Premiere: Azura – Midnight


Brisbane artist Azura (Lauren Coutts) explodes onto the music scene with her quiet and contemplate debut single “Midnight.” It’s a haunting lullaby showcasing Azura’s celestial vocals and gossamer production.

Lyrically, “Midnight” is an emotive song about grappling with the pain of unrequited love. “I wrote the lyrics while waiting at a bus stop in the city after midnight,” Azura tells us over email. “It had become a reoccurring thing. I’d just turned 18 so I was going out late to see shows and I guess it’s about that streetlight haze, unrequited love and sleeplessness – all things that I was overwhelmed by at the time.”

Stream “Midnight” below and be sure to grab the free download of the track.

Azura Socials:


FAULT meets Miniature Tigers

Miniature Tigers began in 2006 as an interstate MySpace collaboration between singer-guitarist Charlie Brand and singer-keyboardist Rick Alvin. Since expanding into the physical world, the indie pop band has released five studio albums, the latest being I Dreamt I Was a Cowboy, which came out in October.

Lead singer Charlie Brand chatted with FAULT about life as an artist, the importance of always giving your best show, and what painting has taught him about songwriting.

FAULT: You guys have some of the most intriguing album covers. Who designs those?

Charlie: We create all of them ourselves. Our first two albums—Rick painted both of those. It was kind of a collaborative process between me and him. I wasn’t really doing visual art yet, so we would talk about what we wanted, and I would sit there while he would paint it. We’d give each other feedback, and it would kind of be like a collaboration that he’d paint … This most recent one was the first one I painted myself. It kind of ties into the first album cover Rick and I did together. It pays tribute to him, because he was the most encouraging of my painting. We wanted something that felt like that original cover, but was a totally different version of it.



Has touring with Fun. and Ben Folds had any kind of a lasting impact on you?

We grow so much any time we do a tour—personally, and musically as well. We’ve played huge shows with people like Ben Folds or Fun. where we’re playing in front of thousands of people. But then there are shows, earlier on especially, where there are like two people there, and one of them is the bartender. We were miserable in a way, but I look back on those shows, and I can remember every one of them. Those were just as important as the ones playing to a thousand people.

I think that’s because of some of the shows I’ve seen. I grew up in Arizona, and that band Phoenix came through, back before they hit it big with their huge album. I went to the show because I was a big fan, and there were like five people there, including me. And it was one of the best shows I’ve seen in my entire life. They ripped it up even though there were only five people, and I’m sure it was a huge bummer for them. That always stuck with me as my philosophy for playing a show: No matter how many people are there, always try to bring the same kind of show.


Who influenced your songwriting on this latest album?

I guess Joni Mitchell and Paul Simon have been big influences on me lately. Also this guy Arthur Russell. I kinda wanted something California-feeling and more organic. But I’m also hugely influenced by, you know, Kanye and the way he approaches albums, sampling, arrangements, and things like that. I took a lot of the organic elements and like chopped them up and pushed them around to kind of approach it like an electronic record, but also make it deceptively organic-sounding. Like lots of drum samples that sound like real drums and things like that.

Another huge influence is visual art—people like David Hockney and Matisse. Matisse—he could paint something that’s photorealistic or super-detailed, but he chooses to leave things intentionally simple. I’m always trying to apply that same kind of philosophy to recording and songwriting.


Where do you see yourself in five years?

That’s hard to say. I can barely see where I’m gonna be day-to-day. I’ve just been doing a lot of art and painting, and I want to spend some more time doing that. I’ve been working on this other project with my friend Jeremy [Malvin], who plays in a thing called Chrome Sparks. We just put out an EP called Promises Ltd. I want to write more with that. It’s super-synth-y—like analog synths and all that kind of shit.

I just wanna keep writing music. Miniature Tigers is my first real project. It’s something I’ve spent the last 10 years of my life working on and being a part of every day. I love everybody in the band, and we all get along and are great friends somehow. I would love to do that for the rest of my life. But we’re still a cult band, so it’s hard for us to practically tour and do stuff because we don’t necessarily make much money doing this. When we first started, most of us were still living at home with our parents, and money didn’t really matter; we would just tour all year long and not give a shit. But now, we all have, like, lives and shit. So it’s getting harder and harder to make this band survive, even though we all still love doing it.


What is your FAULT?

I don’t even know where to begin. It would be easier for me to tell you my strengths, because everything else seems to be fuckin’ chaos constantly. I haven’t really planned my future at all. I don’t have, like, money saved up, or any kind of a backup plan. I’m just like doing art and music and hoping something works out to where I can, like, have food in my mouth and rent payed and stuff. I’ve completely neglected any kind of practicality in my life.

You can find Miniature Tigers on Facebook, Twitter and Instagram.

Words: Cody Fitzpatrick

Exclusive Premiere: Parlour Tricks debut their brand new EP!

Today we’re delighted to premiere the brand new EP from Parlour Tricks, entitled ‘BODIES’, in its entirety!


