Field Day are thrilled to reveal a very special, new stage: The Jägerhaus

LXN Collective will be covering the festival exclusively for FAULT Magazine where they will be joined by Caribou, RIDE, Patti Smith, FKA Twigs, Django Django, Mac DeMarco, Savages, Run The Jewels, Hudson Mohawke, SOPHIE, Chet Faker and Nina Kraviz across the Field Day weekend. The ninth edition of Field Day will be held at Victoria Park, in the heart of East London on Saturday 6th and Sunday 7th June 2015.

Image : Field Day

Image : Field Day

Field Day are thrilled to reveal a very special, new stage: the Jägerhaus. When you step inside you’ll discover an incredible venue that’s different to anything you’ve seen before. Home to ice cold Jägermeister, the Jägerhaus twists andturns as the day turns to night. They’ll be unearthing the freshest new bands and DJs, and a heap of surprises along theway. Don’t miss the likes of Telegram, Boxed In, Cheatahs, Formation, Jolta, Murkage, Rat Boy, Vaults, Zibra and more on the Saturday as well as Toy, Spring King, Tuff Love, Whilk & Misky, Zun Zun Egui, All Tvvins, Cut Ribbons, Kagoule and more on the Sunday.

Field Day official pre- and after parties!

Finally! Field Day have announced the official pre- and after parties to get everyone warmed up for the Field Day

From pre-parties featuring Peter Bibby, The Vryll Society as well as Leopold and His Fiction at the Shacklewell Arms; POW! at the Lock Tavern, Fukced Up at the Shacklewell Arms; and after parties including Awesome Tapes from Africa at the Adam and Eve; the official Bugged Out! after party at Oval Space featuring John Talabot, Leon Vynehall, Shanti Celeste and Daniel Avery b2b Volteface on 6th June… plus some very special, secret guests playing the Shacklewell Arms after party on Saturday 6th June!

Field Day takes place on Saturday 6th and Sunday 7th June 2015 at Victoria Park in East London.

More exciting news soon…!

Tickets: http://fielddayfestivals.com/tickets/


Confirmed acts for Field Day Saturday 6th June:

A. G. Cook/ Andrew Weatherall b2b Daniel Avery/Antix/ Astronomyy/ Awesome Tapes From Africa/ Bad Vibrations

DJs/ Ben Klock b2b Marcel Dettmann/ Bok Bok/ Boxed In/ Caribou/ Cashmere Cat/ Cheatahs/ Chet Faker/ Clarence

Clarity/ Clark – live/ Danny L Harle/ DJ Barely Legal/ Django Django/ Elijah & Skilliam/ FKA Twigs/ Floating

Points/ Formation/ Frau DJs/ Fryars/ Future Brown/ Ghost Culture/ Hackney Colliery Band/ Hailu Mergia with Tony Buck

& Mike Majkowski/ HONNE/ Hooton Tennis Club/ Hudson Mohawke – live/ Huw Stephens/ i-D DJs/ Jack

Garratt/ Jagaara/ Jen Long DJ/ John Talabot/ Jolta/ Jungle – DJ/ Kindness/ Klaves/ LA Priest/ Lemmy Ashton/ Leon

Vynehall/ LUKA/ Madlib – DJ/ Matthew and Me/ Max Tundra – DJ/ Mssingno/ Mumdance/ Murkage/ Nina Kraviz/ Owen

Pallett/ Phil Taggart/ Philip Selway/ QT/ Rae Morris/ Rat Boy/ Ratking/ ReviveHER/ Run The Jewels –

live/ SAOIRSE/ Shacklewell Arms DJs/ Shanti Celeste/ Shura/ SOPHIE – live/ Spector/ Sylvan Esso/ TÃLÃ/ Tei Shi/ Ten

Walls – live/ Telegram/ Todd Terje & The Olsens/ Tom Baker Soundsystem/ Tom Ravenscroft/ Toumani & Sidiki

Diabaté/ Tropics/ Tune-Yards/ Vaults/ Volte-Face/ Yossarian/ Yung Gud/ Zibra


Confirmed acts for Field Day Sunday 7th June:

Allah-Las/ All Tvvins/ Andy Votel/ Bad Breeding/ Baxter Dury/ Bernard and Edith/ Beyond the Wizards Sleeve/ Cairobi/

Cut Ribbons/ DIIV/ DJ Haai/ Ducktails/ Eagulls/ Errors/ Ex Hex/ Gaz Coombes/ Gengahr/ Georgie

