Fault speaks to Sharleen Spiteri of legendary Glaswegian band Texas

FAULT: Hey Sharleen, how are you?

SS: I’m very good, thank you.

 

FAULT: How is the campaign going for the new album?

SS: It’s going very well, we’ve been doing loads of promo; been here, there and everywhere. Doing some European and UK TV so it’s good, but it’s quite funny because when you release internationally you suddenly notice people want to cut you into little pieces and poke you.

 

FAULT: Your ninth studio album ‘Jump On Board’ came out a few months ago, have you had chance to showcase any of the songs to your fans yet?

SS: Yeah just as the album was released we played some pub gigs around the UK that were recorded for radio. Listeners could win tickets and that was really great and we literally played in manky, old pubs which were fantastic. Really sticky carpets and old beer aroma, you couldn’t step back on stage and it was all about the music and the audience. It was good to try out the new songs especially up against the old ones and the big hits, you can suddenly think “oh yeah, this is as good as we thought it was”.

 

FAULT: So from this strong combination of hits and new songs from’ Jump On Board’, what can fans expect from the setlist on the Winter tour?

SS: It will be the ‘Jump on Board Live Tour’ but it will be journey because when you’ve got a band that has had such a long career, there is a lot there to chose from. Some nights we change different songs in different places, but definitely mixing the big hits in with the new stuff.

 

FAULT: Is there a venue you’re looking forward to playing most? You’re playing your hometown for a few shows that must be special?

SS: Yeah we’ll be playing in Kelvingrove Park, which is funny because it’s the park that I grew up in. I used to go up on the bandstand and my Mum used to drag me off. It’s going to be strange being up there without getting shouted at to get down.

 

FAULT: You’ve had a long career; it must be special to experience that retrospective on stage?

SS: Yeah the nice thing is that doing interviews it reminds you that you’re not looking at that part of it, as you’re too busy moving forward and onto the next thing. It is nice to think that it has been long and it has been great, we feel really lucky to still be doing this at the level we are doing it.

 

FAULT: When did you begin writing the new material?

SS: In bits and pieces really, when we put out the last album we hadn’t produced an album in a long time, so you never know what to expect when you release a new record. The love that was shown to the band after we put out ‘The Conversation’ was great and it makes you think, “wow, we’re still relevant”. You’re doing it because you love it, and the truth is you don’t know how to do anything else. We love performing and making records, we’ve had the height of our careers and we’re doing it for the passion and the love of it. We really didn’t expect the reaction of, “it’s great to have you back” so it was so inspiring. It really does give you that boost to continue doing what you’re doing. Rather than by just re-packaging the greatest hits and adding some new songs, we thought that we’d give the fans something with all new songs written and packaged all together. Funnily enough, ‘Lets Work It Out’ was a song that was written probably about 8 to10 years ago but it was never finished, it was one of those songs where we’d try out ideas but we never quite got the melody sitting in it.

FAULT: How has the reaction been to your latest single ‘Tell That Girl’?

SS: That is one of those new era Texas songs; lyrics mean something different to everybody and when I see the people that I’m singing it to; it sort of becomes everybody else’s song in that moment.

 

FAULT: The video itself for ‘Tell That Girl’ focuses on you guys up close and personal, how was it filming that?

SS: Yes, up close and personal; just plain. Sometimes you’ve got switch it up a lot and you know, when you get on stage it changes completely. There is normally so many elements to consider and you get a bit fed up of the lenses you know?

 

FAULT: After years of making music videos, the camera lenses drive you mad?

SS: Yeah on certain videos, the 2 videos from this album have been really fun I’ve got to say, the ‘Lets Work It Out’ one especially. We’re just having a laugh and hanging out, its not just you and there is someone else to shoot it with, it’s completely different with a band. It’s not like “oh here we go again” you know?

 

FAULT: You’ve had your solo campaign and little projects in-between, do you think that fans want to pick up on this success during the Texas shows?

