FAULT Music

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

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

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

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

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

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

 

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

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

 

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

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

 

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

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

What’s changed most about you since your debut?

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

 

 

What is your FAULT?

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

 

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

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

 

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

Astroid Boys assemble an exclusive FAULT playlist

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

 

Manga st hilaire – running out

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

Mace – fresh prince of the diff

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

Sonny double 1 – mo farah

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

Faith – berry

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

Daniel og – solange

Classic good flow. Raps. Vibes. Beat selection.

Turnstile – gravity

Energy energy energy.

Trash talk – awake

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

Death grips – guillotine

Pure unrelenting brutal aggression.

Expire – just fine

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

Rotting out – street prowl

Makes me wanna cycle really fast down hill

 

Check out Astroid Boys’ own ‘Cheque’ below.

 

Catch AB on Facebook, Twitter and Instagram.

Phantom of the Opera: We tour Her Majesty’s Theatre to meet Ben Forster as he finishes his time in the iconic role

Since it opened in the West End in 1986, The Phantom of the Opera has been a staple of London musicals and is now the second longest-running West End musical ever. Since 1st February 2016, the man at the helm of the titular role has been Ben Forster. Here, as he prepares to exit the show, we caught up with Ben to get candid about the experience of playing such an iconic role.

Let’s start at the start: tell us about how you got involved with Phantom, and how you came to even be considered for the role…

So obviously I did Superstar, the TV show, so I met Andrew [Lloyd Webber] throughout that whole process and I think working with him and having a relationship over that period was something that was beneficial. When I then did Evita for Bill Kenwright, it was a completely different scene; it was only a cameo, but performing ‘On This Night of a Thousand Stars’, it was very operatic and I don’t think anyone had really heard me do that sort of style. I knew I could do it because I’d trained in those sort of styles, but I was mostly known at that point for singing pop/rock. Andrew saw me do that on the opening night, and he came up to me afterwards and said ‘I think you’d be an amazing Phantom.’ I was like ‘really?’ – I thought I’d been pigeon-holed. When he said it to me, I said ‘just tell me when’. The next day I was at his house to sing through the soundtrack.

 

Were you already familiar with the soundtrack at that point?

I knew them all because they’re so famous, and I’d studied them at college, so I felt OK. I went to his house which was just ridiculous, and we were just sitting there singing through the songs. It was an amazing experience, and he was just immediately like, ‘I really think you’d be able to bring something new to Phantom.’ Next I came in to sing for Cameron [MacKintosh, the producer] and they offered me the part. I had to wait a year before it was announced.

 

What is it about Phantom you feel keeps it pulling in audiences after 31 years?

I think it’s completely a mix. The music is amazing, but it’s when you mix the music with the set, the visuals, the costumes, the actors and singers, the lighting, the sound – everything just comes together and creates magic. Not many people have seen Phantom just the once – they’ve seen it two, three, 10 times, and it’s because it keeps evolving. My interpretation would have changed it for a whole new group of people, and the next Phantom and Christine will do the same. You’re coming back and you’re seeing a different layer and a different perspective on a role which you already love because you’ve invested in it before.

What’s been a highlight of playing the Phantom for you?

There’s been so many! Winning an Olivier award – it was amazing. Going into the 30th Year we did an amazing night; Michael Crawford was here, the original cast, and there was just such an electric atmosphere… a night I’ll never really forget. The stage door is always a highlight for me – though I know some don’t like doing it. But [Phantom] is one of those parts that’s been done by so many people, and you can question yourself constantly about whether or not you’re living up to someone’s expectations, or whether you’re doing it right, and when you go outside and there’s 50-60 people outside saying, ‘Oh my god, I was in tears, I really felt your performance.’ Even if it’s just those 50 people who liked it, and nobody else did, at least I’ve left an impression on someone. All actors are really insecure, so it really helps.

How about your favourite scene or song from the show?

The final lair: it’s where everything starts to make sense. It’s when I can really turn the audience to feel something for me. I’m such a monster at the end – I think you could almost think I could kill Christine there. It’s the most challenging part, both in terms of vocals and in acting. It’s a brilliant scene, one of the reason I still love the show, and why it continues to challenge me. That’s what makes [being the Phantom] the best part in the West End.

