FAULT Music

FAULT Weekly Playlist: Polina

LA based, Russian born singer/songwriter Polina is a classically trained musician with model good looks. Her latest single “Little Babylon” is a testament to her adept ability to create sonically challenging music. Her collaboration on “Book Of Love” with Felix Jaehn catapulted her into the spotlight and counts more than 19 million plays and it’s clear that Polina has a bright future ahead. 

We asked Polina to put together a playlist and some of her current favorite songs – take a listen below. 

Polina – Little Babylon (Jyye Remix)

“Australian based Jyye sent this remix to my label (Ultra) during our world-wide remix contest. It breathed new and different energy into ‘Little Babylon’ a great mix to start a day to, work out to or play before going out. Pumps me up every time I hear it.”

Tame Impala – Yes I’m Changing

“This song and the whole album has literally been on repeat in my house. I heard the song for the first time at Verve Coffee in West Hollywood (in LA) while I was well ummmm in the loo so I was schazam-ing it in a very awkward position, with my arm stretched out to the ceiling speaker. Amazing album.”

Christine & The Queens – Tilted
https://soundcloud.com/christineandthequeens/tilted-1

“Heard this while touring with Felix Jaehn in Germany this fall. Christine is an artist with a vision in her own lane. The song is super cool. Big props!”

Contessa – Running


“A fresh new single by a new project and supergroup that’s a collective of music and visual artists coming together. You might have to watch the video to see what my connection is here :)”

Deadmau5 – 4ware

“Feeds my ‘young raver days’ tastes. My trance-y guilty pleasure. I was brought up in Europe before moving to the states at 16 so hearing tracks like this one takes me right back there.”

Mura Masa – Firefly

“Been out for a minute, but I’m still very much into this glitchy track. It takes a lot of turns in terms of sound and I like that!”

The Weeknd feat Daft Punk – Starboy
https://open.spotify.com/track/7HtPBwBoCBDy1tpstag7HL

“How could I not include this one! A huge fan of both The Weekend and Duft Punk. The records ‘s got some subtle MJ undertones.”

Cashmere Cat – Trust Nobody (feat Selena Gomez & Tory Lanez)

“Far end of the pop spectrum for me but Selena’s got some serious swag on this one. And Cashmere Cat’s production is sick!”

Petit Biscuit – Sunset Lover

“If the word ‘glow’ had a sound form that would be Petit Biscuit. Just love his warm sound. Good vibes. Listen to this one a lot when I want to chill or traveling.”

Bonobo – Break Apart feat. Rhye

“Leaving you with some introspective meditative thought provoking music. Two of my favorite artists of this year Bonobo & Rhye got together and made a beautiful record together. Hope you enjoyed my favorite tracks of the week! Xo Polina”

Polina Socials:
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FAULT Magazine Attend Pure Grenada Music Festival

(TAKEN FROM THE FULL ARTICLE PUBLISHED WITHIN FAULT ISSUE #24)

Despite being the home of many great musicians, Grenada has yet to hold an event to rival its neighbouring islands. St. Lucia has its Jazz and Arts Festival and Barbados has its Crop Over celebration but while Grenada has their own carnival each year, this is their chance to invite a larger number of music lovers to the island. FAULT attended the debut of The Pure Grenada Music Festival to see how one small island known for its spices could soon be the festival destination for music tourists worldwide.

Our first night was spent on the very exclusive Calivigny Island island on the south coast. Accessible by boat (although helicopter wouldn’t feel out of place) we sailed from the mainland for a night of exquisite jazz performances on the luxurious private island. Despite this being Pure Grenada Music Festival’s very first event, the organisers have filled the bill with internationally recognised musicians. Eddie Bullen took to the stage with an impressive set, later bringing his son Quincy on stage for a duet which truly electrified the crowd. Also on the bill was the legend that is, Andy Narell. If you’re not too familiar with steel pan etiquette, just know that the instrument is normally kept well away from jazz; until Andy Narell that is. His set was unique and I hadn’t expected the organisers to take the risk of including a non-purest jazz performer but I’m thankful they took the chance and included Andy in the night’s line-up because it added another layer of original musicality to the whole evening.