SS: We played a couple of tracks from my solo stuff on the last tour actually, so we kind of mix it up. The thing about why I went solo was that I needed to say something and get it out there as it’s not Texas. The band were heavily involved in it and as a band we kind of like each other you know? We see each other outside of Texas as we’ve known each other since we were 17. We’ve grown up together, had kids, marriages, divorces and all we have been through a lot of stuff together. These people are my life and my friends; it’s weird because Texas was never a job for us, it’s never become a job, but when each one of us is doing something separate from Texas, we all go along and support them. We all support each other.

 

FAULT: Is it the lyrics or the music that comes first when writing a new song?

SS: It comes when it comes; there are no rules when we write. Sometimes it can be a melody, sometimes a lyric or an old melody or a set of bridges, or sometimes completely new. Sometimes you’re lying in bed and link the two instantly; I don’t really know how it works even though that’s what I do. [Laughs] Everybody wants to analyse things nowadays, that’s how you do it etc. I think anyone who has created things in the moment find it hard to describe how they did it. I think if you look to closely at it then it becomes a path, and that path can soon become boring.

 

FAULT: What is your FAULT?

SS: You’ve got your strengths and you’ve got your faults, I think the strength is to be able to show your faults and identify that they’re there. Your fault is what sometimes makes magical things happen. Everybody has faults and do things that are seen as annoying, mine is probably that I never shut up. [Laughs]

Texas are on tour later this year from August until December and includes 3 huge homecoming shows in Glasgow, a large UK and European tour with some special shows in South Africa just added. You can view all their tour dates on their site here. Texas’ ninth studio album ‘Jump On Board’ is out now on Sony BMG. You can purchase the album here, and check out their latest single ‘Tell That Girl’ here.

 

Words Stuart Williams

SPINN live at The Magnet, Liverpool

‘Look, my t-shirt says “Swollen but golden” on it.’ Jonny has the mumps. But he’s not letting it put a damper on his band’s gig tonight: ‘I’m getting better now so I can sing fine but I’ve just got fucking big cheeks.’

It’s a pretty drizzly day and the long, uphill walk from Liverpool Lime Street Train Station to The Magnet, where SPINN are set to perform later that evening, was enough to challenge my #FridayFeeling. But Jonny, lead singer and guitarist of SPINN, could probably improve any mood, either with one of his upbeat ‘dreampop’ tunes or with his chirpy attitude, not to mention that soft kind of Scouse accent that brings any story to life. And he has quite a lot of stories. For example: ‘I know that lad once who made it to Glastonbury a couple of years ago and he stood at the front for the 1975 and just threw sausages at Matty Healy. That’s what he said anyway.’

I ask him how he managed to come down with the mumps. ‘It’s my mate right, he always steals everyones pints. He had the mumps and then took a sip of my pint when I wasn’t looking so I got the mumps from taking a sip of my own fucking pint.’ He throws his arms up, faux exasperated. His t-shirt does indeed say ‘Swollen but golden,’ scrawled in a mixture of red and yellow felt tip pen. In a way this sartorial choice sums up SPINN’s whole vibe: they’re up for a laugh but ready for you to listen. Their social media presence cements this further with their last tweet at the time of writing: ‘Just saw the 1975’s trnsmt slot; to the girl crying her eyes out during robbers, honestly mate, same.’ Their bio describes them as #ApproachableLads.

 

Other than the homemade slogan tee, Jonny describes his style as ‘“Quirky boy chic.” But I’ve started spelling chic like c-h-i-q-u-e.That’s cool isn’t it?’ That effortless teenage boy grin, equal parts cute and goofy, would probably go with any outfit. ‘I always wear white socks – that’s essential – and usually like a t-shirt I always like baggy pants as well. I usually shop online or Pop Boutique then see what Gucci are up to as well.’

Jonny explains his musical beginnings: ‘I just kind of picked up a guitar one day, because we had one in my house, and I just started picking on it and my dad said to me “Son- (he laughs and puts on his best fatherly voice) Son, if ya learn a song I’ll get some new strings for ya.” So I learnt a song. I learned Blackbird by The Beatles. And my dad was like fair enough, and he got me some new strings.’ His link to Liverpool’s most famous musical export is strong: Jonny grew up around the corner from where The Beatles met, close to John Lennon’s house, on actual Strawberry Fields. ‘I might get a tattoo of a strawberry,’ he smirks. ‘I embraced the Beatles stuff a lot for a while but then people started to make fun of me like “Oh there’s that kid that loves the Beatles!” so I was like for fucks sake.’

