking a producer for this album was such a big deal for me because it had to be someone that I really trusted. It was different and when everything is under a microscope you realise you’re not as brilliant as you thought you were to the naked ear so it pushes you to be better.


When you were growing up did you always have a flair for music?

My parents are VERY into music so growing up there was a lot of Frank Sinatra and my mum gave me a lot of records and I was always in piano lessons. It wasn’t until I started playing shows at fourteen years old that I realised that “yes, this is what I want to do”.


What’s your favourite thing about going on tour?

So many things but I love getting to meet a whole lot of people who are so diverse and great. Playing the shows and the comradery in going through it all with the band is awesome because you really kill yourself travelling, staying up late, waking up early and then travelling again. We can travel for fifteen hours a day and I used to be doing it all alone so it’s great to have my band with me.


When you picture your dream show?

I used to watch a load of festivals from the tv growing up and I’d just love to play the Pyramid stage at Glastonbury festival one day. It’s always been a dream to play Madison Square Garden also, I’ve been so a lot of games and shows there before.


What is your FAULT?

Laziness and I doubt myself at times.

Competition: Win a pair of tickets to Schoolboy Q’s UK tour dates

Fancy winning tickets to Schoolboy Q’s UK tour dates? We have a pair to give away for each of the following dates!


11th December – Manchester Academy

14th December – London O2 Academy Brixton

15th December – Birmingham O2 Institute

Competition ends October 25th at 12:00pm GMT. Winners will be contacted on October 26th.

To enter, all you have to do is:

  1. Follow Fault on Instagram (@Fault_Magazine)
  2.  ‘Like’ the Schoolboy Q tour poster on our feed
  3. Comment with the hashtag #SchoolboyFault and which show you’d like to win tickets to (Manchester/London/Birmingham)!



Listen: Niall Horan’s releases Surprise Single

“I’m excited to announce I have signed a record deal with Capitol Records USA and released my first solo song.

Thank you to all the One Direction fans for your love and support as always.

I’m looking forward to the next part of this journey together.” – Niall Horan

Whenever a band decides to take a break many fans are left in disarray fearing the worst for the future of their faves and that was no more evident when 1D decided to focus on their solo projects. Today, Niall Horan has put some minds at ease with the release of his first solo song entitled ‘This Town’. It’s a great acoustic track and Niall looks very comfortable on stage with  just a mic and guitar as backup. A great start for what will no doubt be a huge solo career.

The studio version of ‘This Town’, released via Capitol Records USA,  is available now across Spotify, iTunes and Apple Music.

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Ryan Tedder returns to FAULT Magazine Cover ahead of new OneRepublic Album



Ryan Tedder is a very busy man these days. Having worked alongside the biggest talents in the industry, he’s now taken time to focus on OneRepublic’s 4th album due to be released in early October. Some have accused Tedder of handing out his greatest hits to other musicians, but the band’s upcoming album is bound to prove everyone wrong. Appropriately entitled Oh My My, the album unmasks Tedder’s incredible versatility and vocal range, as you’ve never heard it before. In short, it’s safe to say that Oh My My is a revelation and the beginning of a new era for OneRepublic. An era where Tedder fully showcases a modern day genius whose talent falls beyond comprehension. After writing for the likes of Beyonce, Adele, Ed Sheeran and many more, he’s comprised all of it in the form of Oh My My. From first listen onwards, you shortly realize that you can find Ryan Tedder in Ellie Goulding’s Burn, Beyoncé’s Halo and Adele’s Turning Tables – as opposed to the other way around. Tedder is undoubtedly the music industry’s secret weapon and the mind that makes it all go round. We spoke to Ryan ahead of the album release and here’s his take on it all.


You’ve worked with some of the biggest names in the industry– Beyoncé, Adele, Ed Sheeran, Ellie Goulding, Taylor Swift – just to name a few. Aside from that, you’ve also got OneRepublic. That’s a lot to put on anyone’s plate. Do you have a particular routine that you stick to in order to be more efficient?

You just get really good at multitasking. There are a lot of hours in the day, there’s a lot of time that people waste and you basically figure out how not to waste that much time. So there’s no routine basically – every day is different. I’ve got a different routine when I’m on tour as opposed to when I’m not. But it all comes down to not wasting time and being as efficient as you can.

Oh My My – your next album – is coming out in October. After Native, how far did you go with this one?