Front woman Lily Cato spilled about ‘BODIES’:

It’s pretty impossible to characterize the experience of being in this band. The fortunate feeling. What it meant to be doing something awesome and difficult with people you love.  We never fought. We un-ironically told each other how much we loved each other. How un-rock n’ roll, right. How totally opposite from what I’d ever heard being in a band was going to be like. We ended up setting the bar for future musical (and otherwise) relationships unreasonably high. So I could cite a million different memories, but none would fully encapsulate what we did here. What we made. Who we became.  I want to talk about those times we rolled into new cities with the windows down bellowing Travis Tritt’s “It’s A Great Day To Be Alive”. I want to talk about how we laughed until we couldn’t breathe that time when we were living in Nashville and Angelo tried to work out with Terry’s TRX but instead of putting it in a door frame he put it between Brian’s legs. I want to talk about the 1,000,000+ times Morgane, Darah and I were condescended to by male sound guys, managers, venue-owners, etc, and how deeply comforting it was to know that we had each other in those moments. I want to talk about how much we loved talking to fans after shows. I want to talk about how much we loved it one night in Philly when a dude (who did not seem to have enjoyed the show) said “The guys are too metal and the girls are too pretty”.   I want to tell you about those nights in the studio, in Nashville and in New York, when everything gelled beautifully, when we felt the enormity of making something good.   I want to explain these things, but even then it wouldn’t paint a full picture.  You had to be there. We were lucky enough to be there.



Listen right here:


Like what you hear? You can find Parlour Tricks on Facebook, Twitter and Instagram.

Bear Hands take a break from their US tour to chat about their forthcoming album

Here FAULT catch up with the lovely Ted Feldman from Bear Hands, who took a break from driving across America to have a chat. Bear Hands have been rocking the electro-indie scene for a while now, garnering some serious praise for their debut single “2am” and the follow up, “Boss”. They are currently a few weeks into a US tour with FOALS, and are releasing their new album, “You’ll Pay for This” on the 18th of November.



So, how’s the tour going, where are you right this second?

Yeah it’s been good so far, we’re in Tulsa, Oklahoma right now, about to drive up to Arkansa. But it’s a dreary day, we had a good show but we’re about to hit up some Midwestern cities, see what happens, but things are good.

I heard you had some issues with stolen gear, is everything back on track with you guys now?

Oh man, it was painful, it is painful. We were in Houston, we did fairly well in most American cities, we’ve been touring for a long time and things are good, getting better, but we’ve never really had a good show in Houston, but we did the other days opening for Foals, we had a great show, we hung out and it was a top Houston night. But somewhere between 5 in the morning, when one of us came back from a “top night”, discovered that our van trailer had been broken into and whatever assholes decided to do that took 6 guitars. Y’know, it coulda been worse, they could have taken everything or the whole trailer I guess, who knows. But it was all locked and “safe”, we thought it was safe. But I lost a guitar that means a lot to me.

But we’re okay, we’re cool to carry on. Y’know it’s one of those things, you always read about bands getting their stuff stolen and I feel like it’s almost a cliché to complain about it, we’re just another band that got their shit taken. But it does hurt, it sucks.

I guess you have that now though, at least it’s part of the story…

Yeah, I mean the other side of the coin is that everyone we’re with like the Foals guys, their whole crew have been really generous and offering to use their gear and stuff. A lot of friends reaching out, it’s been really kind. The positive is that people are generally y’know, kinda nice.

2am is such a cool track, really slick and it reminds me of the Sopranos intro. Boss is more raw, with that guitar hook that sounds like Gimme Stitches by the Foo Fighters – Is the rest of the album so diverse?

Yeah we tend to go all over the place and try to give every song its own flavour and the opening track of the album mixes those things pretty well and I hope that it sorta acts as an announcement or a warning for the rest of the album. We touch on a lot of different sounds and styles, I think.



So what was it like working with producer James Brown (Foo Fighters) and mixer Alan Moulder (Smashing Pumpkins, Nine Inch Nails, Foals) was it intimidating working with people who have worked with some truly massive acts?

Oh it didn’t bother me at all, it was exciting. James, we’ve worked with him before for a few years. He mixed our first two records, so he’s been a friend and involved so it wasn’t intimidating at all to work with him as a producer. And he’s also ust the friendliest, best dude to be around. That I spent 18 hours a day, every day for like 2 months was a pleasure, I love that guy. He also brought a lot of expertise and smarts and worked his ass off for that and I can’t be more appreciative of that. And yeah Alan Moulder mixed and that was… we’re all huge fans of his work, I was able to sit in on the mixes. He’s also incredibly kind and a gentleman. I feel like I was able to learn a lot just by sitting there and watching his process. Yeah, totally positive, and I think the record was better for his work.

How did you write this album, was it all whilst touring or did you set aside time to just jam?

This was the first time we were off-tour, we knew we were writing an album. Before, it’s always been between tours and jobs but this time we actually set out to write a record, and so I started by trying to treat it like a job, like 9-5 kinda thing. That failed, hah, not the vibe.

So, Dylan and I do the bulk of the writing, we both sorta do things on our own and then come together. The best sessions were when we sorta went to the woods and isolate for 3 days at a time and kinda knock it out a lot in one sitting. I feel like that immersion is what brings the most successful stuff, and lets ideas flourish.

Speaking of which, do you guys get stir crazy at all from touring? Do you still hang out as friends when you’re not “working”?