‘My first musical memory from when I was a kid was when I was sat there with my cousin and he put Kylie Minogue on and I just thought “this is shite.” And I wanted to find something better. I bought my first ever two CDs on the same day. For some reason I got Ed Sheeran – Plus. I mean that’s a good album but I’m not into it as much anymore. I got it on the same day as a David Bowie quadruple CD.’ I told him he should just tell the Bowie story. ‘I do most of the time,’ he laughs. So what’s on his playlist at the moment? ‘At the minute I’ve been listening to a band called Half Man Half Biscuit. It’s kind of like satirical stuff and they’ve got this song called Just Give Us Bubble Wrap where they sing about how everything could be solved if we had a big roll of bubble wrap.’

Jonny’s self-deprecating tone comes through in his pleasant drawl over SPINN’s latest single ‘Notice Me,’ which is literally a shout out to radios stations to give them more plays. Jonny explains that writing the songs is a team effort, but he writes the lyrics. ‘It’s usually like shite love songs. My uncle said if you get in a band and you’ll get loads of girls it will be great. I’ve got a girlfriend already so its sound. But none of us have had any attention from girls. A lot of my songs are about my girlfriend. I know that sounds really sloppy and horrible but I don’t usually tell her. Nah, sometimes I do write about politics. That’s as edgy as it goes. I’ve got this one where I moan about England for a bit. I feel like Morrissey, it’s great. I try to work harder and I’ve expanded my vocabulary a lot – is that the word? I’ve had to many beers. I know my mums gonna read this so I’ve said I can’t drink because of my antibiotics but I have had too many beers.’

While being in band might not have resulted in a lot of female attention, Jonny says he has mostly enjoys the social aspect of playing shows and meeting people. ‘It’s like a big massive family and then when you meet other bands and it feels dead nice. Thats my favourite part about being in a band. I like being able to just follow around people that I like at festivals like Cabbage and In Heaven.’ The future will definitely hold a lot more fun for SPINN, as their name shows up on more radio playlists and their Spotify and Soundcloud plays increase. ‘If we get signed with a nice juicy record label – I’m looking at your recorder now – if we get a lovely deal, then we might get a flat. I like Liverpool for now but if we have to move to London I’d be quite happy to move to London. I like London a lot. It’s just cool isn’t it? And everything’s bigger.’

The show is filling up by the time we finish our chat and Jonny offers me a can of cider from the table. The band don’t come on until late and put on an incredible party. Jonny gives his mum and nan a shout out while boys clamber on to each others shoulders and the crowd get dancing. Lots of fans sing a long with ‘Notice Me’ and SPINN’s other singles ‘Home’ and ‘Bliss’ stir things up as well. In an era seriously lacking in indie pop, this band could fill the hole that early Maxïmo Park and dreamy debut album The Kooks singles left in your life.

Words Alex Bee

Photos Lauren Keir

Saint Laurent releases Winter 17 #YSL11 Fashion Films

 

The latest instalment of Anthony Vaccarello’s Saint Laurent fashion film series has released, and it’s the perfect transition from runway to the movie format. Directed by Nathalie Canguilhem, the badassery of the collection truly shines under the neon lights of the city night.

Anyway, less talking more gawking, check out the full video below.

Director: Nathalie Canguilhem
Music: “Kane” by SebastiAn
Models: Binx Walton, David Friend, Dalibor Urosevic, Hiandra Martinez, Louis Marzin, Mica Arganaraz”

FAULT Magazine Reviews: The Trading House

Summer has finally landed in London, and as promised, FAULT Magazine is putting together our very own ‘Where To Dine Summer 2017’ guide to let you know of all about London’s best restaurants.

We recently visited Trading House to see what it had to offer and despite being in banker central, on entering, we were amazed to discover so much life and soul within the venue. With a live performer and marvellously rich décor, we were off to a good start so let’s dive into the meal!