With this album, I pushed the envelope as far as it could go and on some songs we probably pushed it too far. But then again, that’s how you figure out how far you can go within your own world.


What qualifies as ‘too far’ for OneRepublic?

There will be some songs that people hear and go ‘Oh, they shouldn’t be doing that’. Because people have their own perception of whom you are. Like ‘Oh, you look amazing! You shouldn’t be wearing that jacket though.” Or if you dye your hair black – there’s always going to be that one person who’s going to say that you look better blonde. I’m sure that there are going to be some people that feel that some songs are too far, but it’s a very honest record. The songs are crazy; they’re all over the place. It’s like a playlist. And that’s how people listen to music nowadays anyway. You listen to five artists; you don’t listen to just one artist. I work with 100 artists, so our music is reflective of that. You’ll hear little moments of Adele, little moments of EDM. You won’t hear a song that sounds like it, you’ll hear like a second. You can hear the influences, but the album feels very honest. Our last album did better than we thought, so we have a lot of pressure of doing something that’s better than that.


Do you ever get overwhelmed?

Yes, but that’s normal.

What’s your process of differentiating the material that you’re going to use for yourself as opposed to what you’re going to give away?

It’s pretty easy. If you’re a chef and you own a Japanese restaurant, you can go cook with your friends at different restaurants anytime you want. But one friend of yours might have an Italian restaurant or a hamburger shop and your other friend might have a dessert pastry shop. That doesn’t mean that you’re going to go back to your Japanese restaurant and make pizza.


In short – it’s a question of being aware of your own identity.

Yeah and I know myself very well. Even the hit records that I give away to other people – I give them away because they’re inauthentic. If I put out a record that’s a hit and it’s inauthentic to me – guess what happens – it’s not a hit. It doesn’t connect because people won’t believe it.


So the core of OneRepublic’s sound lies very much in the humanity that you put in it. Is that what you feel that draws people to your music?

That’s exactly what I feel. If I did Katy Perry’s record, people would be like “What the hell is he doing?” Or if I released Taylor Swift’s 1989. Can you imagine that? It would’ve been pretty inauthentic, to say the least. Even Ed Sheeran’s Thinking Out Loud. People go like ‘Oh, I can see you doing that’ – but no. If we actually did it, people wouldn’t believe it coming from me. It wouldn’t be real coming from me.

Speaking of Taylor and Ed, how do you usually go about picking the artists that you’re going to work with?

You’ve got limited time in a day and you have to choose the ones that move you the most. You can’t just chase the ones that you think you’re going to have a hit with. You go for the ones that you know you’ll bring out the best in and that they’ll bring out the best in you. There are a handful of really big pop stars that I haven’t worked with and that’s not an accident. It’s no offence to them – it’s just that what they do isn’t a brand of clothing that I wear. I can look at Fendi all day long and admire the hell out of it, but I’m not going to wear it. There are some brands that you just don’t wear.


Having worked with Taylor and winning a Grammy for her 1989 album– is there something that you’d like to put out there – especially now in times of turmoil – about her that you feel the public needs to know?

She is pound for pound the most talented writer of any artist I’ve ever worked with. Taylor is the only artist that I’ve worked with that has the complete skillset. If she weren’t an artist, she’d be the number one songwriter in the world. If she weren’t a songwriter, she’d be the number one artist in the world. She can write songs with the technical understanding of a master of songwriting, but she still taps into the emotional and personal side of the artist that she is and writes from that place. To do both at the same time is incredibly rare and I haven’t met many other people that do it. And Taylor has known what she wanted to do ever since she was 12, so there’s that. She’s a bit of a prodigy. And as long as I’ve known her, she’s been nothing but kind to me and thoughtful and generous. I’ve read a lot of stuff and heard a lot of stuff and obviously, she’s caught up in some drama right now and it’s a sticky situation – but personally I’ve had nothing but awesome experiences with her from day one.

Having shared the studio with so many talents, is there a specific moment in your songwriting career that has stuck with you to this day?

Stevie Wonder. I did a song for a movie with him a couple of weeks ago. He and I were sitting in a room, going back and forth over lyrics and I had a moment where I was sat there and I wished there was a camera filming – because I was writing a song with Stevie Wonder. And it was just like – this is the coolest day I’ve ever had. I’ve been to a lot of places, I’ve seen a lot of things – but the evening with Stevie – I remember literally every hour of it. Up until 3am. I remember everything that happened. Which you can’t really control, your brain just prioritizes memories without you thinking about it. That was probably my favourite moment. I have so many though, it’s hard to choose.