Moving on from there we were treated to UK’s own Zara McFarlane. The young vocalist and her band brought the house down. Her vocal lights and shades were rich with texture and her full chest and head voice prowess left me and the crowd blown away. As a big shoot-out to her bassist Max Luthert who really stood out as a legend in the making, I expect to hear great things to come from this group of young British jazz talent. Calivigny island is truly stunning and it was a wonderful exclusive night to ease us into the festival. While it was a wonderful night of music and without question an impressive show of budding and recognised talents, it didn’t convey the local charm of the Caribbean. This night was definitely suited for those looking to experience Grenada with a VIP edge and many people travel to the island in search of. For those who prefer a more down to earth and casual experience, don’t worry because there’s something for everyone at the Pure Grenada Music Festival.

Day two of the Pure Grenada Music Festival and it was time for their ‘Rock De Boat’ night and as you might have guessed, we were in store for a boat party. Sailing to the centre of The Carenage in St. George’s, we were stationed opposite a floating stage under the starry night sky. This was a million miles away from the boat parties you’d expect on European islands, this party was a far more “elegantly casual” affair with cocktails, dancing below deck and wonderful live performances; it was all rather romantic.The Rock De Boat line-up again boasted international talent and every performer had their own individual music style. From the local four-piece band, ‘The Phoenix’ to the folk/pop stylings of duo ‘Madison Violet’ and Erik Pédurand’s soulful jazzy performance, there was definitely something for everyone this night.

The Pheonix opened the show with a mixture of their own original music and a number of covers to really get the crowd ready for the party. The young four-piece showed great potential and we’re glad to see that local talent was included in the show. While we might not have heard of them prior, it’s great to have been introduced to their music on this night and their cover of Bon Jovi’s ‘Living On A Prayer’ really got the crowd in the mood to party the night away.Next up was Erik Pédurand who hails from Guadeloupe. If you’ve not listened to Erik before, he is definitely worth checking out, especially for tracks ‘Elle Donne’ and ‘Paris Chérie’. While many of Erik’s songs are in French, his smooth vocal tones and stage presence transcend the language barrier much like the french singing artist, Stromae. Again, this is another artist who we weren’t familiar with and are now listening to non-stop. This is the magic of an international festival such as this, the chance to discover unheard artists and to have bragging rights of introducing them to new audiences back home after the trip.Next came Canadian duo Madison Violet who were arguably the most established performer of the night. As mentioned on the previous page, the organisers truly excelled at filling the festival with both up-and-coming talent and established performers. Madison Violet certainly qualify for the latter with seven albums and a Juno nomination under their belt. Their set was certainly new to many listeners and locals in the crowd but it was clear that they all enjoyed the set and enjoyed discovering new music as much as we did with the performances prior.

Watching the performers in the cool Grenadian evening with locals and tourists enjoying the performances from smaller boats below, it really allowed us to see the true beauty of St. George’s at nighttime. While again, this wasn’t your typical festival experience and it was certainly tamer than what some might be used, it was truly a magical evening in an amazing setting. For honeymooners and mature travellers looking for a classy night in the centre of St.George’s, we would highly recommend heading to the Rock De Boat party of The Pure Grenada Festival.

For those that prefer more of a wild “mosh-pit” festival experience, keep reading! As we said, there’s something for everyone in Grenada and the remaining nights will provide exactly what you’re looking for…

Night three, and it’s on this night we finally felt that we had ditched the tour guides, VIP handlers and champagne flutes and were ready to experience life outside of the PR approved bubble. Of course, we hadn’t and the PR was with us at every step but surrounded by locals, tourists and students, we were ready to experience Pure Grenada Music Festival unfiltered and from the mosh pit. It’s important to mention that while the music was loud and the atmosphere buzzing, this wasn’t the same crowd you find at Glastonbury, Leeds and the like. Festival goers were excited about the music and danced into the early hours each night but Pure Grenada Music Festival felt far more family friendly and safe compared to many other European festivals. Of course, all festivals at home and abroad can be daunting and you have to always keep your wits about you; we didn’t experience or witness a single incident which caused for concern. Throughout the final three days, we saw children, adults and elderly music-lovers all enjoying the festival together and that’s what other festivals should find a way of adopting.