Um… no? Hah, barely. We spend so much time together on the road, 24 hours a day. We do hang out a little bit but when we’re home we try to hang out with our significant others and try to keep friends that we’ve not seen for months. We get together from time to time, we’re all friends, some of our girlfriends are friends.

So 2am has nearly a million views now, and Boss, which came out yesterday just hit 3000, which is awesome. Where do these videos come from, who came up with the ideas?

Generally I have a lot to say about the videos, but the 2am video I left to the directors. I mean, we were at the party, but other than that I left to them. The “Boss” video, the director is a friend Ethan…. We talked about it a lot beforehand, and I was on set for the shoot, I helped him edit, I was involved as a “consultant” of sorts… He and I talk about music videos, whether they’re ours or stuff he’s working on, we talk about movies all the time so it felt very natural to do that. But yeah I’m pretty excited about it, I think he did an awesome job.


What’s the plan once this tour is over, are you looking to get back into the studio or just keep on touring?

Um, no nothing lined up at the moment, I think I’m itching to write some new stuff, and that’s difficult to do on the road so I’m looking forward to doing that when I get home. But no er… no concrete plans for any new recordings, I think we’ll be doing some more touring in the spring. Soak in some home life, spend time with my girl and my friends and uh absorb the real world for a second. Try and write some new shit.

I ask everyone this, but it’s interesting to hear what comes out – who would you like to collaborate with?

There are definitely people we admire… There’s a lot of people I’d love to work with but I’m trying to think of someone the band are all excited about, we all have different opinions. I’d like to do something off-brand, out of our world and work with a producer like more like Flying Lotus, or someone totally out of the rock realm.


Words Morton Piercewright

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


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


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

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


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

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


What was the overall concept for Lady Wood? 

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



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

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


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

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


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

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


What is your FAULT?

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




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

Rebecca Ferguson opens up about the inspiration behind new album ‘Superwoman’

She undoubtedly has one of the most distinctive voices in music, a timelessly soulful tone rich is jazz and along the similar bloodlines of Nina Simone. Now Rebecca Ferguson is back with her fourth studio album ‘Superwoman’. Following her break on the X Factor six years ago and the incredible success of her three pervious albums, ‘Heaven’, ‘Freedom’ and ‘Lady Sings The Blues, Rebecca returns fuelled by the bitter sweetness of heartbreak and giving birth to a new baby. ‘Superwoman’ is a diary of contradicting emotions; Rebecca’s new music liberatingly exposes her vulnerability, and yet is filled with songs infused with strength and empowerment. We caught up with Rebecca to speak about her super album, that is dedicated to fearless mothers and fighters.

Brown's Hotel Towel / Jewellery - Swarovski

Brown’s Hotel Towel /
Jewellery – Swarovski


FAULT: So you’re back and with the new album ‘Superwoman’, what has it been like getting back to writing and recording new material?

Rebecca: It was good, I was really happy, as my last album was not one that I had written so when I finally got to come back and write this album I had so much to say. It was really easy and it was an emotional process but one that I really enjoyed doing.


Why the name ‘Superwoman’, and who would you dedicate this album to?

[It’s called] Superwoman because I wanted to highlight that, you know, sometimes you go through stuff and you do super woman things and actually we are all human beings and we get through it. I had quite a tough year, it must have been two years ago now and when I look back at how bad it was I think actually, you know, I’ve done all right, I’ve conquered. So it comes from that place really and as well as that I’ve dedicated it to my step mum who passed fighting cancer. So it’s just about strong women really and that sometimes you don’t always overcome things, but you fight. So it’s an album for fighters.


How would you say this album differs from Heaven and Freedom?

I think it’s a lot more personal; the other two were personal as well but this album is about a subject that I wouldn’t normally speak of, as there is a child involved. So there was a break up but it’s talking about something that is very personal and I’ve sort of opened myself up to the public and my listeners about a very private chapter in my life. I’ve done it deliberately because I wanted to tackle the taboo subject of women being left with children and being left to carry children. I wanted to really tackle it and make the taboo subject something people have to think about.

Did you do anything in particular to prepare and get into the headspace for creating this album, as it is obviously quite emotional?

I just literally went in, we would normally record from twelve to seven, or six. So every song on the album is exactly how I felt each day. For ‘Hold Me’ I was really venerable and just slouched in the corner and I just wrote it really quickly. It’s just really expressive and it’s kind of like a diary, this album. I just wrote what I felt and I wasn’t really overly thinking about my audience and wasn’t thinking ‘oh right, I’ve got to write a hit’, it was just like this is what I feel and I just poured it all out.

Shirt - Edeline Lee / Skirt - Holly Fulton / Jewellery - Swarovski

Shirt – Edeline Lee / Skirt – Holly Fulton / Jewellery – Swarovski


What would you say are the three most prevalent emotions that people will feel and relate to when listening to Superwoman?

You will feel… oh how can I put it. There will be moments when you feel strength, there will be moments when you reminisce and there will be moments of sadness. But strength I want to be the main one.


Can you choose a favourite song from the new album?

‘Hold Me’, ‘Mistress’ and ‘Pay For It’ are the ones I would go to listen to for pleasure, if you know what I mean. If it wasn’t me singing it and it was another artist I would go to them to listen to.


What is the message behind your new single ‘Bones’?