I saw a review praising your performance as ‘creepy yet vulnerable’ – it’s true, despite all his shortcomings, we do feel empathy for the Phantom. How do you find the balance between portraying the two?

It’s hard. This not a criticism of any past Phantom or performance, but I really felt he should be a monster – he does kill people, 30-50 people throughout the show – he should be scary. He has no social or human skill, he should be quite terrorizing – there’s so many lyrics that give that away. He’s quite mentally ill, he’s been put in a freakshow, he’s escaped and lived underground. Even though he’s a genius, he’s still not right. I wanted to scare people, and make people scared of him. The problem is that if you push that line, you have to make people feel for him in the end. You should almost want Christine to stay with him, even though it’s completely wrong. He’s crazy! And a murderer. But there’s a side in everyone that’s felt abandoned and lonely, and your human heartstrings as an audience member should see him as a human being. If someone was born with a distorted face these days, they wouldn’t be [cast aside], it’s a different time and world. If you look at the real truth of it – that he was just a disfigured, disabled man – now, that prejudice wouldn’t stand. When people say I’m crazy or scary or creepy, I take it as a win!

Tell us about the daily makeup and costume process…

It takes about an hour and a quarter, which has been whittled down loads. When we started it was closer to a three-hour process. Michael [Crawford] used to get the prosthetic pieces put on his face, but now they’re all hand-painted. There’s a bald cap that goes on my head, and then there’s prosthetics that get put on my face, and they’re hand-made and hand-painted every show – nothing’s kept. It changes every day and is so fresh and organic; everything is done to an impeccable level. There’s 6 or 7 makeup artists available, but its usually lead by my main makeup artist, Tanya. There’s also 2 wigs, and then a full face of makeup.

The fans are such an integral part of Phantom’s success – they love you on Instagram – how much do you let their feedback, be that positive or negative, shape your portrayal of such an iconic character?

I’ve had someone at the stage door giving me notes before; ‘When you sing this line, I think you should do it a bit more intense’, and I was like, alright, there’s like 5 directors who are all paid to tell me what to do. But it’s fine, everyone has a favourite Phantom and a first Phantom, and people are always gonna compare me. I know that I’m doing a really different Phantom to what most people do. Sometimes when I watch others I think, they could have done that more, or this less. Actually, I just have to trust my own interpretation, I know in my mind who the Phantom is, and I wouldn’t have sang that line any more intensely, or softer. I’ve thought about every single line I sing in the show. It’s been worked through the entire team here, and I trust them completely. As soon as you question your integrity and body language, you don’t look or feel comfortable doing something, it’s suddenly not believable. Same with Buddy [Elf the Musical]– you’ve got to commit. If I’m gonna come in and go ‘SAAAANTA!’, you’ve got to do it from the innermost parts of your body and not feel like an idiot! There’s performances I’ve seen that I’ve loved that get a bad review, and much the same, seen comments on Twitter praising performances I didn’t care for. As long as some people like me, I don’t mind!

You’ve been spending time with new Phantom Ben Lewis – what advice have you passed on ahead of him taking over the role?

I’ve been telling him all the little tricks that no one will tell him! The things that you’d probably never notice. There’s a part where I’m hiding in a cross [in the Graveyard scene] and no one told me there’s a fan in there – for like 2 months! It’s so hot, it’s like being in a coffin, for 7-10minutes. One day I accidentally pressed something and a fan came on! No one told me there was a fan. It’s little things, there’s a fan in the cross, there’s tissues in the Angel [when The Phantom waits in the Angel ornament, hovering above the audience]. Even how to put Christine down, I worked out if I put my leg a bit higher up on the boat, I don’t have to bend down as much to put her down.

 

This Christmas you’re returning to the titular role of Elf in the musical- what was it about Elf that made you want to come back?

Elf is one of those absolute treats of a job. It was terrifying before I first did it [he previously played the role in 2014 and 2015] as I’d never done comedy, nor thought I was funny. I didn’t know whether I’d be able to make people laugh. It’s a massive crowd, and if a joke doesn’t land and no one laughs it’s really terrifying. But when it goes right, making 2,200 people laugh is a great feeling. It’s beautiful, and that story has such a nice heart. It’s perfect for Christmas. When I was asked to go back, I did debate whether I should be going back and forth in my career, but it’s one of those things, I’d miss it at Christmas if someone else was doing it in my place. I’m really looking forward to it!