On our first night at the performance space in Port Louis, we were delighted to find out it was the much anticipated Reggae Night presented by Westerhall Rum. With it being Grenada and reggae having a rich history on the island, as you might expect, we were extremely excited for this night. Taking to the stage this night was Steel Pulse, Etana, Jesse Royal, Spice Rock and Dj Ezzy B and despite being a Reggae themes night, all performers brought something different to the stage. Of course, we cheered loudest for the Birmingham’s own legendary Steel Pulse who killed their set and really and truly brought the house down. Again, this night also highlighted new artists Jesse Royal and Etana who put on a hell of a show well beyond their years.

The following evening was Rhythm and Soul Night which we spent away from the press tent and in the main spectator’s area.  Joss Stone, The British Collective, Andy Narell & Pan Allstars, Jomo & Gylfi were all on hand to deliver the sounds of soul. The atmosphere this night was much calmer than the previous and many spectators brought blankets and opted to sit and enjoy the music rather than dance the night away – like I’ve said before, there is something for everybody at Pure Grenada  Music Festival!

The chilled atmosphere gave us a chance to taste some of the great food on offer from the various vendors and chat to some fellow festival goers. I joined a group of young Grenadians relaxing on the grass and they explained to me how proud they were of the event. While Pure Grenada Music Festival caught the eye of many international travellers, the locals were just as excited to see what their island could achieve – the general consensus from both groups was that the festival had been a great success. Locals also spoke of excitement for next year and how they appreciated that Pure Grenada Music Festival was boosting the economy and encouraging attendance of locals by offering discounted tickets for Grenada residents.

Despite two very exclusive and high grandeur nights at the festival, it was wonderful to sit on the grass and join the locals in discussion and see the festival from their perspective. Both experiences have their place at Pure Grenada Music Festival and while I’m aware that our readers are more inclined to the exclusive, I’d highly recommend spending a few hours outside of the VIP lounge for a more humbling experience with the locals.

Our final night and it was time for ‘Pure Grenada Vibz and my favourite night at Pure Grenada Music Festival. The mood was electric as festival goers listened to some of the greatest talents Grenada has to offer.

After strong performances from Tammy Baldo, Tallpree, Scholar, Rootsman Kelly, Black Wizard and other island favourites, it was time for Mr. Killa to show all of us foreign travellers that Grenadian’s know how to throw one hell of a party. Leaping from the stage and into the crowd, Mr. Killa danced with a number of audience members without missing a single beat. His set was filled with pure energy, passion and fun, which are all the characteristics of Grenada that tourists love to see.

All in all, the Pure Grenada Music Festival was mightily impressive, especially for their debut. If Grenada can hold to this high standard of quality, it could very well grow to be the most popular festival in the Carribean. It’s not often that we visit a festival knowing so few names on the lineup and still enjoy it to the fullest but Pure Genada Music Festival proves that sometimes the fun is in the discovery. As long as Grenada can continue to highlight their great up-and-comers and established acts, I see no reason for people not to contiue flocking to the island year after year.

Pure Grenada Music Festival returns 5-7th May 2017

Tickets Available at www.Grenadamusicfestival.com

For further information on planning your own trip to Grenada, head to www.PureGrenada.com

FAULT catches up with Joss Stone in the middle of her world tour

In March of 2014, singer Joss Stone embarked on her World Tour. Now, over two years later, she’s not even halfway done. That’s because she’s trying to hit every country. Yes, all of them. Somehow, Stone managed to find some time to talk to FAULT about the tour, geopolitics, and Stone’d Records.

Dress – Temperley London / Jewels – Joss’s own

FAULT: How did you get the idea for the Total World Tour?

Joss: Okay, I will tell you a story: I was in Japan, and I was up a mountain playing a gig called Fuji Rock, which this lovely festival. I looked around, and I thought, “Everything is so different here.” I kind of felt like I was on another planet (Of course I wasn’t; I was on Planet Earth.). But I felt that I was very, very far away from home. The culture was very different there. The people were different. Their accents were different. They looked different. Everything was different. But when you make music, you connect with these people just like you would anybody else, anywhere else. So I thought, “Well hold on a minute. If music can take us here, music can take us anywhere. Why don’t we do that? Why don’t we do a World Tour?” You know, the answer is always going to be money. That’s why people don’t do it. But anyway, I just decided that wasn’t really right, and was gonna just do a World Tour and spread as much goodness as I can through music. And you know… I’m doing it.