For the sake of amusement, you must have quite an interesting bundle of stories under your belt. Care to share one of them?

I accidentally stood up Peter Gabriel. Twice. I’ve obviously got random tour stories and stuff like that, but I think my most embarrassing story is my Peter Gabriel story. He’s one of my favourite recording artists and this happened last summer. It was during Ed Sheeran’s Wembley Stadium shows and I connected with Peter through a mutual friend. One day, I got an email from my manager who had talked to his manager and said that Peter wanted to have coffee and get to know me. I went to Peter Gabriel’s place in Notting Hill and I worship him so I was like ‘This is incredible’. I hung out with him all night, we had dinner, listened to music and then it ended. And at the end of the night, I was like ‘Okay, that was amazing, let’s get together again soon.’ What I didn’t know was that there was a miscommunication between his manager and my manager – so his people thought that I had booked to write with him Saturday and Sunday. The way it was explained to me was that we were only meeting up for coffee. So I hung out with him on Friday, had a great night, and Saturday – without knowing – I stood him up. He came into the studio at 10am and waited for me until 2pm and I never showed up. I didn’t know that I was supposed to be there. And the next day – I was also booked. The message that I stood him up on Saturday never got to me, so I didn’t know. And then Sunday – AGAIN. As I was driving to the airport to leave, I get a phone call from Peter. He had been in the studio again for the second day for 2 hours. And he was less than happy with me. So I was on the phone with him for 20 minutes just apologizing while emailing my manager telling him that I stood up Peter 2 days in a row. I was completely mortified and upset. That was my favourite recording artist and I just completely blew him off 2 days in a row. And we made up – after I continuously sent him emails and phone calls cause I was horrified that he was going to hate me – and well, it took two months to make up, but he eventually agreed to work together and now he’s featured on our album. And it’s one of the best songs on the album. It all worked well, but that’s my worst story. My idol is Peter Gabriel and I blew him off two days in a row. It’s the single worst thing that’s happened to my career so far.

Do you currently have your eyes set on any newcomers that you’d like to work with?

James Bay would be great to work with. Someone connected us and we plan on writing together at the beginning of 2017, around January. But yeah, James is my favourite newcomer. I’m sure there are more, but I’ve been so busy with the album that I literally didn’t have time to pay attention. I normally know everything that’s coming out.


What’s your FAULT?

Over commitment. I’m overly ambitious and I over commit, which inevitably leads to letting someone down.


OneRepublic’s new album Oh My My is available for pre-order now via iTunes and is due to be released on October 7th on Interscope Records.


Words  Adina Ilie

Photography Joseph Sinclair

Styling Krishan Parmar

Grooming Shamirah Sairally


Dark Paradise – Exclusive Online editorial




Top & blue skirt : Ester Mangas


White skull dress: Evgeniia Galeeva

White skull dress: Evgeniia Galeeva


Silver top and grey skirt: Daniel Pascal Tanner Shoes: Vintage

Silver top and grey skirt: Daniel Pascal Tanner
Shoes: Vintage


Red dress: Evgeniia Galeeva

Red dress: Evgeniia Galeeva


White top + black skirt: Daniel Pascal Tanner

White top + black skirt: Daniel Pascal Tanner


Orange dress + black skirt + corset : Daniel Pascal Tanner Mask: Simply Masquerade

Orange dress + black skirt + corset : Daniel Pascal Tanner
Mask: Simply Masquerade


photography ralph whitehead

photography assistant melissa arras

styling & art direction eduarda concon

styling assistant lucas miracca

makeup charlie macdonald

hair styling michael john o’gorman

imm models lottie

Behind The Scenes on our FAULT Magazine Issue 23 Photoshoot

With the theatrical release of X-Men Apocalypse only 6 days away, take a step behind the scenes on our FAULT Issue 23 cover shoot with star Alexandra Shipp

Video: Steve Failows

Words: Kee Chang l Photography: Irvin Rivera l Styling: Sharon Williams @Art-dept l Makeup: Carola Gonzales @Forwardartists l Makeup Asst: Laramie Glen l Hair: Larry Sims @ Forwardartists l Photography Asst: Phill Limprasertwong l Production: Ashley Tsai @ashley.tsai