How does Phantom compare to Elf?

I love that my career is being seen as that versatile. I feel finally I’m not being pigeon-holed. The similarities between the two characters though is that they’re both hidden children. The Phantom hasn’t ever really grown up, he’s not experienced life… and Buddy hasn’t either. One’s crazy and a bit weird, and one’s an elf!

What can we expect in the coming years? You have original music coming out…

Hopefully more of a ‘me’ year! I’d really love to get back to my music next year. I’d love to get out performing my own stuff. Maybe a different slant, as well as whatever else may come. I’m really looking forward to next year. I’ve worked solidly with just Sundays off since I did Rocky Horror. It’s been really intense and I’ve got six weeks off now. I want to take a nice holiday, see some places and come back and record and tour.

 

What is your FAULT?

Saturated fat. I just love eating! I love food. And I just can’t eat that much… I constantly battle, picking the healthy option, trying my best, but then every weekend I just eat, eat, eat, and feel awful all weekend.

You must burn some calories during the show?!

Yeah, but I’m stopping that soon! But I’ll carry on eating. My FAULT is dieting and food because I’ve gotta stay fit for my job. I love a sandwich… and cake… and coffee!

Do you work out for the show as well?

My voice doctor, when I started Phantom, asked if I was working out and when I told her yeah, she said, ‘you need to stop whilst you’re doing the show.’ She told me not to lift any weights, and not to do cardio. My neck was going really tense!

 

See more of Ben at his official website, or catch up with him on Twitter and Instagram.

 

Words Julie Bradley

Photography Jack Alexander

Sundara Karma – Live at Brixton O2 Academy

Reading four-piece Sundara Karma played their biggest ever headline show on 5th October to a delirious crowd at Brixton O2 Academy. Comprised of vocalist/guitarist Oscar Pollock, drummer Haydn Evans, bassist Dom Cordell, and guitarist Ally Baty, the indie pop/rock band has been making music since the tender age of fourteen.

With support from Willie J. Healey and The Magic Gang, the quartet kicked off their gig with gothic number ‘Another Word for Beautiful’, before launching into the more upbeat crowd pleasers ‘A Young Understanding’ and ‘Loveblood’.

The evening saw the band play the entire ‘Youth Is Only Ever Fun In Retrospect’ album, intertwined with a few old favourites such as ‘Flame’, ‘Run Away’ and ‘In the Night’; much to the delight of their captivated fans, who sang along with Pollock word for word on almost every track. The androgynous frontman even jumped into the crowd during ‘Vivienne’.

“Is heaven such a fine thing?” Pollock sang on ‘Olympia’, bathed in the blue luminescence of the stage, which shifted to red as the gig progressed, three white orbs glowing behind him. 

Ending their set with ‘Explore’, Drummer Haydn Evans cast his sticks into the crowd before the band exited the stage to a fittingly roaring applause.

Sundara Karma’s lyrics might be about the trials and tribulations of youth, but their evolved sound offsets their young years. Filled with entrancing guitar riffs and soaring vocals, a live show with them is not to be missed.

Words Aimee Phillips

Molly Kate Kestner: Familiar Story, Unique Perspective.

Shot Exclusively at Bounce Old Street

 

Words: Miles Holder

While Molly Kate Kestner’s “young singer-songwriter blows up on youtube” career isn’t one anyone is particularly shocked by anymore – one thing unique to the young artist is her ability to discuss music and themes as eloquently as an artist with over ten years experience. As you’ll find from our interview – Molly is very much an artist first and everything else a far second and in many ways that is the reason she has avoided the stigma of “youtuber turned artist. We caught up with Molly to discuss, music, goals and all things FAULT…Enjoy!

 

You’re putting songs out on Youtube and getting all the views – are you still pinching yourself?

There’s not a day that goes by when I don’t go “wow this is just the dream”, and I’m still right at the beginning of my career. I would say my success is minuscule compared to the people around me in Hollywood and it feels rewarding but I think it’s a mixture of timing, luck and hard work.