Well it was the vulnerability; if I’m being honest it’s again the journey. I’m not now in that place I was with Bones; I’m not in a relationship wanting a man to love me but I had to tell that story so the whole album is about how I was feeling. You know, why wasn’t he paying attention to me, it’s all about wanting them to love you and to treat you right but they don’t and it’s kind of me expressing how a lot of frustrated women and men feel like. You’re not taking no notice of me, you just have the telly on constantly or out with your mates and that’s the song that I think everyone can relate to in some way.


I thought the music video for ‘Bones’ was beautifully shot – was it fun to shoot?

It was so relaxing and nice, some shoots can be really stressful but it was actually quite a nice video to shoot. I think having the actors in it helped as well as they do a lot of the shots too.


What was it like working with Producer Troy Miller on Superwoman?

He is amazing. He is unbelievable and he is a real perfectionist as well. I believe really good things will happen for Troy, I really think he is going to go on, as he is so ambitious. He will do great things, as he is someone who is special in his style of production.

Slip Dress - Ghost / Jewellery - Swarovski

Slip Dress – Ghost / Jewellery – Swarovski


How have your three gorgeous children influenced you and the new album?

Well it was hard because I’m having to be quite honest about everything with the kids, so I think they have influenced me in lots of ways. Arabella is the main influence because it was all about her and it was the situation I found myself in with her and how having her changed my life and my confidence. I had a depressive break down when I was left with the baby, but when I finally got back on my feet I was a changed person and thought ‘No one is ever going to put me in that place again’. I’m never going to be that depressed again. You just go though things for a reason to make you stronger.


In the past you might have been shy with conveying your emotions, but how are you now able to embrace them within your music?

I mean we all have our moments, I had a big TV deal the other day and I was like ‘oh my god’, you know I’m still a human being but I think working with people in the Jazz world helped. They are so free on stage and helped me to just chill out. If you make a mistake on stage just wing it, that’s what they say because in jazz there are no mistakes. If someone sings a wrong word they all just laugh about it and carry on playing, which I love, and that’s what I think music is all about, just freedom to express. So working with jazz people really helped me to express those emotions.


How have you enjoyed turning 30 and moving to Paris? Have these milestones taught you anything?

Turning thirty… I milked it for three weeks! I just celebrated and celebrated, and celebrated again. My stepmum before she passed said to me, ‘Becky, go party, go holiday, just enjoy it’. So I listened to that and I just milked it. First I went to Paris and me and my best mate hired a nice suite right in front of the Eiffel Tower and we had drinks on the terrace, which was really lovely, and that was our Carrie Bradshaw moment. Then I threw myself a big party in Liverpool and invited all my old school mates, you know people I hadn’t seen since I was 15, so it was like a big school reunion and then we did more nights out and went to see another show in Paris. I think with age, I’m learning that people only celebrate the big birthdays but actually without sounding morbid it’s a good achievement and you should enjoy celebrating every one.


Superwoman as a body of work is super empowering, do you have any tips for women who want to feel empowered themselves?

My personal opinion from what I’ve found is don’t chase a man, a man that cares for you, you don’t have to chase. No matter how many times you chase them, you’re not going to capture them. If you’re having to chase them you will never hold them and that’s one thing that I learnt turning 30 is that you need to find love within yourself, because if you’re just looking for it outside you will never find peace.


I love the album art for Superwoman – how have you enjoyed evolving your look?

You know, I spoke about it and thought, ‘I’m a few albums in now and I really need to start doing me’. We fought for that shot as well, and I fought for the bunny ears as not everyone wanted them. I think it’s modern and it’s youthful and so I’m glad we went for it.

Dress - Peter Jensen / Slip - Ghost / Jewellery - Swarovski

Dress – Peter Jensen / Slip – Ghost / Jewellery – Swarovski


You obviously started out on the X Factor and since then have had fantastic success musically, but do you find yourself moving away from the X Factor stigma or do you think it is something that will always be threaded through you?

I’m very appreciative of X Factor and I’m really grateful. I don’t understand how people do it and then are like ‘don’t mention it,’ because I think you have got to accept where you’ve come from and it was the public’s vote that got you there as well. People actually paid money to put you where you are, so I’m very appreciative. At the same time I don’t like that there is such a stigma, you know I write all my own music and I help produce all my music too so I am a musician. I would like for people now to not stigmatize me I guess.


You’re starting your UK tour on the 23rd of October; do you have any tour traditions?

Only pre show; so, I have to have 15 minutes alone compulsively or I freak out. I know it’s a really odd thing but I have to have that time. In those minutes I will say a prayer and I will do a lot of ‘oohs’ and ‘ahhs’ and a lot of yodeling goes on. I just get myself in a good positive mindset really but if I don’t have it, it does throw me.


Do you get nervous preforming on stage and meeting fans?

I do on TV sometimes but it depends, I’m a bit more chilled now. But saying that, I did a gig at home in Liverpool and because all the experiences that I’m speaking about on the album happened there, I kind of had to go back and face my demons and face the place where a lot of the pain had happened. So that was a difficult one, as when I was singing I was getting really emotional and that made me a bit nervous, but once I settled in I was fine. It just brought it all back.


Who are your continuous musical inspirations?