 

FAULT: How did you become interested in world music in the first place?

Joss: I think I’m just interested in music. I don’t think I’ve ever really had a line. I’ve never really been the type of person to say, “I’m into soul music. That’s what I’m into.” I don’t really do that. I kind of just go, “Well, I just love music, and I’m interested in hearing all different things from all different people.”

Dress – Temperley London / Jewels – Joss’s own

 

FAULT: How many countries have you done so far? 

Joss: 77, I think right now. I mean, there are about 204 total, but it really depends what you feel politically, because some places think that they’re separate countries, and they’re not. It really depends which list you go by. There’s one book that has 226, and then there are lists that say 196, and another list that says 204. But we’re trying to do as many as we can.

Dress – Free People / Jewels – Joss’s own

 

FAULT: What’s the most valuable thing you’ve learned from all this?

Joss: People are good, aren’t they? I had that opinion anyway, so to say that I learned something on the World Tour is kind of bullshit. But I think that it’s solidified my opinion. Every time I move from one country to the next, I get this wonderful feeling of, “Ah, I knew it! I knew people were good! I know this!” But in a way, I’m trying to prove to myself that it doesn’t matter where you’re from or what culture you were brought up into. At the end of the day, we’re human beings. We all bleed red. And we all love. And we all laugh. And we all cry. You know, we are the same. We are brothers and sisters and mothers and fathers. It doesn’t bear any difference at all to where you go. So far. I’m a girl who’s only been to 77 countries. Maybe at the end of it, I might have a different opinion. I’m always open to my opinion changing, but so far, it’s not happened.

 

FAULT: What’s something about music that you think artists from English-speaking countries can learn from the rest of the world?

Joss: I think there’s a lot of different colours out there that you can incorporate into your music. There’s a lot of different timings and notes that we don’t even use. Like an Indian scale is different to our scale. There are also different techniques you can use. In certain parts of Africa—which I haven’t been to yet, but I’m hoping to go—there are these women who play the drums with the water by cupping their hands. It’s like they are using nature as an instrument. We should do that more often. We should step away from our computers and go see what sounds the woods make, or what sounds the grass makes. Listen to the birds a little bit more often. Think outside the box. If we weren’t so blessed to have all this technology, what would we do then? Because making music is part of nature.

Top – Stylist’s own

FAULT: How does it feel to go so far away and still have people singing along to your songs?

Joss: It feels amazing. It really does. It’s quite funny because to go somewhere like Botswana or Zambia and hear them seeing along, it was so cool. You really do have a moment where you’re like, “Wow, I cannot believe that they even know that.” Then when we get to a place where they don’t know it at all, and they’re totally hooked into the music that they’re hearing, that’s a whole other type of cool. Because they are listening purely for the music and not thinking, “Oh, there’s this famous girl onstage.” They don’t even know me, and I kind of like that because you don’t what you’re going to get. The reaction is very real. It’s not tainted, and no one has a preconception of you. So you get great stuff out of both seemingly opposite reactions. So far it’s been very positive, thank God.

 

FAULT: Do you think having had so much success at such a young age has maybe limited people’s perceptions of you?

Joss: Oh no, I don’t think that. I think sometimes people get stuck in one specific era. You can say that for any artist or any style of music. But some people just get stuck in a certain album. I’m absolutely guilty of doing that. I do that with many artists, where I love an album and never really move on. I like to be able to give those people a bit of joy and sing their songs as well. Because I completely get how fun that can be, to hear a song that you listened to when you were a kid or whatever. So their perception is what it is. And then you meet them and maybe it changes, who knows?

Dress – Baum Und Pferdgarten

FAULT: How has releasing via your own label, Stone’d Records, been different from going through a traditional label?

Joss: I would say that it’s more free. I can do whatever I want without having to ask for permission. It’s kind of like the difference between working for yourself and working for someone else. It’s like the difference between being a hired singer and just being a singer of the planet. I work for myself now, so when I make the music that I make, there’s no person telling me that it’s wrong, or that it won’t sell anything, or that it’s it’s not a hit. There’s no negativity surrounding it. It’s just, “Hey, you you want to come make some music?” “Okay, let’s go do that. Hi.”

 

FAULT: How was your experience at the Grenada Festival?

Joss: I loved that, actually. That was really fun. I thought it was gorgeous—really lovely people.