We began where all good meals should, at the bar, where they have an extensive wine list and even larger (and more fun) cocktail menu. From the offset, the bar staff were ready to make our experience as unique with their cocktail menu which boasts original twists on old English classics. To put this into perspective, they can make five different variations of the world famous mojito from a Spiced Pineapple to a softer tasting Peach & Cardamom variation. It being summer, we opted for their Elderflower Gin Coolers and Karma’s A Bitch cocktail; the latter mixes gin, apricot, homemade karma tea-infused syrup and while I have no idea what karma tea is, it’s certainly delicious.

Their nibbles menu is also sufficient enough if you’re only planning on visiting for a few drinks after work too. Start your evening with crispy whitebait, salt and pepper onion petals, pork crackling and or olives if you’re only popping in for a short amount of time.

For our starters, we were spoiled for choice with Trading House offering scotch eggs, calamari, truffle mushrooms, smoked haddock fondue and many other restaurant favourites. We went for the classic dishes to use as a point of reference and compare them to what we’re used to from another restaurant. With that in mind, we tried the crispy calamari and wings in barbeque sauce which were both to die for. The calamari was coated in Piri Piri salt, and I don’t believe I’ll be able to eat them any other way from now on – a great start!

Moving on to the mains and again, we were very impressed by the comprehensive menu. Don’t be put off if you’ll be dining with less adventurous dinner guests as The Trading House caters for everybody. While the lure of the unknown and adventure might take your fancy, The Trading House also features classic dishes such as fish and chips, flat iron steak sandwiches and pan-fried seabass for those with a less adventurous tongue. We thought it’d make for a better review to go with the more out-there offerings however and lucky for us the menu is a playground for the adventurous diner.

Choosing a main course was difficult, and quite frankly, it begs for a second visit because everything sounds delectable. From the new Orleans inspired, prawn and chicken gumbo to lamb kofta or their selection of pies, all of it looked amazing but what The Trading House is famous for is their Hanging Kebabs so it’d be rude not to!

We opted for the salt and pepper pork belly which arrived on your very own spit with the chips at the bottom ready to soak up any rich and flavoursome sauces which drip upon them. Accompanies with sweet chilli and ginger sauce, the meal was oozing with different flavours not often put together but ones which blend surprisingly well.
Non-meat eaters looking to enjoy Trading House’s hanging kebabs can opt for the halloumi, and falafel kebab alongside garlic butter and cauliflower couscous and if you’re a fish lover, Jerk Salmon alongside rice and peas sounds and looked amazing.

If by chance you can still manage dessert, the white chocolate and peanut butter mousse with chocolate and ginger crumb are as great as it sounds. If you don’t share our sweet tooth, we can with real confidence recommend the cheese board.

We admit when we first heard of the Trading House and it’s location in Bank we were a little worried that we’d find nothing but a tourist trap filled with false charm and unnecessary theatrics but we, in fact, found the complete opposite. The Trading House isn’t a themed restaurant, nor one that tries too hard to force a feeling of exclusivity despite its high-end level of customer service. Their cocktails all come at a fair price and in London, it’s not often you’ll be able to get a three-course meal of this quality at under £30 per head.

The Trading House is a great location for laid back date nights with or casual drinks. What that area of London has been missing for too long is a restaurant that provides excellent customer service without compromising the human touch and charm required. For us, Trading House is the perfect example of how to strike the right balance.

Trading House – one of the finest examples of fresh ideas and exciting cuisine in a part of London that sorely needs it. For us, this is one of 2017’s must visits!

 

 

FAULT Weekly Playlist: Saro

Los Angeles artist Saro is prepping to release his forthcoming new EP late summer / early fall and recently released the first single “Sky Doesn’t Blue.” Saro’s clear voice cuts through the track like the sun breaking through the clouds on an overcast day, with percussive synths that provide a dream pop atmosphere.

We asked Saro to put together a playlist of what he’s currently digging including SZA and Weyes Blood – take a listen below!

Marie Davidson – Naïve to the Bone

“You can’t listen to this song and not want to move. This has been my go to album for dancing in the shower.”

SZA – Anything

“This song just reminds me of cool. The entire SZA record has been heavily on repeat since its release.”