 

What’s it like to still be at the start of your career and having Starsmith want to work with you?

It’s humbling, but at the same time, it’s cool to work with people who have all the success and to see that in the end, they are just people. It’s so relieving that they’ve stayed human and humble and to know that not everyone at the top has these scary personalities!

Talk us through your songwriting process – is it always fluid and easy?

There are some days where I wake up, and the song is already in me, and it writes itself, but there are days when the last thing you want to do is write, and sometimes the best songs come from when you have to push to get them. There’s a quote by Leonard Cohen, and he’s asked where all great songs come from, and he said “I don’t know. If I did, I’d go there all the time.” And I don’t think I’ve ever heard something described so well because it is a mystery and no ones figured it out… well maybe Max Martin!

 

When you release a song, and it’s a hit, and the fans go wild, does it scare you to try and top that next release?

At the beginning I was, but I’m at a place now where each song is unique to themselves. I’m not trying to beat a song, that song was right for that time and process. The ‘Good Die Young’ is different to ‘His Daughter’, and they all have their own lives. I feel like I was just placed in the industry and so crazy that I haven’t felt the pressure to beat something, I don’t feel that pressure.

 

Prom Queen is such a stunning video, is that something you’re learning to be a part of more?

That’s one of my favourite parts, and I didn’t realise it would be. Adding the visual aspect to the music gives it so much meaning and shooting that video specifically was so much fun and you get to be more dramatic. Day to day I’m pretty low-key and a little bit tomboyish so getting to film things and do cool looks like this shoot for FAULT, I’d never do on my own but stepping out of my comfort zone lets my perspective grow.

 

Many of your fanbases are young and impressionable – do you feel like you need to act a certain way with people looking up to you?

I think it’s all how you receive their support and love. I think a lot of artists and influencers feed into the fan mentality, but I don’t want to be anybody idol or goddess – I’m just a girl. I want my fans to feel connected to me and inspired, but more importantly, I want them to know that my message is bigger than I am. I’m just a human I can fail and fail myself and mess up, but the music I’m creating is about something much bigger than I am. I want them to know that my music is about humanity and we’re a lot more connected than we realised.

 

When you shut your eyes and picture that dream goal of what you want to do, what do you see?

I see myself travelling to as many countries as I can! If I could perform in every country that’d be a dream come true especially those that don’t see many performances. Also, I’d love to mix speaking with singing, I think singing is very open to interpretation, and even now I’ve mixed into my shows – I’m pouring out my heart and giving the audience the backstory and letting them know what I want to take from this.

It’s not easy to put yourself out there – what drives you to keep doing it?

I think part of it is I believe it’s part of my purpose as part of this world. I think we’re all given these talents and abilities, and we’re called to do the most of this. I can write and sing, so that’s what keeps me going. It’s my purpose, and I’m driven towards it, and even if I never become famous and if my career failed I’d always be striving for influence in my area of reach. Be that in a school or volunteering – I feel like if you make yourself available to help you’ll always find purpose.

Advice to your younger self?

I guess a big thing would be that “confidence doesn’t come from anybody but yourself.” I feel we get bogged down in the idea that people liking us will bring trust and other superficial things, but you have to give yourself confidence by recognising that there’s never been you in the history of the world and you have this unique part of the time to play a role in. You should be confident in that and grow up I struggled and depended on how people like me and if people didn’t like my singing or me – it effected to such a high degree. I’m so happy to be a part of my life where I just understand that if someone who doesn’t know me doesn’t like me – it’s probably a result of the former.

 

What is your FAULT?

Not speaking up when I want to. I’m working on it now, and it’s something I’m better at now. I’ve never been someone who spoke out of turn or felt like I should speak out and I was never a bully in school, but I remember how many times I saw it happening and didn’t say anything out of fear of being targeted. Now I’m like “who cares!” you shouldn’t be bothered for speaking up for what I know isn’t right. I’m so passionate about it now, and I never want to stand by if I see something wrong and if you say something bad about me I need to challenge it. We live in this electronic world where it’s so easy to see so many awful things online, and now I’m like “REPORT!” and I have no issue. There’s so much division in the world right now and in my country specifically right now and I want my music to speak for unity and build bridges between people and groups who maybe have bridged burnt. It’s something I’m still working at though because even though I know it’s there, I still feel like my instinct is to stay quiet, so I’m trying to combat that.