 

FAULT: What are you working on right now?

Joss: My hair. I’m doing I’m hair right now (laughs)… Uhm, I have a bit of a project, a six-track EP that I wrote in my garden. It’s about mother nature. It’s really fun. We’re just working on the mix right now.

Dress – Baum Und Pferdgarten

FAULT: What is your FAULT? 

Joss: Well, my bad habits include smoking, which is not good—very bad for you; eating chocolate; probably sleeping in too late; and impatience.

 

Words: Cody Fitzpatrick

Photography: Jack Alexander

Styling: Holly Ounstead @ Frank Agency

Hair and Make-Up: Louise Hall using Maria Nila @marianilastockholm and Laura Mercier

KRYER premieres new track ‘Crawl’ exclusively on Fault

This morning KRYER debuts a brand new track, Crawl, exclusively on Fault. Here, he explains how the song came to be.

I don’t imagine that talking about mental illness comes easy to anyone. It’s probably far easier to put your thoughts into a song and hide behind your guitar and your fringe or whatever faculties have been afforded to you. I think that’s what I was doing when I wrote CrawlI was hiding, avoiding communication. Communication, the same thing I now believe to be our best hope of combatting the rising number of suicides in this country and others alike. I’ll try to explain why…

I wrote Crawl in a strange place at a strange time.

It’s four or five in the morning. 
There I am, in one of the private waiting rooms at University College Hospital just hours after the young lady I was in love with was pulled from the canal she tried to drown herself in. 

She had run from me earlier that night after a drink too many turned into another one of our infamous fights and, for the first time, I foolishly allowed her to go, believing that my attempts to try and talk things through in our, mutually inebriated, state were proving to be toxic and counter-productive. 

I don’t know whether it was shock or a near-sociopathic lack of ability to engage with what was going on, but there I am and all that I can think of are these lyrics, lyrics about how I felt. Me
Maybe it’s unhealthy to assume so much guilt for my behavior in that moment. Reactions are, by nature, reactionary, but I did learn one thing from the experience. 

People, us lotdon’t have a clue how to express ourselves healthily. 

The very British School of Walk It Off will tell you to bottle up your feelings, deny them if necessary and ‘Man Up’. It’s an increasingly popular belief that this inherent lack of ability to share pain with one another is contributing to the unbelievable amounts of suicides taking placeI think that’s what I’m trying to talk about here, the pressing need for communication. 

The, truly heroic, folks who teach you how to man the Crisis Lines at mental health charities will tell you that everybody has a right to die. That, if somebody wants to take their own life, you can try desperately to help them see that pain is fickle and temporary but, ultimately, you can’t make their decision for them.

I wanted to believe that, because it was easier and because better people than me told me it was so, the problem is that I don’t. 

You often hear similar things when a person commits suicide, people say that they’d never had guessed that they were suffering and they wish they’d known, that the person in question would have felt safe to reach out to themIt’s possible that some people don’t want to be stopped and they go about their business silently and with a smile in efforts not to attract attention,but a suicide attempt is often a call for help andit’s our responsibility as humans to answer that call. 


It isn’t helpful that more public suicide attempts are often rebranded as attention seeking, as there is something to be said for open displays of suicidal tendencies. Sometimes, when people feel like the world wouldn’t miss them, they cry out in hope that somebody will show themotherwise. 

So show them, hold them down until they know that someone cares. Maybe it’s egotistical to believe that you’re able to save people. I can say that in darker times than these, my inadvertent cries for help were answered by some of the unbelievable people in my life and I owe those people a great deal.

I could be wrong, maybe we do all make our own beds and we’re only permitted license over our own, but in a world where nobody knows how to ask for help, the argument for reading between the lines grows a little stronger.


What I’m trying to say, clumsily as it may be, is this… 
If you see someone reaching out for some proof that they’re loved, give it to them. And if you feel within yourself that nobody cares, then try. 

Give someone the opportunity to prove you wrong.

I’m pretty sure that it all starts with communication. 

 

You can keep up with KRYER on Facebook, Twitter and Instagram.