Perfume Genius – Slip Away

“I’ve been a fan of his for so long and the music gets better with every album.”

Weyes Blood – Be Free

“I once worked out to this song on repeat for 20 minutes without realizing it.”

Jeff Buckley and Elizabeth Frazer

“All Flowers In Time Bend Toward The Sun – This song devastates me every time. It’s a demo that was leaked after Buckley’s untimely death.”

The Smiths – Reel Around the Fountain

“I have read between the lines while listening to this song for so many years. I have no idea what the song is actually about but it gives me a feeling of solidarity.”

Hundred Waters – Jewel In My Hands

“I love the ethereal atmospherics and Nicole’s lyrics are so beautiful.”

ionna Lee – Not Human

“This is the newest from Jonna Lee (Iamamiwhoami). She is one of my favorite performers. I was lucky enough to see her perform with Royksopp this spring. She’s definitely not human.”

Big Thief – Shark Smile

“I just discovered Big Thief and they’re quickly becoming a favorite. The guitar tones are perfect and the vocals are timeless.”

Arca – Piel

“The first time I heard this, the feedback synth made my brain twitch. Now I long for that feeling. Everything about the track is beautifully haunting.”

FAULT Focus: Khadija Saye: Remembering The Artist Through Her Photography

 

Early Thursday morning, the reality of London’s Grenfell Tower blaze hit home for myself and my fellow UCA alumni as we read the final Facebook update from our once classmate, Khadija Saye. Trapped within the burning building, Khadija reached out for prayers from her loved ones, and they rushed to the streets and social media in hopes of finding her. Sadly, the next day Khadija’s family would confirm that what we feared the most had come to fruition, Khadija had tragically perished in the blaze.

While we did share a class throughout university, myself and Khadija were not close friends. Remembering my panic as I scrolled Google and social media desperately looking for an update on her condition, I feel compelled to help ensure that her captivating body of work and not the tragedy of her passing, form her lasting legacy.

As an artist, her work cast a light on Gambian culture, the collective unity within “the other” and her journey into self. In memorial of Khadija and the conclusion of her photographic portfolio, FAULT takes a dive into the work of the late great artist – Khadija Saye.

 

‘Crowned’

In 2013, Khadija took her seat at the proverbial table and unveiled her centrepiece in the form of her photographic project entitled, ‘Crowned’. This series of photographs is one of the projects that our class was able to observe as it developed from inception to completion as Khadija’s final degree show series. ‘Crowned’ is made up of eight portraits showcasing the different ways in which black woman close to Khadija styled their hair. From woven braids, extensions, dreaded and natural afro, the viewer is given a glimpse into the diverse range of hair styling possibilities open to black women.

Entitled ‘Crowned’, Saye references the physical and the symbolic idea that black hair is something to be prized and adorned and not ashamed of. The words of Ingrid Banks taken from her book entitled ‘Hair Matters: Beauty, Power, and Black Women’s Consciousness’ echoes in my mind when I reflect upon Khadija’s title choice. In the book, Banks writes:

“Crown suggests a source of power, excellence or beauty…Therefore, a notion of power is embedded in the idea of hair as a black woman’s crowning glory. Hair has the ability to become a foundation for understanding how black woman view power and its relationship to self-esteem” –  Ingrid Banks 2000.

More contemporary references to black hair as something of brilliance can also be seen in Solange Knowles’ critically acclaimed 2016 release ‘Don’t Touch My Hair’, where within the opening verse Solange exclaims:

“Don’t touch my crown, They say the vision I’ve found”

“They don’t understand, What it means to me”.

One does wonder what significance Khadija’s perception of her own afro hair and its beauty played in her choosing to embark on the project and if I were to guess, producing ‘Crowned’ was a labour of love and presentation of self-pride. Indeed in March 2017, four years after the release of the series, Khadija reminisced on the making of the project in joy tweeting:

 

In the image, her young assistants observe possibly unaware of the importance their participation played in the construction of ‘Crowned’ or how it might affect their perceptions towards their afro hair and ideas of self in years to come; truly the impact of ‘Crowned’ will stretch on far further than even Khadija would have imagined.