Rogers/ Gulf/ Hælos/ Heavenly Jukebox/ Hookworms/ Jane Weaver/ Justin Robertson/ Kagoule/ Mac DeMarco/ Matthew

E. White/ My Brightest Diamond/ Nimmo/ Outfit/ Pale/ Patti Smith & band perform Horses/ Peter

Bibby/ Ride/ Savages/ Shacklewell Arms DJs/ Sonic Cathedral DJs/ Spring King/Tom Baker Soundsystem/ Toy/ Tuff

Love/ Viet Cong/ Whilk & Misky/ Zun Zun Egui

Victoria Park, E3 London

Miguel new album entitled Wildheart out June 30th!


Grammy Award winning recording artist Miguel has confirmed the official release date for his highly anticipated third studio album Wildheart, out June 30th. 

Serving as the follow-up to 2012’s incredibly arranged Kaleidoscope Dream which spent 20 weeks on Billboard’ 200 Album Chart, his new album will be just as steamy as its artwork. Speaking to VH1, Miguel described his upcoming release, saying  “It’s Los Angeles, it’s attitude, it’s aggression, it’s sex, it’s psychedelia, it’s lust, it’s loneliness. It’s just more aggressive. It’s just raw. That’s why I love this album.”

Wildheart is out June 30th on ByStorm Entertainment/Rca Records, but until then you can check out the teaser here

Tinie Tempa ft (FAULT Online Cover-Star) Jess Glynne ‘NOT LETTING GO’ OUT JUNE 21st


Chart topping sensation Tinie Tempah makes his musical return this summer with his first new track since the release of his 2013 album Demonstration.

The brand spanking new single ‘Not Letting Go’ features none other than FAULT cover star and pop’s golden girl (and star of our latest FAULT Online Cover [linkJess Glynne.

‘Not Letting Go’ is a bass-heavy summer groove that finds Tinie’s charismatic flow contrast with a soaring pop hook provided courtesy of Jess Glynne. The result is a foot tapping, feel good affair and a quintessential summer anthem.

The fellow Londoners met last year at the BRIT awards and after regularly bumping into each other during the summer festival circuit set a date to get together in the studio with Bless Beats who produced the track.

“I wanted to make a song that captured that London summertime feeling which is always the best time of the year for me and the time where I’ve had the most romantic experience. So it’s an ode to a girl I met and our experiences in this amazing city we all call home – London!”

‘Not Letting Go’ is available for purchase on 21st June.



Words: Juliana Piskorz 

FAULT Attends Land Of Kings Festival

Arriving at the deceptively huge venue ‘The Epic’ in the centre of Dalston was perfect to begin the festival watching NZCA Lines. After an unsure start the band pulled it together to deliver a powerful electric performance bringing the audience closer and creating interaction from the start. The band led by lead singer Michael Lovett, brought together a visually strong aesthetic that compliments their music- a good example of using image to deliver the bands identity.

I’ve been a long fan of Tom Vek ever since hosting the artist at a club night called The Wolfgang Bopp at the Montague Arms in Peckham in 2007 and so it was bringing back all sorts of nostalgic memories as he played an impeccable set at The Refreshment Centre. Tracks from his latest album ‘Luck’ were mixed perfectly with tracks such as ‘C-C (You Set the Fire in Me) and ‘I Ain’t Saying My Goodbyes’ from his very first album ‘We Have Sound’. The venue seemed perfect for hosting Vek’s crisp transitional visuals acting as a striking backdrop to what became such a personal gig.


My highlight of the festival was getting the chance to see Brolin- an artist I’ve been following since seeing him support Gold Panda at St Johns Church in Clapton nearly a year ago. Birthday’s hosted the gig allowing the performance to become intimate (the best attribute of the festival) with a lot of interaction and northern humour from Brolin between songs.  He’s hugely developed as an artist and having just released his EP ‘Swim Deep’ I’m really excited for his future success labelling him as someone to watch.


Overall I was genuinely impressed with the festival and it’s down to good planning. I had a fear that it would be difficult to get into venues due to queuing and that I would miss out on new talent but with very helpful staff everything ran smoothly. At a price of £25, this festival is unbelievably good value and I can only see good things for the Land of Kings Festival.