Lauryn Hill, I think she is amazing, her ‘Miseducation’ album was unbelievable, I don’t know what’s happening with her but that album was amazing. Who else… Tracy Chapman, and I’m actually into Kanye West, I mean musically as a producer. I know he can be a bit controversial, but production-wise I think he is unbelievable.



Dress – Peter Jensen / Slip – Ghost / Jewellery – Swarovski


What has been your most ‘pinch me’ moment ever, either something you have achieved or someone you have sung with?

Well singing to Prince William, [or perhaps] Lionel Richie, singing with him was a bit nerve-racking but the most recent one was when Goldie Horn stage-bombed me and ran on stage and gave me a hug when I was singing the other day. I grew up watching all her old classics films, and she is just so lovely and she is so down-to-earth. I mean we hugged and then were singing and dancing together which was lovely, I wish someone filmed it though.


What are your future goals, both musically and personally?

Musically, I just hope to carry on making records and doing tours, speaking to fans and helping people. I’d like to do more charity work but at the minute because I’ve got a young baby who gets me up three times a night, I recognise that if I do a charity I’ve got to be 100% dedicated. So I’m waiting until she is a bit older as I don’t want to half-do it, I want to fully focus. So that’s a future goal and as well as that I’d love to maybe get married in the future. I wouldn’t say never to more kids I’d just have to be really settled and happy first.

Rebecca’s new album ‘Superwoman’ is out now.

Words Sarah Barnes

Photography Jack Alexander

Styling Edith Walker Millwood

Beauty Lisa Laudat using MAC and Beauty Works

Special Thanks Brown’s Hotel


White Lies spill on new album ‘Friends’ in exclusive Fault shoot and interview


After three consecutive Top 5 albums, White Lies released their fourth album ‘Friends’ on October 7th. With lead singles ‘Take It Out On Me’ and ‘Come On’ in-keeping with their trademark synth-rock sound, Fault sits down with Harry McVeigh, Charles Cave and Jack Lawrence-Brown and asks them what they have in store for rest of the new album.


Hi guys, how’s it going?

Jack: It’s going very well yeah! Start of a busy week.

Harry: Start of actual proper work. Feels like we haven’t done any proper work for…years! Slowly getting dragged back into it, but it’s nice.



With all the new promo around the new release, you’ve got a show coming up in London?

Jack: Yeah show coming up on Wednesday in Kamio. Its not a secret show but its just a real underplay as we’ve put 200 tickets out to fans, which is obviously not many. I can’t work out if it’s high pressure or low pressure to have less people there but maybe alleviates some of the worry about not playing a show in 2 years. Least there’s not that many people there if it’s a trainwreck.


Does it feel like a long time since you’ve been on stage?

Charles: Yeah!

Harry: Yeah, it did when we started rehearsals, I felt very rusty.


So it feels good to be back into the swing of things again?

Charles: Yes, there is only so much rehearsing you can do really; you’ve got to just play shows. Unfortunately for the early ones!

Harry: I quite like the element of danger; it could all fall apart and go really wrong. It’s quite a nice way to play a show!

Charles: I think I’ll definitely be very nervous before certain songs on Wednesday.

Jack: I don’t think I will be!

Harry: Apart from lyrics, which are a risk [all laugh].

Jack: Famously risky singer.


For the new ones you mean?

Harry: No all of them! [laughs] We’ve been playing a long time but I’ve always been hopeless remembering lyrics. I don’t know, maybe we need to think of a system.

Charles: System which is always like remembering?

Harry: I don’t think that’s an option sometimes. [laughs]. Maybe some sort of autocue or something.

Jack: You need to get onto autocue, everyone’s got autocue these days.


Harry McVeigh

How long ago did you start recording?

Harry: We recorded during last winter so we started in November time, finished just before Christmas, around the time of your birthday actually (looks at Charles), and we did a bit more in January. Almost a year ago now. It’s a long process to get everything together and to pick a good time for release and everything.


Did you start writing on road during the Big TV tour, or did you take a break?

Harry: No we never do that. We enjoy writing so much it seems a shame to do it when you’re doing something else. After we toured Big TV we took 6 months off and we did nothing! Which was another great catalyst for writing again because I think you need to approach writing from a position of really wanting to do it, and being a little bit bored as well. So you look forward to spending your days doing something creative and fun.


Was there a song on the new album that you found most hard to write, or to think about?

 Charles: Well actually not hard to write, but the song Come On that we released a few weeks ago, that was the one we recorded in January because we’d done a load of different versions of it, not very different versions, but trying to get the arrangement right basically. It’s one of the ones that wasn’t together enough to record in Bryan Ferry’s place in November/December. But even though we recorded 13 songs or something in that session, I know that for Jack and I that song was still kind of bugging us. We thought it should be on the record and I think we need to find a way of recording it.

Our old producer Ed Buller who is notoriously honest with his opinions came in to do some recording of synths and a few of Harry’s vocals and stuff like that, I remember playing him that demo, we were playing a bunch of the other ones that didn’t make the cut and he in his typical Ed way just kind of went “why the fuck are you not recording that? You idiots, what are you doing?” You know, you’ve got to record that, and when Ed says something like that it does give you the encouragement usually because he is almost always right.