As the only black male on our course, I once attempted to play up my “wokeness” and asked Khadija if she had seen “the Chris Brown documentary called ‘Good Hair’”, (misquoting Chris Rock’s 2009 documentary that focussed on the perception of natural hair within the African-American community.) Emblematic of her kind-hearted and gentle attitude, Khadija, of course, corrected my mistake letting out a light giggle; dropping my façade I listened to her thoughts on the documentary.

Earlier I referenced Solange Knowles’ ‘Don’t Touch My Hair’, a fiery anthem that highlights the resentment caused by patronising actions which decrease afro hair to a thing of play but observing ‘Crowned’, the same frustrated narrative does not confront me. My interpretation of ‘Crowned’ isn’t, “don’t touch my hair!” It is an inviting, “Don’t touch but do see. Bear witness to the beautiful ways black women can choose to style their crowns.” The viewer is invited to marvel at the intricacies of the different twists, curls and over-locking structures of the sitter’s hair and when printed and framed in a gallery, we’re disarmed and hypnotised by their sophisticated beauty.

It’s important we recognise the personal connection Saye shared with the women she photographed. The trust the sitters have placed in Khadija is unique; formed not just from a shared experience of blackness but through the confidence these women placed in Khadija’s skill as an artist to capture so much more than just hair. It is thanks to her affable character that Khadija was trusted to capture up-close the art within her subject and through her artistry and presentation nous, she allowed the viewer to appreciate black women’s hairstyles up close as something of splendour.

Khadija’s ‘Crowned’ might end here, but the project as a form of inspiration to a new generation of artists will continue. The eight sitters included on Saye’s website are but a drop in the ocean of the many different ways black woman can choose to style their hair; making ‘Crowned’ a gleaming seed from which the mightiest body of work can still grow.

 

Home.Coming

For her series entitled ‘Home.Coming’, Khadija travelled to The Gambia and documented her exploration of self through a series of portrait and landscape photographs.

Something I notice through all of Khadija’s work is her ability to find familiarity and gain trust within cultures sometimes seen as ‘the other’. ‘Home.Coming‘, ‘Crowned‘, ‘Eid‘, ‘Madame Jojo’s‘, all focus on different categories of the human experience yet notice how she has never been kept at arm’s length from her subject. I don’t feel the presence of a white tape that Saye is forced to photograph from behind when I observe her work. When capturing her subjects, for a time at least, Khadija is one with their environment and through her lens’ eye, the viewer is too.

For me, the unseen friendship-building and conversations Saye would have had with each person to earn their trust before the photo session conjures much intrigue. The above portraits arrest your gaze; the men’s eyes tell countless yet frustratingly unattainable stories. Khadija has stopped time but for a moment yet opened the door for myriads of questions – made sorrowfully more perplexing now they’ll go unanswered.

In another photograph from the series, a young girl smiles as she watches something out of the frame and in the below photograph a man leans on his prized Volkswagen, both beg a mountain of questions yet if we take a step back, we’ll find Khadija’s story told throughout the series.

Any second generation migrant knows all too well the conflicted notion of “home”, and from what I can only guess, Khadija travelled to The Gambia to find, explore and reflect on life in a home in which she did not live. While the content of Khadija’s photographs doesn’t answer the question of “did Khadija find self and the comfort of home while in The Gambia” but we need only look at her sitters to find our answer. As referenced previously, her subjects are unperturbed in front of the camera and this is likely because they were relaxed with their photographer. Any artist can tell you the anguish of requesting a portrait of a stranger only to watch their sudden discomfort when faced with the intrusive camera lenses flung in their face but notice the air of calm in Khadija’s work.

Yes, each photograph in the series contains countless untold stories, yet one is clear, and it’s the sitter’s tale of Khadija. As a photographer, she wasn’t a stranger in their midst nor a second generation displaced entity forcibly taking up shop in their domain; for that time if only for a moment, Khadija Saye was one with them – truly at home.

 

Dwelling: In This Space We Breathe

Khadija’s last exhibited work ‘Dwelling: In This Space We Breathe’ made with the help of artist, Almudena Romero, saw her once more exploring her heritage by investigating traditional Gambian spiritual practices and the comfort practitioners found in the arms of a higher power.