FAULT Magazine in Conversation with Rainbow Arabia

RAINBOW ARABIA: A (POP) LABOR OF LOVE

 

For more than a year and a half, Tiffany and Danny Preston, the duo behind LA-based electronic band Rainbow Arabia, worked tirelessly to create the follow-up LP to their 2013 album FM Sushi to no avail. Though prolific in their production of tracks, what the creative team’s musical efforts ultimately lacked was thematic cohesion.

The problem, according to Danny, was that the band’s earlier experimentation with a more techno-based sound consistently lead to dead ends.

We were experimenting with but it didn’t really work vocals that well, or it didn’t have enough melody,” says Danny. “So we’re trying something new but it wasn’t really working.”

Rainbow Arabia eventually enlisted the services of Matt Boynton, the Brooklyn-based audio mixing veteran who has counted acts as diverse as Norah Jones and Sonic Youth as clients.

“We both made the decision that this record wasn’t going to get done unless we made an appointment with Matt Boyton,“ says Tiffany.

Almost immediately, all the disjointed parts of Rainbow Arabia’s vast-but- unreleased body of work began to piece together.  Under Boynton’s wing, Rainbow Arabia was finally able to accomplish in two months what they’d struggled to do for almost two years. The end product, LA Heartbreak, is perhaps Rainbow Arabia’s most revealing album yet. Aesthetically, Danny’s complex musical arrangements propel the band further away from the world music-inspired sounds of past albums, and closer to the 80s synth-pop, metal and punk influences of their youth. Lyrically, Tiffany brutally honest vocals expose some of the more emotionally trying moments in the duo’s marriage and creative partnership in a way unparalleled in previous LPs.

Following the official release of LA Heartbreak this past November, Rainbow Arabia will debut their new material to audiences in Los Angeles and the Pacific Northwest before eventually moving further out on the road in 2017.  The pair recently took the time to chat about creating LA Heartbreak and the challenges of being a couple act.

 

FAULT: To what extent is LA Heartbreak autobiographical?

TIFFANY: You know, it was interesting because in our lives we’d been sort of dealing with a lot of stuff in our relationship. There was a time when we were trying to have a baby, hence the baby bottle on the cover.  Things just weren’t working out for us. I feel like, mentally, we were kind of in a really dark place when I was writing it, so the lyrics kind of just came out. I really improvised a lot of my lyrics.

Through making the record I feel like, when we finished it,  it really was a therapeutic thing for me because we were going through couples therapy, too. All of a sudden, as soon as we finished the record everything sort of came together for us in the end. We’re doing much better, but the title LA Heartbreak was kind of a reflection of our relationship and the life struggles that we’re going through at the time.

 

FAULT: Is it difficult to listen to the album given where it came from and how personal it was for you at the time?

TIFFANY: No. I think that sometimes struggle in life can be a tool to make better music. I think that, you know, that’s just a part of me.  It’s very easy for me to  kind of tap into and reveal dark parts of myself. So when I listen to it, I’m like, ‘OK that was me then, and it’s fine,’ you know? It’s easier for me to write a sad song than a happy song though for sure.

 

 

FAULT: LA Heartbreak seems certainly more personal than your previous albums. Do you expect this to be the direction that the both of you go creatively from now on?

TIFFANY: Kind of. I feel like with both of us it’s so unpredictable. I feel like when we start working on songs it just changes. Every time we have a clear direction on what we want to do, it always comes out different. So, I feel like I can’t predict that.

DANNY: The tone and mood is only going to be about how you’re feeling at the time.

TIFFANY: It is really unpredictable. What I can predict is that I think we both learned a lot from this record about things we want to improve on in our songwriting and vocals — technical things that we want to improve. But I can’t predict the tone of our next record. It’s really a headspace and where you are at that time.

 

FAULT: So Tiffany, back in 2011, following the release of Boys and Diamonds, you told the L.A. Times how you and Danny actually stopped communicating after you finish that album, which is incredible.

TIFFANY: [chuckles] After every album.

FAULT: Is it difficult beginning a project when you already recognize the kind of pressure it creates for the both of you personally?

TIFFANY: Yea but we we’ve been married for a long time. I’ve seen couple bands go through the same dynamic that Danny and I have.

DANNY: Usually they break up.

TIFFANY: Yea, a couple of them have broken up. But, we’re in a few dynamics. We have a label — we’re label partners. Then we have our band — that’s another dynamic — and then we’re married, that’s another dynamic. So, any sort of pressure or anything that goes on does tend to seep through everything.