Words & Images: LXN

Jack Antonoff of ‘Bleachers’ interview with FAULT Magazine Online







Jack Antonoff of Bleachers, fun. & Steel Train fame is a different kind of juggler. With more than 15 years of touring and writing music under his belt, he’s now releasing his own debut album with Bleachers. You’ve most likely heard their wildly popular tune ‘I wanna get better’ but there’s so much more to Bleachers than you could possibly wrap your mind around. They’re vivid, they’re genuine and they’re all the things you’ve ever wanted to please your ears with. We caught up with Jack and he’s most definitely a refreshingly special kind of special.

FAULT: Now that it’s been a bit more than a year since you first started releasing music as Bleachers, can you tell me how 2014 was for you? You kinda had a lot going on as a band.

Jack Antonoff: It’s been absolutely amazing.  It was really exciting, a bit terrifying as well. But then again, the best times in your life are when you’ve got different feelings happening all at once.

You’ve basically been in bands your entire life. Started out with Steel Train, then fun. and now Bleachers. Is there something specific that you took from each and encompassed musically in Bleachers?

I think I’ve been touring for like 15 years now with different bands, so it was more like going on a journey that keeps shifting, changing and redefining what you do. It’s constantly about challenging yourself, taking what you know and making it vastly different. Somehow.


You also started to write the album for Bleacher while on tour with fun. How did you manage both? It sounds both physically and mentally challenging.

I don’t know, it was weird, I was never able to do that before. Anytime I’ve been on tour, that part of my brain shuts off, but for some reason, with this process I was able to do it. I’d wake up and be like in Japan, Malaysia, Europe or something, I’d  just open my computer and start writing. Then I’d be on the bus or on a plane and start working on a beat instead of watching a movie. It would just happen like that.

I’ve noticed that you’ve got two drummers, as opposed to the usual one you’ve had so far. Did you always wanna go for a louder sound?

Well, the two drummer thing is always very literal because, when I made the album, I desperately wanted to find a bridge between synthetic and organic. So I would create a beat on my pc using all these synthetic sounds and then I’d want it feeling different so I’d play live drums on top of it. The album is made with very much these two elements, even like synthesizers and then guitars. So the drums are literally like these two guys and they switch off. One guy will do more like pads and one guy will play more live. They kind of complement each other in that way. So a lot of what happens live is a very literal translation of the album.

So it helped you not lose bits and pieces from the album while playing live basically.

Yeah, because I think when you create a live show, you do the best that you can to represent the album, knowing that’s it’s just going to go in a fucking different place anyway.  Which it ends up doing no matter what.


Now that you mention it, the whole creative process that lies underneath releasing an album is quite challenging. You go from complete control to no control what so ever.

Yeah, it’s very weird. It’s what’s exciting, it’s what’s scary but it’s also what makes you feel very alive. To be in that sort of really exciting place of knowing that you’re handing it over and it’s gonna be redefined by people emotionally.   

You’ve worked with synth-pop pioneer Vince Clarke of Erasure and Depeche Mode fame on your album. How did you come across him and why did you feel that he was the right person to reach out to? 

I love him, he’s an idol of mine, he inspired a lot of my music and what he did with Erasure and Depeche Mode sonically is just incredible. I wanted those elements in the album, I wanted those pieces of nostalgia mixed with the future. I met him one day for a drink and I told him how brilliant he was for like an hour and we were never in the same room after that. Everything we did, I’d send him a song and he would send back ideas and I would cherry pick them and put them in. It was all very remote.

“I wanna get better” is currently one of your most popular songs. I’ve noticed that there’s a lot going on musically in it. Could you tell me a bit about your production process? 

It’s very layered. I recorded some piano on my phone in Germany and then I started sort of pitching it and then I put these like big kind of drums behind it and it almost felt like a hip-hop beat.  I thought I might give it to a rapper or something. But then, I put that low bass in the chorus and I was like nope, this is my song. And I had this idea in my head for I wanna get better and I was desperately trying to find the right song to put it in.  And the verses, it all was sort of weird, frantic and choppy. Then it got even weirder when I started adding voices of people, just like people in my life, friends and family and thrown them all over the song.  I did that a lot in the album.  And it just started to turn into this thing that sounded like a sound I had in my head that I hadn’t really heard yet out loud. It just built and built and built and built.  Took a long time. It kept slowly combating. Anytime something felt choppy I’d just add a guitar or when something felt too organic, I’d add some fucking synthesizer on top of it. I was just like constantly fighting with it.