 

See Molly’s Latest ‘Footprints’ below! 

 

 

UK Music Video Awards Announces 2017 Nominations

 

For all its problems, 2017 has truly been a great year for music in the UK and across the globe. As the UK Music Video Awards 2017 roll around again this October 26th, we’re reminded of some great music videos to come out this year.

Mercury prize winner Sampha receives four nominations this year and Mercury prize nominee Loyle Carner. Ray BLK, Dua Lipa, Charli XCX, Loyle Carner, Mura Masa and Rag n’ Bone Man also make some of the young British talents all in the running this October. Kendrick Lamar and alt-J tie for most nominations, both picking up seven.

What’s got us excited this year is to see younger artists appreciate in the same categories as some music veterans. Dua lipa and Charli XCX are in the running alongside Elton John for Best Pop Video while A$AP Mob and Young Thug go toes to toes with powerhouse and living legend, Jay Z for Best Urban Video – international

FAULT will most certainly be in attendance on the night but until then, find a full list of the nominations below.

Best Pop Video – the UK in association with Rushes
Aquilo – You Won’t Know Where You Stand / Silhouette
Charli XCX – Boys
Dua Lipa – New Rules
Ed Sheeran – Castle On The Hill
Elton John – Bennie and The Jets
Jessie Ware – Selfish Love

Best Dance Video – UK
BICEP – Aura
Bonobo – Kerala
Bonobo – No Reason
Duke Dumont x Gorgon City ft Naations – Real Life
SOULS – Bad Girl
Stylo G + Jacob Plant – Bike Engine

Best Rock/Indie Video – UK
All We Are – Animal / Dance
Coldplay – Everglow
Kasabian – God Bless This Acid House
Mick Jagger – England, Lost
Radiohead – I Promise
Royal Blood – Lights Out

Best Alternative Video – UK
alt-j – 3WW
alt-j – Deadcrush
alt-j – In Cold Blood
Metronomy ft Robyn – Hang Me Out To Dry
Sampha – Process
Young Fathers – Mr Martyr

Best Urban Video – UK in association with PPL
Loyle Carner – Isle of Arran
Mura Masa & A$AP Rocky – Love$ick
Rag’N’Bone Man – Skin
Ray BLK – Patience
Sampha – (No One Knows Me) Like The Piano
Tinie Tempah – Chasing Flies

Best Pop Video – International
Cassius ft Pharrell Williams & Cat Power – Go Up
HAIM – Want You Back
Katy Perry – Bon Appétit
Lorde – Green Light
Oren Lavie ft Vanessa Paradis – Did You Really Say No
The Weeknd – False Alarm

Best Dance Video – International
Jain – Makeba
Joris Delacroix – Start The Engine
Kanye West – Fade
Majid Jordan ft Somewhere Else – Move Together
The Avalanches – Because I’m Me
The Blaze – Territory

Best Rock/Indie Video – International
Every Time I Die – Map Change
Father John Misty – Things It Would Have Been Useful To Know Before The Revolution
Mourn – Irrational Friend
Naive New Beaters – Words Hurt
The All-American Rejects – Sweat
Twenty One Pilots – HeavyDirtySoul

Best Alternative Video – International
Beck – Up All Night
Leningrad – Kolshik
Mashrou’Leila – Roman
Peder – Shadows Of My Mind
Polo & Pan – Coeur Croisé
The Avalanches – Subways

Best Urban Video – International
A$AP Mob ft A$AP Rocky, A$AP Nast, Yung Lord, Skepta – Money Man / Put That On My Set
Frank Ocean – Nikes
Jay-Z – Moonlight
Kendrick Lamar – ELEMENT.
Kendrick Lamar – HUMBLE.
Young Thug – Wyclef Jean

Best Pop Video – Newcomer
Cartae – Long Time
Charlotte Cardin – Like It Doesn’t Hurt
Lea Santee – Rollin’
Poppy Ajudha – Spilling Into You
Slang – What Happened To You
Stars and Rabbit – Man Upon The Hill