But, the one thing that’s gotten better — it’s just like when you’re married for a long time or you’re in a band for a long time. — is that you get through things and then you start to deal with them better. And I feel like, definitely on this record, once we made a deadline and we kind of put our minds to it, we actually got through it pretty good at the end. And when it was finished it was different. It was more relieving and we actually were much more happier when we completed this album.

DANNY: Yea, I think the end project of Boys and Diamonds was more dissatisfying than this record.

 

FAULT: The influence of world music is much more apparent in your earlier records than it has been more recently, particular since Boys and Diamonds. What inspired that shift?

 

DANNY: Well, the thing is that our influences and inspiration constantly changes. We both love all kinds of music and get inspired by — I mean, it’s limitless, the music out there.

So I still love world music and there’s still so much more world music. I mean, that’s a huge world to get into. I think just at the time when we started, that’s what pushed us in influence. Our first two EPs — The Basta and Kabukimono — those were very world-influenced.

We have our sound but we’re never going to stay sounding the same because that’s who we are as people. We like to dig in other places and have new inspiration. We’re not closed in a box. We always like to be inspired by news things.

 

Words: Carolyn Okomo

 

 

 

FAULT Weekly Playlist: Henri

A product if the burgeoning underground house / DJ scene of Los Angeles, singer/producer Henri springs forth with her “I See Ice Cream” EP. Consistently of four tracks, Henri’s EP features two infectious melodic house singles including the title track and “Fine Day,” an elegant cover of Opus III’s 90s cult classic. Henri’s version features Icelandic actress / singer Aníta Briem’s hypnotic, breathy vocals layered over an interweaving synth arpeggio and repetitive piano chords that together create blissful state of trance. “I See Ice Cream” takes on a more euphoric tone with more psychedelic synth sounds.  Overall, it’s an impressive debut for Henri.

We asked her to put together some of her favorite disco / house songs to get your weekend going. Enjoy!

Pachange Boys – Time

“One of the best songs ever made. It sucks you in and takes you on a journey.”

Miguel Campbell – Something Special

“It’s all about that hypnotic repetitive vocal.”

Indila – Derniere Danse

“I discovered this on Sofi Tukker’s mixtape. Every song on there is good. I think I’ve played their track Drinkee in every set this year.”

The Orb – Little Fluffy Clouds

“The spoken word lyrics in this track have been a huge influence on a lot of my music.”

Psychemagik – Mink & Shoes

“For the saw bass synth sound. It’s killer!”

Petite Meller – Baby Love (Kiwi Remix)

“It makes me wanna swing my arms and jump up and down every time I play it out. Perfect for this roller disco warehouse party I used to DJ in LA with people rollerskating round and round in circles making shapes with their light bulb- and glow-in-the-dark outfits.”

Max Cooper – Harmonische Serie

“Could listen to this on repeat for the rest of my life. It’s so beautiful and the chord changes move my soul.”

Anabel Englund – London Headache

“Love Anabel. This is a really fun disco track to play out.”

Dolly Parton – Jolene (Todd Terje Edit)

“I get such a kick out of playing this edit every time. Everything Todd Terje touches is gold!”

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FAULT Weekly Playlist: EarlGréy

We love a good cup of tea in the morning and New York City native EarlGréy’s music is good for the soul too.  Following the internet success of his debut release, “Pulldown,” the rising producer returns with “Overdue,” an eclectic blend of hip-hop and neo-soul with subtle pop underpinnings.

As a member of creative collective, TheVAMP, EarlGréy has recent months collaborating with an array of talent, from industry veterans such as Ne-Yo to budding superstar MAAD. With his solo material, EarlGréy sets his sights firmly on his mission to open hearts and inspire through music and storytelling. “Overdue” is the first look at his forthcoming debut EP set for release early next year.

To satiate you in the meantime, take a listen to EarlGréy’s exclusive playlist for us.

Chance The Rapper – No Problem

“I’m a fan of Chance the Rapper/Chance the Father. Digging everything on this from the beat, to the lyrics, and trill gospel vibes…Reminds me of a feeling I got growing up in church but wavy-er.”

Jon Bellion – All Time Low

“This one inspires me in a special way. I’ve known Jon since we were younger & got to witness his growth from earlier days as an artist/ songwriter/ producer. It’s always dope to see good people w/ a great message win.”