Your album opens with Wild Heart and you’ve worked with Yoko Ono on the track. But you’ve done it both with and without her.

Yeah, two reprise. So she ends up on the later version.

What was the experience like, in both cases? 

Well, the first version is one of the first songs we wrote for the album. I always knew it would open it cause it introduces the whole thing, it guides you in slowly and then smashes you in the face when the drums hit. And lyrically, the song means a lot to me, the concept of finding the best in the people around and not being concerned about death everywhere you go.  But I had this idea that the album would just descend into this digital place, so the reprise of Wild Heart fully crumbles into all synthesizers and I kept hearing this spoken song type of thing in my head that sounded like Yoko. So finally, I asked my manager if he’d call Yoko and see if she’d come to the studio and do it. So she came in, I remember it was Christmas cause she was eating Christmas cookies. She went into the booth and just started screaming and talking and singing and making noises, like all these crazy stuff. I took home the file that night and found all these moments where she’d be yelling and then she’d be singing something really beautiful like “I’m ready to move on” and then keep yelling. So I just grabbed these pieces and kind of created the song out of her organic expression.

You’ve mentioned earlier that lyrically, Wild Heart means a lot to you. You seem to have this tendency in your songwriting to write something extremely depressing and then sprinkle some upbeat pop on top of them. Sometimes, I don’t even know whether to dance or start weeping. Was that your intent?

That’s how I see music. It should be both. I think that the greatest songs make you cry in your bed if you want or dance with your friends if you want. It’s the same feeling. Being super emotionally attached to a song that you cry or so excited by a song that you want to move. It’s the same thing. All my favourite songs do that. Springsteen does that too, it should exist everywhere.


Apart from making people feel confused when listening to your music (I’m absolutely joking), what’s your FAULT? 

I can focus too much on stressful or anxious things.  Also, I get really stressed out when people are sick. And I make them feel bad.

Photography: Miles Holder

Interview: Adina Ilie

Johny Dar writes and directs new debut music video – ‘I’m Grey’

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Fashion designer, illustrator, body painter, sculptor and now, music video director, Johny Dar’s latest creative project continues his explorations in identity. The American artist has written his first song ‘I’m Grey’, and directed an off-the-wall film to accompany it.

The simple lyrics of “Well sorry Mama, I’m not white enough. Well sorry Papa, I’m not black enough” repeat throughout the drum n bass track over a jungle beat and folk synth melodies with an energetic and aggressive vibe that will make you want to get up and dance.

videopic 7 web

The background set for the music video features a typically Johny Dar print of abstract shapes in, unsurprisingly, black and white. In the foreground, two lithe, semi-naked bodies jerk, bend and prowl around the scenery, one painted head to toe in black, the other in white. Their wild hair and undressed state is as primal as their movements, stripping them back to their core humanity.

Johny explained that this piece was designed to “express the pain of the ‘identity crises’ and the challenge faced when claiming our own voice.”

Im Grey 007

The new release ties in a number of elements from the artist’s previous work including the expressive patterns on the backdrop referencing the work included in ‘Dar the Book’ and body painting, from his work on Tuuli by Dar, all of which explored themes of identity and expressing the inside on the outside. However, using music as his medium this time is much more engaging and the video feels like a call to express yourself when listening to this track.    

Words: Olivia Pinnock

Black Forrest Ghetto – Natural Gaming Talent EP release




When these 6 eternal friends came together to form Black Forest Ghetto, the past, the present and the future of music (at that very moment) collided.

With their EP release, this London based six-piece is evoking a new sound. We’re sensing Prince, Sugar Hill Gang, Michael Jackson and Chaka Khan in their trendy funk played on synths and bass. These tunes bounce, squelch and most importantly, bring the fun back.


‘Natural Gaming Talent’ will be released digitally on April 17th with a launch party at Shoreditch House and physically later on in May on a limited edition pink vinyl, which will be available at Rough Trade East. It is currently available to pre-order on iTunes.

Until then, you can check them out on SoundCloud https://soundcloud.com/blackforestghetto

Words: Adina Ilie

FAULT Online interviews musicians Solomon Grey



British duo Solomon Grey have one foot in the 80s and the other one in the same shoes that fits all ultra catchy electro-influenced bands. Tom Kingston and Joe Wilson are a bold hybrid of a band. With an HBO series in their pocket, they blurred the lines between writing for film and as a pop act, proving that they’re clearly suited for both worlds. FAULT caught up with the duo and it was nothing short of extraordinary.