Best Dance Video – Newcomer
Cathedrals – Try To Fight
Courage – Latinman
Fabich ft Josh Barry – Hold On
Noga Erez – Dance While You Shoot
Obongjayar – Endless
Punctual – What I Love

Best Rock/Indie Video – Newcomer
Lemon Twigs – I Want To Prove To You
Marika Hackman – My Lover Cindy
Microwave – Vomit
The Shins – Half A Million
Ultrasound – Kon-Tiki
Willie J Healey – Would You Be

Best Alternative Video – Newcomer
BadBadNotGood ft Kaytranada – Lavender
Beyond The Wizard’s Sleeve – Black Crow
Bonnie Banane – L’Appétit
Cherry Glazerr – Told You I’d Be With The Guys
Ghostpoet – Freakshow
Moses Sumney – Worth It

Best Urban Video – Newcomer
Avelino ft Stormzy & Skepta – Energy
Bossman Birdie – Walk The Walk
Monster Florence – Resourceful
Newham Generals ft Wiley – Unruly
Oscar Worldpeace – Tate Modern, Wary, Pearls
Slick Don – Highs & Lows

Vevo MUST SEE Award
Charli XCX – Boys
Dua Lipa – New Rules
Jay-Z – The Story of O.J.
Kendrick Lamar – HUMBLE.
Marika Hackman – My Lover Cindy
Young Thug – Wyclef Jean

Best Interactive Video in association with The Mill
Björk – Notget
Chainsmokers – Paris VR
Gorillaz – Saturnz Barz (Spirit House) 360
Naïve New Beaters – Words Hurt
N’to – Chez Nous (Fantasynth)
Portugual. The Man – Rich Friends

Best Production Design in a Video
Bonobo – No Reason
Elton John – Bennie and the Jets
Frank Ocean – Nikes
Kendrick Lamar – HUMBLE.
Sampha – Process
Young Thug & Carnage: Young Martha ft Meek Mill – Homie

Best Styling in a Video in association with i-D
Beck – Up All Night
Frank Ocean – Nikes
Kendrick Lamar – ELEMENT.
Police Dog Hogan – Tyburn Jig
Rosalía – De Plata
The Blaze – Territory

Best Choreography in a Video
alt-j – Deadcrush
Everything Everything – Can’t Do
Kanye West – Fade
P!nk – What About Us?
Polo & Pan – Coeur Croisé
Sia – The Greatest

Best Cinematography in a Video in association with Panalux
alt-j – 3WW
Ed Sheeran – Castle On The Hill
Jimmy Whoo – Motel Music part ll
Kendrick Lamar – ELEMENT.
Placebo – Life’s What You Make It
The Avalanches – Because I’m Me

Best Colour Grading in a Video in association with CHEAT
Jain – Makeba
Jay-Z & Damian Marley – Bam
Majid Jordan ft Somewhere Else – Move Together
Mick Jagger – Gotta Get A Grip
Radiohead – I Promise
The Hamilton Mixtape – Immigrants (We Get The Job Done)

Best Editing in a Video in association with Cut+Run
alt-j – Deadcrush
Bonobo – Kerala
Elton John – Bennie and the Jets
Leningrad – Kolshik
The Rolling Stones – Ride ‘Em On Down
Young Thug – Wyclef Jean

Best Visual Effects in a Video
Arcade Fire – Everything Everything
Jain – Makeba
Leningrad – Kolshik
Majid Jordan ft Somewhere Else – Move Together
Royal Blood – Lights Out
The Weeknd – False Alarm

Best Animation in a Video
Elton John – Rocket Man
Father John Misty – Things It Would Have Been Helpful To Know Before The Revolution
Jay-Z – The Story of O.J.
Kaada /Patton – Red Rainbow
Katie Melua – Perfect World
The Avalanches – Subways

Best Live Session
Alicia Keys in Paris – A Take Away Show
J Hus – Common Sense (Four To The Floor, Channel4)
London Grammar – Rooting For You
Mr Jukes – Angels/Your Love (Live At The Church)
Mura Masa ft Damon Albarn – Blu (Live)
Vevo Presents: The Weeknd – False Alarm

Best Live Concert
HAIM – Behind The Album
Metallica – Hardwired at House of Vans
Rammstein – Paris
The Killers – Hyde Park
The Rolling Stones – Trip Across Latin America
Toro Y Moi – Love From Trona