Bruno Mars – 24K Magic

“Almost fainted the first time I heard this groove! Anyone who knows me, knows that I have a deep love affair with all things funky/groovy! Bruno, The Smeezingtons & The Stereotypes crushed this collab. Shoutout to my bros on this one.”

MAAD – Black Ice

“I’m a lil’ biased with this song & artist. Maad & I are really close and we had a blast co-writing & co-producing this with Trey Campbell & TheVAMP.”

EarlGréy x Maad – Pulldown

“This started as one of those old beats collecting dust in our computer at THEVAMP studio. One night during one of our many kick it sessions, the instrumental randomly came on. Somewhere between really interesting convos and melodic mumbles, we recorded the vibe. It’s always cool to mark a dope moment in time with people by writing a song.”

Anderson .Paak – Room In Here

“Pure vibes on this one. I saw/heard AP for the first time about 3 years ago at some artist showcase and never forgot him. He was performing and seemed like he was missing a drummer on stage. I wanted to go up and play for him because he was so dope, but then mid-song he went and jumped behind the kit (while rapping/singing) and crushed it! That dude’s incredibly talented.”

DVSN – Try/Effortless

“Well put. I feel like DVSN took the thoughts/words/emotions right out of my head with this song. Props to them for bringing a fresh sound and taste level to the game.”

H.E.R. – Focus

“So mysterious. So vibey. So dope. I just heard about H.E.R. but i’m definitely focused haha.”


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FAULT Weekly Playlist: King Of Nothing

king-of-nothing

King of Nothing is a budding rapper whose music pairs hard hitting flows over house inspired production he’s self-dubbed as “post-rap.” His single “4Criss” is out first introduction to the 22-year-old who hails from Houston (holler chopped and screwed) who now calls New York City his home.  The track eloquently highlights King of Nothing’s lyrical style and technical finesse.

We asked KoN to put together some of his current favorite tracks, which includes selections from fellow NYC based artists JIL and KYLE as well as a sweet make-out tune from Charlotte Day Wilson. Dig in below.

Jessy Lanza – VV Violence

“I fucking looooovvvveeeeee Jessy Lanza!!! I got to kick it with her for a bit when her tour stopped in Houston this summer, and she’s like the nicest and coolest person ever. You should definitely the album she dropped last spring, because it was a huge influence for me in terms of my approach to song structure and what I look for in production.”

KYLE – Doubt it

“Had to put some KYLE on this playlist. I’ve always been a fan of this dude because he’s not afraid to be himself, even if it comes of as corny sometimes lolol. Also the production on this song and all his others is consistently really good.”

Quiet Luke – Where U Were

“One of my favorite tracks of 2016. Quiet Luke is someone I really respect and identify with, mostly because he’s balancing being and artist and going to school in New York just like me :).”

JIL – All Your Words

“Nothing but good things to say about these dudes, especially since we’re all (in one way or another) Columbia kids. I’m cool with Sleator and Julian and we’ve played many a few together, so hopefully we can sit down and write a record one of these days.”

ARME – Ode 2 Bae

“More shit from my homies! I’m actually working on a track with these guys right now, so stay tuned… (this is a great song to do the carlton to btw).”

Charlotte Day Wilson – Find You

“So fucking talented. Also, I made out with a girl to this song once, so v thankful for that!”

Ugly God – I Got Bitches FREESTYLE

“I think me and every other immature nigga from Houston I grew up with fucks with Ugly God. All his shit reminds me of the freestyles we used to have in the locker room before basketball games in high school. I can understand how people don’t fuck with meme rap, but I think he does it the right way.”

Maxo Kream – Big Worm

“Another one of my favorite rappers from back home. Bump this when you have to go do something that you don’t feel like you’re cool enough to pull off.”

6LACK – Alone/EA6

“If you haven’t jumped on the 6LACK wave yet, you’re late. This is perfect for DM-sliding and other ratchet activities.”

The Code – Crazy

“Yah dude dis a rly gud song 1sec my seamless jus came brb.”

Mark Morrison – Return Of The Mack (C & J Street Mix)

“Kk y’all I’m back and full of salad and ready to close out my playlist with the greatest fucking song of all time ever.”

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