FAULT: Can you tell us a little bit about yourself? How did you meet and when did you decide to work together?

Solomon Grey: We met in Oxford around 15 years ago. A long long time ago. Tom was at university there and I was at school. We started off playing in covers bands for some money, Commitments, James brown, JK (the band, not the writer, yet!) you know the sort of thing. We were both really into music and started doing sessions trying to write hip-hop and drum and bass. We had no idea we would still be trying this long but we love it and it’s worth it. Think we might be able to call it a paying job now, nearly..


Your music is a fantastic combination of classical and contemporary sounds. How did you come up with this unique production? Can you tell us about your writing process?

Well we both grew up playing and listening to classical and I think a lot of musicians find themselves returning to the origins of their love for music. We both played in orchestras and it wasn’t till a few years ago we did the full circle and started to incorporate that technique and sonic quality into our music. Practically it is relatively quick with plugin’s etc to get a vague idea of the sound you are looking for before recording and the combination of that with electronics is around in lots of music. Maybe our take slightly differs from others but we just take a lot of time carving away at the layers, replacing and altering sounds and really making sure we are happy.


How would you describe your sound to our readers who haven’t heard your music yet?

Soulful alt electronica. That is the first time we have ever written that, and that still doesn’t feel right. We do so many different things from composing, the band and then collaborations with other artists it all just dips into so many genres but if you listen to it all you can tell when it’s us. There is a few little things that appear in everything that we do that gives it all a sonic identity.




We move from country to country, living first in London, then in Ireland and in Australia. How did geography affect your music? 

When we were in these places we reflected on a lot of things. We left our lives behind and ended up writing about our experiences and what they meant to us now as we had space and time to look at them. It was difficult for lots of reasons but also incredibly therapeutic. We looked at it as a kind of postcard back to ourselves in the city. Ireland was remote and beautiful but sometimes the silence was a bit deafening. Australia was just big, even the sky seems bigger over there. We would drive at the end of a week writing and listen to our mixes just to see where we were at. All these long straight empty roads and in hindsight I think that ended up really pushing the transient quality to the music. If it didn’t work while looking out the window it normally didn’t end up on the finished record. We aren’t like that anymore but that’s where we honed our style and methodology.


What the story behind the name of your duo. Solomon Grey?

I feel like there should be some sort of story that makes it all more exciting but Solomon Grey just seemed to stick.


You’ve been collaborating with several producers already. Do you plan to work with many other artists in the future?

Definitely. We love it, we have worked with some brilliant people and you always learn something. Everyone comes at it in a different way and there’s always a bit of shared inspiration. It has been so useful to us after such a long period of isolation to try as much as possible to open the doors to outside input. Hopefully lots more to come.


What are your influences? What music are you listening to in the tube?

At the moment, the new Godspeed album, lots of Boards of Canada and library tapes. Holden this French band produced by señor coconut and kasai Masai. We both grew up with parents playing jazz, soul and funk. Lots of Paul Simon, Peter Gabriel, Enya, Tracy Chapman, Waterboys, Robert Wyatt. We grew up with all the nineties bands like Portishead, Air, Nightmares on wax. I think if you joined all the dots there you might understand the background a bit but the list of stuff I haven’t included is so much longer.



You did so well in the past few years, making music for the feature film and JK Rowling’s BBC drama ‘The Casual Vacancy’. How did that come about?

I think that the Dathanna Ep really helped people understand what we could do. Those projects both started by people hearing that Ep and how it was recorded and wanting something along those lines. We wrote it all as we journeyed down the Wild Atlantic Way in Ireland, we used lots of field recordings and local musicians/people and we combined classical, electronica, folk and many other genres to create something that for us represented that place and that time. I think both directors were interested in working a different way to normal and I think we ticked that box.


What are your plans for the rest of 2015 and onwards? 

Finish the album which we are just doing as I write. Tour a bit later in the year. Do another film/TV project and have a nice family holiday in the summer. We both have had babies in the past year and all We want to do is spend some family time with our phones off. Smiling just thinking about it.


What is your FAULT?

We seem to be bad at not leaving something when it’s not working. We will work and work to the detriment of the piece, when in fact just doing something else and coming back to it at another time is the best idea. We are learning but still get tunnel vision


Words: Ksenia Safrey