Best Commissioner
Andrew Law
Elizabeth Doonan
James Hackett
John Moule
Phil Lee
Semera Khan

Best Producer in association with WPA
Amber Millington
Clemence Cuvelier
Katie Lambert
Natalie Arnett
Nathan Scherrer
Tom Birmingham

Best Production Company
Agile Films
Caviar
Friend
Iconoclast
Pulse Films
Riff Raff Films

Best New Director in association with Time Based Arts
Hector Dockrill
Matilda Finn
Max Weiland
Salomon Ligthelm
Thomas James
Zhang + Knight

Best Director
Dent de Cuir
Georgia Hudson
Jake Schreier
Oscar Hudson
Ryan Staake
Young Replicant

Best Artist
alt-j
Bonobo
Kendrick Lamar
Radiohead
Sampha
The Weeknd

Tom Grennan storms the pages of FAULT Issue 26

 FAULT are pleased to announce that the man of the moment, Tom Grennan, features inside Issue 26 – The Millennial Issue – with an exclusive shoot and interview.

Tom wears looks by Moschino, Champion and Dickies in our shoot (courtesy of samgreenbergvintage.com)

Nestled on the back streets of a slightly sunny Shoreditch, we’re having breakfast with Tom Grennan. “I haven’t seen my mum in time” the singer tells us over a juice, and it’s no surprise – this past year has been a whirlwind. After lending his distinctive vocals to Chase & Status (and more recently Bugzy Malone) he’s now gearing up to release his debut album [Lightning Matches, available to pre-order now] after a largely sold-out UK tour. Tom’s outstanding vocal ability to stop you dead in your tracks also saw the musician nominated for the prestigious BBC Sound of 2017 at the beginning of the year, the latest benchmark in a career which shows no sign of slowing. Naturally, we had to sit down with the rising star to find out more…

The new EP is out soon, what’s your favourite song from it?

Probably ‘Found What I’ve Been Looking For’. The EP only has four tracks on it, I love ‘First Day Of The Sun’ as well though, that one’s wicked.

You’re on tour in September?

Yeah I’m buzzing to play KOKO, I’m buzzing to play Birmingham and Manchester too. I’m just buzzing for the whole tour really, it’s going to be sick!

What’s the best bit of advice Chase & Status have given you?

Probably to keep being me and keep believing in what I’m putting out, because if I believe in it then other people hopefully will. Just keep it real really.

What are you getting up to in your spare time… or, is it just music, music, music at the moment?

At the moment everything is about this, the EP really. I play football but at the moment I haven’t got the time. I sometimes get in a couple of runs here and there but apart from that I haven’t got much time on my hands.

Is there anyone else you’d like to collaborate with?

I haven’t really thought about it [pauses], Adele would be cool.

Photography Jack Alexander
Styling Gary Salter
Grooming Doey Drummond

SEE THE FULL SPREAD INSIDE FAULT MAGAZINE ISSUE 26 – THE MILLENNIAL ISSUE

AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

…Or get your copy digitally via Zinio! 1 year’s subscription = just £14.40

FAULT Issue 26 – The Millennial Issue – is now available to order

We are pleased to announce that FAULT Issue 26 – The Millennial Issue – is available to order NOW.

Official release: 25/09/17

Martin Garrix was shot in Ibiza by photographer Eva Kruiper and styled by Rachel Holland exclusively for the front cover of FAULT Issue 26. Click here to pre-order your copy of this issue!

FAULT Issue 26 cover star Martin Garrix was shot by Eva Kruiper and styled by Rachel Holland. Click here to pre-order your copy of this issue!

FAULT Magazine – the Millennial Issue – proudly presents exclusive shoots and interviews with:

Sophie Cookson

Nat Wolff

Alfred Enoch

Justin Prentice

Tom Grennan

Kacy Hill

Amber Mark

Brando

Everything, Everything

Plus our usual FAULTless selection of the the finest Film, Fashion, Music & Photography to emerge from Generation Y in the latter months of 2017.

This is your FAULT

 

FAULT MAGAZINE ISSUE 26 – THE MILLENNIAL ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

…Or get your copy digitally via Zinio! 1 year’s subscription = just £14.40