So we went in with friend Rich Wilkinson to a studio in January just to record that. We did another song too, for a B-side but thank goodness we did to be honest! It’s gone down really, really well and I think that it’s a real bridge between fans of our first album and fans that have been with us for the whole time. We’ve seen a lot of comments like people saying it reminds them a lot of the first record but it sounds really new and kind of dated as well. But it was a pain! It goes to show you that sometimes its worth struggling away over something even though it can be very frustrating.


Do you think because of that struggle, you’re going to find it hard to translate it live?

Charles: It’s actually alright.

Harry: It was difficult.

Charles: A little bit difficult, I mean I still can’t quite remember it when it comes how to play it.

Harry: It’s got about 8 million chords in it, which is always a challenge isn’t it?

Charles: I know, they keep changing.

Harry: That’s the problem isn’t it with songs, remembering the chords.

Jack: [laughs] Not remembering chords, not remembering the lyrics, classic singer

Harry: It was a complicated piece of music though.

Charles: In some ways, my least favourite part of being in a band or the most disappointing time of being in a band is that sometimes when you’re rehearsing after you’ve written an album or when you start to play live shows, there are certain songs that you absolutely love the recordings of, and love playing them, but just kind of fall a bit flat live, and you can’t really explain it other than them being mid-tempo songs like slow ones, or very fast ones are pretty shortfire. Occasionally some of the mid-tempo ones don’t quite work. There have definitely been songs from our records in the past that people loved and had to kind of sacrifice in the live show. You sort of just go “yeah, we love them but do they actually go down really, really well in this way?” and they don’t, so sometimes when you’re rehearsing and you’ve been really looking forward to playing a certain song from the record, you start rehearsing it and you just think “ooh, no! How is this one going to go down on stage?” So we’ll have to wait and see, but Come On is one that feels pretty sturdy, we’ve made fairly a bold move and put it quite late on in the setlist.


Jack Lawrence-Brown

Expanding on that, what can fans expect from the new setlist?

Charles: We actually just posted a picture of it the other day. We’ve learnt more songs than we’ve ever had prepared before, like 25 songs.

Harry: If we played them all from beginning to end, it will probably take over 2 hours. So we’re not playing them all because that’s too much.

Charles: It’s nice being able to chop and change a little bit. In Europe we often have a lot of fans that come to multiple gigs; they actually travel between countries. So I do like the idea of someone forking out cash for two separate tickets, train tickets, hotel or whatever it is, but they get something a bit different.


Keeps you guys on your toes as well I guess?  

Charles: Yeah!

Jack: It keeps us on our toes for sure! I think it’s a really good idea for us to try and work out honestly which songs are working and which songs aren’t, but feel pretty confident about everything we’ve learnt, it’s quite an impressive and good array; a really good mix of a lot of first album, quite a lot of third album and obviously a lot of this album.


Not a lot from Ritual, your second album then?

Jack: Only a tiny bit of Ritual. Just for the really hardcore fans.


You’ve got a massive tour coming up, a bit in the UK and then you travel all the way across Europe, are you all looking forward to it?

Harry: Yeah definitely, I’m excited. We’re playing some amazing venues.

Jack: It’s going to be a real mix, we start off in Paradiso in Amsterdam, which is a big venue and Netherlands have always been really good for us, they sold that show out really quickly. Then we’ll be doing venues like one in Prague called Lucerna, which is amazing but its maybe 500/600 people. It’s a very small club and the audience surrounds the whole stage. Harry is on a little plinth a little bit further forward than usual, it’s a really cool venue. There’s a real mix of venues.


For the fans, that intimate experience will be quite valuable.

Jack: Yeah I always recommend that one as one that people should come out to and to try a new venue out in Europe, it’s amazing.

Harry: It’s going to be fun saying hello to everyone again, definitely.

Charles: All the nutters down the front.

Harry: Yeah, the nutters down the front.


Any meet and greets planned on tour?

Harry: They’re sort of unavoidable to be honest, people sort of hang around until you come out so you meet them then

Charles: We’re always happy to sign stuff.

Harry: Always happy to say hello.

Charles: We’re pretty affable, yeah. Sometimes it gets a bit like, you have to blame social media. Sometimes you literally walk off stage, sweating, get into a dressing room and you just start checking Twitter and you see messages saying ‘we’re waiting for you outside, it’s freezing, it’s raining. And we’re like “go home!” Don’t complain or try and make us feel bad, we’re going to have a shower, have a beer, sit down and just chill for an hour. So please don’t get hypothermia.


Charles Cave

Do you think part of the problem is that you do all your tours in the winter?

Harry: I know yeah, every band does.

Charles: I know! You’ve got to tour October to Christmas or January to April. After that its just festivals and you’ll tread on toes and such on.

Harry: We’re actually playing a show in Liverpool this time around. We haven’t played in Liverpool for ages! Actually its just been upgraded. It’s one of the first shows to sell out.

Jack: It was in the Arts Club which is a lot smaller, but yeah it’s going to be great.

Harry: Yeah it’s going to be really fun I think.

Charles: Last time we played in Liverpool there was one of the most famous heckles that we’ve ever had from anyone, which we’ve enjoyed ever since. In-between a song it went very quiet, bit of mumbling and from out of nowhere a very small voice, from a very small Liverpudlian girl who just said: “Harry! Get your cock out!” [all laugh]. Everyone heard and laughed.