There is something remarkably poignant about her final project immortalised on such a physically existent format such as the tintype. By using tintypes, Khadija transformed her amorphous visual being, memory and legacy from a temporary state and gave it physical form. Unlike a digital file, memory or spoken recollection, her tintype image has weight, texture, smell and uniqueness the very same way our physical forms do; yet unlike us, her tintypes do not have an expiration date and will always remain.

The very idea of legacy and the pursuit of artists to leave a token in this world for after we pass, itself is a practice of spirituality. For all we know, there is no telling of what significance our life actions will play after our lives come to an end, yet we attempt to leave proofs of our existence to tell the future world “I was here and I existed.”

In the tintype images, Khadija is depicted in a ritual using sacred Gambian artefacts meant for the purpose of connecting with the spiritual world from the physical plane. Now with her passing, there is a spiritual awakening of ideas and ways of reflecting within the viewer. Now as we gaze upon the imagery, it is us the viewer who are being connected with Khadija and in turn, linked spiritually to the “once was”.It is through Khadija’s immortalisation of Gambian ritual that we now look upon her from this physical plane despite what would be considered by many religions as her soul ascending to a higher state of being.

I’ll admit that the above sounds somewhat of a stretch and likely not what the project was intended to symbolise, but it did cast a light on my scepticism towards schools of beliefs that I do not understand. In reflecting on the work, my own westernised perception of spiritual ritual has come into question. For myself at least, the actions depicted by Khadija provides a brand new outlook and way of seeing such ceremony.

For some of those raised in the UK, the idea of spirituality and non-conventional western religion is sometimes considered as something of myth or fantasy, not necessarily through conscious choice but through our conditioned view of pre-evangelised spirituality.

In Sir Edward Burnett Tylor’s 1887 book (now somewhat offensively entitled) ‘Primitive Culture’, he gave the broad belief that spirituality can be attributed to ritual and inanimate objects the name ‘Animisim’.

Note: ‘Animisim’ does not exclusively describe the Gambian ritual Khadija explored in her project but broadly refers to the school of similar beliefs held by people throughout Africa, Europe, Asia and Australia throughout history. Hopefully an anthropologist or practitioner of the specific belief Khadija explored can provide a more suitable title for us to use in this essay.

While coining the English term for the phrase, Tylor knew he was generalising a large number of people, but he did so out of frustration with writers of his day who saw such displays and dismissed them as illegitimate forms of spirituality.

“Short of the organised and established theology of the higher races as being a religion at all. They attribute irreligion to tribes whose doctrines are unlike theirs”. – Taylor 1887

The link between the photographic process and spirituality is also drawn upon in the accompanying text for ‘Diaspora Pavilion 2017’ where the works are currently held on display.

“The process of submerging the collodion covered plate into a tank of silver nitrate ignites memories of baptisms.” – Disapora Pavilion 2017

It is clear Khadija found a spiritual link at every step of this project even choosing herself as the subject when producing the tintypes but rather than theorising or projecting, it’s only right to let the words that accompany the project have the final word:

“This work is based on the search for what gives meaning to our lives and what we hold onto in times of despair and life changing challenges. We exist in the marriage of physical and spiritual remembrance. It is in these spaces that we identify with our physical and imagined bodies. Using herself as the subject, Saye felt it was necessary to physically explore how trauma is embodied in the black experience.” – Disapora Pavilion 2017

 

Notice how throughout Khadija’s entire body of work, there’s a level of thinking that transcends just the art of seeing. All three projects spoken about above are unique individual displays of artistry and wonderous displays of photography worth that of an artist far beyond Khadija’s years.

‘Crowned’, ‘Home.Coming’ and ‘Dwelling: In This Space We Breathe’, are all linked only by the artist of origin and much like Khadija, they mean and will continue to mean so much to so many different people. Reminiscent of the Khadija that I knew from across the lecture theatre, not a lot is shouted nor is it displayed with over-the-top performance – because work and artists with true substance donesn’t require such theatrics.