Harry: It was a very quiet moment, it was really wonderful.

Charles: Really brilliant heckle.


I like how you remembered that one.

Charles: Oh you wouldn’t forget that. I’ll remember it, forever.

Harry: I think about it often actually.

Jack: I wonder what would have actually happened, if you got your cock out: “Oh sorry, yeah of course, we’re in Liverpool, sorry chaps.” [all laugh].

Charles: It’s flaccid at the moment.

Harry: Don’t know what is more disappointing.

Charles: Brilliant heckle. I wonder if she’ll be at the gig again, and does it again.


Just want to quickly talk about the concept of the album Friends, you’ve got this labyrinth or maze idea you’ve used for your artwork, is there a juxtaposition around struggling to find your way out of a situation?

Charles: Yes! [laughs] no, I don’t know. To be honest with you, I think we always approach our artwork with a pinch of salt, or at least we try and separate ourselves. You have to start by separately it off because it has to be fucking good looking, really. That’s the number one objective of the artwork and on the previous record, we did so well with finding that image of the spaceman for Big TV and going “yes we really like that” and then when you start to sort of live with it and you look at it and see it on records, it was only then you notice his expression; it’s kind of interesting, I guess he’s thinking about being an astronaut up there, alone, with that kind of loneliness. It really does kind of reflect what the story of the record is about, so luckily it links.

Harry: You can bullshit basically [laughs].

Charles: The same with this record really, we went through a lot of different ideas and options. I think the only thing is that we knew we wanted to stay with something very colourful, we felt that the album was as colourful or more so than Big TV.


In terms of the lyrics or in terms of the vibe?

Charles: The sounds, the sonics and the arrangement of the songs.

Harry: The colour was quite important actually, that was something we went into the design company with. That has been reflected within the final artwork.


So you’re very happy with the final outcome?

 Harry: Oh yeah, I can’t stop picking it up [holds vinyl copy of ‘Friends’ up], as you can probably tell.

Charles: Yeah! I think it’s incredible.

Jack: This is the first day we’ve seen any of this stuff [points at mountains of vinyl stacked for signing].

Harry: It’s awesome, just awesome. I can’t wait to chuck it up onto the wall when I get home.


Are there any B-sides coming out?

Charles: Loads!

Harry: They’re all on here [picks up limited edition cassette tape boxset of ‘Friends’].


What are the songs called?

Charles: Yeah how many are there in total?

Harry: Well there’s probably 16 tracks in total, there are 10 tracks on the album and 6 extra tracks on here.

Charles: Maybe even more!

Jack: It’s got demo versions as well.

Harry: I’ll tell you what they are, the track list on here is in this booklet, lovely booklet I think it’s great. [Holds up landscape ‘Friends’ booklet that accompanies tape version]. Wonderful pictures. Usual album plus we have bonus tracks such as ‘Friends’ – the title track of the album is on there.

Jack: Which is a B-side!

Harry: ‘Give a Sign’, lovely track. ‘What I Need’. [Charles counts them out]

Jack: That’s the fastest track on there. [Referring to bonus track ‘What I Need’]

Harry: ‘Where Do I Go’

Jack: Pretty decent!

Harry: Another version of ‘Take It Out On Me’

Charles: We won’t count that.

Harry: Yeah we can count that; it’s a pretty good song! Also ‘Son of a Gun’.

Charles: That’s five! There are more demos I think.

Harry: Nope, none [reaches the end of the booklet].

Charles: I’m sure I put more demos on there.

Jack: It’s the first time we’ve recorded more songs than required for an album.

Harry: It’s nice that people get to hear them as well.

Charles: I can’t wait for people to start tweeting us going ‘I can’t believe you didn’t put that song on the album! It’s the best song you’ve ever done. You’re such idiots! When are you going to play it live?’

Jack: They’re probably right everytime, but that’s fine if people love the ones that didn’t make the record.

Harry: I think we should probably learn a couple of those songs to play them live.

Charles: I think that is someone expressing their desire to show you that they’re a real fan. If someone picks a B-side as their favourite song what they’re doing is they’re saying I know all of your songs, not just the singles.

Jack: Like the song Taxidermy, which was a good song but people love to mention it.


The first album B-side?

Harry: Yeah, the B-side.

Jack: Yeah, they want to show their point of difference to the other fans. It is quite competitive.

Harry: We’ll probably have to end up playing one live.

Jack: Yeah I think so.

Charles: We should learn ‘What I Need’ I think.

Jack: That song is so fast Charles!

Charles: Would be good fun though, bit of a mosh pit eh? [all laugh]

Harry: A 40 year old mosh pit.



What is your FAULT?

 Harry: I think we were talking about this, I think we’re very self-deprecating. I don’t think we realize what we have; we’re very quick to complain about things. I think most bands are probably like that, a little bit. Self-doubt can creep in very easily into your life.

Jack: It’s a bit neurotic; we’re a bit neurotic.

Charles: We’re a bit neurotic as a band, some would argue that it’s a fault, but we have collectively no desire to be in any way famous, or nothing like that. I mean we want to be a good band, we always have, but I think right back to day one when started getting attention before ‘To Lose My Life…’ came out, if we’d done all the kind of shit we’d have to do if you want to be really, really successful, like making friends with loads of wankers and getting photographed all the time, going to silly parties, all of that nonsense. Sleeping with some pop star or something like that.