This week we sadly lost Khadija, but not her contribution to the artistic world.

 

See more from Khadija’s portfolio on www.sayephotography.co.uk

 

 

 

LFWM: SS18 CHRISTOPHER RAEBURN – BACKSTAGE

 

Backstage at Christopher Raeburn SS18 photographed exclusively for FAULT by Chidubem/Lost in Talent

 

Dua Lipa dishes on debut album in exclusive Fault shoot and interview

FAULT first featured Dua Lipa as one of our ones to watch for 2016 back in Issue 23. Building a fiercely loyal fanbase, we all held our breath in anticipation for what would come in the future. Now it’s 2017 and Dua is a household name from her single releases alone and with the arrival of her debut album today, we caught back up with Dua to see what’s new, what’s changed and what’s still FAULTY.

It’s finally here, is it weird to know your album is finally out?

It’s exciting and I think it’ll be weird on the day. In fact, it’s the morning after that I think will be the most crazy as it’ll be out. I’ve not been able to add to it for a little while and it’s just been really exciting to see it come together.

 

You spoke to FAULT about a year ago and your mind-set was very much in the place of “I’m free to write about anything I want so I’m going to” – has your mind-set changed since then?

Now I’m really focussing on being present and mindful in everything I do, it’s all about enjoying the journey.

 

Back then you said your FAULT was that you overwork – would you say that’s changed since then?

I’m still working hard because I love what I do although I’m not overthinking anymore and that’s something I’ve consciously made a decision to do. It’s not worth dwelling over and for me, if it feels right at the time I might as well just go for it and live in the present and then move on to the next thing.

 

What’s been your favourite moment so far?

I’ve really enjoyed being on tour and I love being able to go on tour and see different places. I just came back from southeast Asia and it’s interesting to see and amazing to find that I have an audience over there. It’s been really great.

 

Are you the same Dua when you’re on stage compared to when you’re in the studio?

I’m not; when I’m in the studio I’m more contained and a lot of emotion goes into really telling my story through my vocal and my lyrics. When I’m on stage, it’s a lot about just having fun and it all goes in waves. You start dancing, then you have a cry but we always send you home dancing again and I feel like when I’m on stage and as much as I get my emotions across I also make sure my audience is having fun. I can feed off the audience more on stage also, if they’re having a good time then I’m having a good time.

 

You’ve just released your song with Miguel also – how did that come about?

He’s always been an artist that I loved and admired for his work as a songwriter so I reached out and he was lovely and got back and said “let’s do it!”. I’ve done collaborations with artists before ever meeting them but with Miguel, I was able to form that relationship with him through writing together in the studio.

 

Through much of your career music writers have described you as “the next big thing” and we’ve all been told your album “will be great” – now we draw closer to release do you feel a lot of pressure to live up to the hype placed on you?

I feel pressure; there’s always pressure that comes with people’s expectations of you but during my career I’ve been very lucky to have people put me on their ones to watch lists and it’s helped me get to where I am but also pushed me to tell myself “I have to make sure all these people are right”. I don’t want people to look back at those articles like “oh, whatever happened to Dua?”, so yes there’s pressure to work hard to prove them and myself right.

 

What’s your plan post-release?

The day the album comes out I fly to NYC for Governor’s Ball and I’ll be there for a couple days and then I play festival season until September. From October through the end of the year I’ll have my album tour and then I’m off on tour with Bruno Mars! As crazy as it sounds, I’ve already started work on the 2nd album and I’ll focus a bit on that in January.

 

Is writing still fluid?

I feel like so much has happened that I need to write about and when I get into the studio I just add those words to melody.

 

Favourite tongue twister?

Peter Piper Picked A Peck Of Pickled Peppers.

What is your FAULT?

The album not coming out in February, because it was completely my doing.

 

Was it the right decision?

Absolutely! I was upset, my fans were upset and it was entirely my FAULT but I’m really happy I did and because I released so many songs I’ve been able to put some new songs on the album and have it sounding brand new.

 

Dua Lipa’s self-titled debut album is out today.

Words Miles Holder

Photography Jack Alexander

Makeup Francesca Brazzo

Hair Anna Cofone