Jack: We would have done that if that was an opportunity to be honest.

Charles: Yeah we would have done that if it was an opportunity. [laughs] We always really shied away from that and other bands that do that all tell themselves ‘yeah, Radiohead aren’t famous but look at them!’ but yeah you’re not Radiohead. [all laugh] I’m always impressed, deeply impressed when certain artists or bands seem to have the hours in the day to both do what we do, i.e. write music, record it, tour it, promote it and…

Jack: Play the game.

Charles: Play the game! Like The 1975, they’ve become absolutely massive, they do all the hard work, do all the stuff and they properly play the game. They get their tits out, basically, and they play up to that whole ‘we know that 15 year old girls, super impressionable, slightly depressed, angsty girls fucking love it’. Let’s just play to it. I totally respect that but unfortunately we don’t have the physiques to do that.

Harry: Or big enough penises.

Charles: Or big enough penises. But no I really admire it, that’s probably a fault we can’t undo now, but we’ve never had an interest in it. But maybe it’s a weird British thing, but as soon as people come up to me occasionally and say “I just can’t tell you how much lyrics from the first album meant to me”, and I don’t like that stuff, I immediately feel pretty awkward about it. I can never buy into my own shit basically. We’re all too self-deprecating. When someone says to us “that piece of music moved me”, we’re just like “yeah it’s alright isn’t it”.


‘Friends’ is out now on CD, vinyl and limited edition boxsets. White Lies will be touring the UK and Europe in October and November. You can find all tour dates on their site: http://whitelies.com/


Words Stuart Williams

Photography Laura Coughlan

Grooming Cat Parnell using Elemis and Bumble and Bumble



FAULT Weekly Playlist: Frankie + The Studs


Glam rock quartet Frankie + The Studs have had a good summer to say the least. The band recently wrapped up a tour that included stops at The Viper Room in Los Angeles, Lollapalooza in Chicago, and Highline Ballroom in New York City. They’ve also just dropped their debut EP “High On Yourself.”

If you’re not familiar with Frankie + The Studs, we’re here to give you a brief crash course. Lead singer Frankie Clarke comes from rock royalty; her father Gilby Clarke is the guitarist in Guns N’ Roses so she knows a thing or two about making fist in the air rock anthems.

We asked Frankie to put together some of the songs that inspired her growing up and Frankie + The Studs. You’ll find a lot of classic songs from artists including T.Rex, David Bowie, and The Black Keys so dive in.

Green Day – American Idiot

“If we’re talking about songs that have inspired me, I remember a friend lending me Green Day’s “American Idiot” album when I was in the 5th grade. Hearing this first song off the album, Green Day became my favorite band. From then on, I had the biggest crush on boys with guy liner and to this day every time I write a song I hear an underlying influence from Green Day, probably because this album is completely engrained in my memory.”


The Strokes – Heart in a Cage

“My love for the Strokes is borderline obsessive. I watch the video for this song almost on a weekly basis. Immediately when I listen to The Strokes, I just want to go back to NY. And that riff is so rad.”


She’s One of the Boys – Nick Gilder 

“I really wanted this song to be our walk on music for Frankie + The Studs, just because I feel like it’s so relevant to who I am as a performer. Instead, I just listen to it while I get ready before a show.”


Ace Frehley   – New York Groove 

“New York Groove is just one of those songs that can put me in a good mood instantaneously. I mean it’s sooo good!! If this song ever comes on and we are mid conversation prepare for me to tune out and start singing along… and I’ll probably make you sing along too…”


Paramore – All I Wanted

“This is one band that I don’t think people would expect for me to be in love with. One of the reasons I have always admired Paramore is they have their own sound. I’ve never been able to pin point an artist that sounds just like them. I can’t listen to this song without getting chills.  Her voice conveys so much emotion, I want to be able to do the same and make people feel something.”


Blackmail – The Runaways

“If it weren’t for the badassery that were the Runaways, I don’t think I’d be who I am today. I love how aggressive this song is.  They really were the “queens of noise”. Plus, it’s a great song to jam out to when you’re pissed off… Yeah I’m guilty of screaming along to this in my car when no one is around.”


T.Rex – Life’s a Gas

“T.Rex is one of my favorite songwriters of all time. The lyrics don’t always make sense, but they’re poetic. I love that you can create your own sense of what he’s saying. This song has stuck with me because I remember my dad recorded his own version when I was younger, so this song is engrained in my memory. Marc Bolan’s voice is just so haunting.. I could listen to it all day.”


Black Keys – Everlasting Light

“This song sounds like it could’ve been right off of T.Rex’s “Electric Warrior” album. It’s got such a great groove, and it was one of my favorite songs to see them perform live. When they play it live, they drop down a disco ball, and between the visuals and the pulsing beat, it just puts me in a complete trance.”


David Bowie – Heroes 

“This song either makes me cry or makes me feel incredibly nostalgic. You know that scene in “The Perks of Being a Wallflower” movie when they go through the tunnel and listen to this song? That’s the feeling I get whenever I hear this.”

Frankie + The Studs Socials: