FAULT Music

Foals Exclusive Photoshoot and Interview With FAULT Magazine Online

 

 

Foals is one of the few bands these days that has reached the top on their own terms. The past year has been the result of nearly a decade of sweat and hard work: Wembley gigs, a Brit Award nomination for Best Group and now – a headline spot at this weekend’s Reading and Leeds. At this pace, we trust that the guys are still going to be hitting it hard in another decade to come. We caught up with the bands just moments ahead of their monumental headline show at Reading and Leeds and here’s what the boys make of it all – before you see it all unfold on stage.

 

You’re just about to headline Reading and Leeds. What’s going through your heads right now?

 

We’re like a mixture of quietly confident that it’s going to be good and fun, but we’re also a little bit terrified. Whenever there’s a big show, there’s a big build-up towards it. You just want to get it done after a while. But it’s okay, everyone is in good form. That’s the thing with these things – it’s the sense of occasion that makes it a success. I like to think that we’ve sort of won anyways and if we just play through the songs, we should be okay.


You’ve been in the music industry for over a decade now. Let’s do an overview of how things were back in the day and what they’re like now -when you’re just about to do one of the biggest shows of your careers. What’s changed and what’s stayed the same?

 

The thing that stayed the same is definitely our attitudes toward playing live and how we operate as a band. We’ve definitely gotten used to more comfort, we travel a bit more, there’s more luxury now and all that stuff that just comes with being a bigger band I suppose. But what has definitely changed was the way we made music over the years. We figured out really early on, after our first record, that if we were going to have any kind of longevity as a band and success in the industry, then we needed to keep our fans and ourselves kind of on their toes. And basically change up everything we do, but still be true to ourselves. We haven’t done it perfectly, but we managed to do it.  I feel the lifespan of the band would have been dramatically shorter if we were just going over the same ground and putting out the same record.

 

The charts were never a point of reference for you, as a band, and now you’ve become a household name. Do you feel that the music industry in the UK has a tendency of sieving out the unnecessary in time? 

 

We consider ourselves lucky with the fact that we didn’t have this great success with anything that was like a one time hit. I really don’t envy bands these days that are in that situation because it’s almost impossible to follow up.  If you can’t keep it up, you’re done. I think we’ve done well to avoid that.  And I like to think that we’ve become a decent name amongst other bands.

 

I like how you’ve used the phrase ‘decent band’ when you’re just about to headline Reading and Leeds.

 

Well, the moment you think you’re really good – then you’re in trouble. We know we can be good but we also know that we cannot be that good. That kind of human element, cause we give it a lot of energy and a lot of effort , is also a part of our success right now.

 

Do you feel that there can be downsides to your increased popularity?

 

Straight off the top of my head, one of the downsides is that sometimes we do feel the pressure a little bit when the shows get bigger. Sometimes you feel like you can lose a little bit of the element of control. More and more people get involved. They’ve all been brilliant – the team that’s around us is incredible and we’ve been really lucky to have the help that we’ve had from our management and label. But there’s just no way you can keep control of everything and I think that element of sometimes losing control is a little bit of a downside to increased popularity.

 

What’s your take on your band’s current lofty position on the British rock landscape?

I like to think that we’re up there with the big boys. There’s a certain group of bands that are around at the moment – some of them are quite bigger than us – like, say, the Arctic Monkeys who’ve done considerably bigger shows and have more achievements than us, but I like to think that because of our longevity, we’re up there with many of those bands. I like to think that we’re going to leave some kind of mark on the British music scene.

 

Final words: what can we expect from your set at Reading and Leeds in the weekend ahead?

 

We’re treating it like a celebration of 4 records. So, we’re trying to do a little bit of everything, but we don’t have that much time to try and fit everything in. We’ve been trying to work out a set that’s kind of comfortable for us and we don’t miss too many things out. We’ve got some production, we’ve got some little bells and whistles and things that should probably make it fun and make it a celebratory upbeat thing. We’re in a good place. I hope it works out, otherwise…

 

What’s your FAULT? 

I think it’s letting go of decision and trusting other people. I think we’re quite untrusting as a band and sometimes we need to realize that people do know what’s best for us.

 

FAULT Magazine Attends Full Moon Fest: Photo Gallery

 

Under the magic of a waning late-summer moon, the sixth-annual Full Moon Festival found its rhythm this weekend on the north shore of New York’s Governors Island. A lineup of electronic and hip-hop heavyweights from SBTRKT and Marcus Marr to Santigold and Pusha T filled the harbor with enough summer vibes to last at least until the leaves start turning.

And in our era where a sense of style define your social status, the crowd was dotted with 20-somethings who looked fresh off the set of a sepia-toned lookbook. Through wet heat and a wetter rain, the fashion at Full Moon took street style to its limits and left the rest of us with some residual closet envy.

 

Photography: Nate Cover

Rudimental launch their Bench AW16 campaign – exclusive interview

As part of their ongoing #LoveMyHood campaign, iconic menswear brand Bench have partnered with the equally iconic Hackney lads Rudimental, as their new brand ambassadors. We had a brief chat about the AW16 collection …and some other random things.

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FAULT Magazine: What do you think you’ve learned about the fashion world whilst partnering with Bench?

Piers: I learned that sometimes I can fit into a 34, when I was always a 36…

Kesi: I learned about Piers’ love for shirts. I think he has now discovered a love for shirts.

Piers: Yes. I learned about my love for shirts too.

Locksmith: What I’ve learned… Is that fashion and music actually go hand in hand.

FAULT: How so?

Locksmith: Well if you think about it… In the past… I’ve been asked questions like this… and I’ve been able to answer [everyone laughs]

Amir: …they are both forms of expression. We are the masters of one form, so we thought we’d collaborate with the masters of the other.

DJ Locksmith: Seriously, fashion and music do go hand in hand… Bench came to us kind of with a spiel and we were very wary of that, because we’re not the face of our music. We let the music do the talking. When you get approached by a clothing company, you often think ‘they’re going to want us at the front’ …we still like doing our shopping without being noticed, but Bench came to us from another approach. They were kind of sold by our music and the reach of our music, so because of the way they sold it to us, or approached us, we were like, ‘you know what? Fashion and music do go hand in hand’ we were able to target their fans and they were able to target the fans that were similar to their fans and go forward.

Another thing I liked was they said that they didn’t just want to do a normal photoshoot with us wearing their big logo, they wanted to do something where they find out about Rudimental… a 24hr video shoot if you like, and we did that with them in Central Park, New York, where they got to come behind the scenes of a gig we were doing on Summer Stage. They got to see us getting ready and they found out about our individual characters, fashion sense and fashion styles. It was a really cool concept.

FAULT: How do you describe your individual style, because you’re quite diverse? – do you know that you are every colour emoji? That is so cool. You should use that somehow…

Piers: Nobody is yellow though.

Kesi: I am a bit…

DJ Locksmith: That is true… We should do a DJ act, in front of loads of people and just wear emoji hats, because it represents – That’s a sick idea! – And call it EMOJI. If you guys don’t do it, I’ll get some other guys to do it. That’s sick!

FAULT: Back to your individual styles…

DJ Locksmith: Me and Kesi and more T-shirt and shirt guys, Amir is more the smart/swagger guy, then Piers whose into his shirts… Which we all found out along the way. These are all things we never really paid attention to. We just knew what we liked and we cracked on with it.

Amir: It’s beautiful that they caught us in our reality. That’s basically how that whole photoshoot happened. They followed us with their cameras and got a lot of nice, natural shots with us.

FAULT: In a world where A$AP Rocky and Rihanna are fronting Dior, which is great too, this collaboration feels very organic and home grown…

Amir: I always thought of Bench as Brit pop, I always thought of it as proper British culture, so yes, it was a great match.

FAULT: Given what you said earlier about privacy and being sceptical at first, after this experience do you see yourselves ever fronting a high fashion campaign?

DJ Locksmith: Damn! If the money is right, girl, I’m down!  [laughs]

Kesi: If it somehow worked with Rudimental and what Rudimental are about as a movement, why not? It all depends on the ethos. We can’t change ourselves to fit something else.

FAULT: The AW16 was unveiled on Snapchat, which is quite a cool and current idea…

DJ Locksmith: See! Snapchat. We’re down.

FAULT: Do you manage your own social media or does it belong to your management?

[In Unison]: It’s ours!

Amir: Some of us are better at it than others.

Piers: I did a Snapchat once.

FAULT: Well done. What was that one Snapchat?

Piers: It was me half naked…

You can read more about the Rudimental X Bench campaign here, and can follow the boys on Facebook, Twitter and Instagram.

 

Words Trina John-Charles

The Chainsmokers Exclusive Fault Playlist – “When You Hook Up With Your Ex”

The Chainsmokers first burst onto the scene with ‘#SELFIE’ in 2014. Since then, their sound has matured and they’ve cemented their place in the EDM scene, with their tracks ‘Roses’ and ‘Don’t Let Me Down’ welcoming huge chart success both sides of the pond.

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Start your weekend right with this exclusive playlist from the boys themselves. The theme?… When You Hook Up With Your EX!

“Hooking up with your ex is always a bad idea. These songs are a reminder of that.”

The Chainsmokers ft. Halsey – Closer

XYLO – L.A. Love Song (Win & Woo Remix)

Lost Kings – Bad

Alan Walker – Faded (Young Bombs Remix)

Jocelyn Alice – Feels Right

The Him – Don’t Leave Without Me

Martin Garrix ft. Bebe Rexha – In The Name of Love

Violet Days – Your Girl

AlunaGeorge – I’m In Control

Flume – Never Be Like You

 

The Chainsmokers new track “Closer” features Halsey and is available now!

FAULT Magazine in conversation with Carl Cox

 

 

This year it’s a seminal and historic season, it’s ‘The Final Chapter – Music Is Revolution’ with the closing of Space so I imagine that it will be quite emotional for you? 

I’ve never been involved in something so strongly as this. This is my only residency that I’ve taken on apart from Ultimate B.A.S.E. Here I’m 15 years on and everything is at the highest level. There is a team of amazing people surrounding me and we all feel a part of the success. Once this is gone the family will break and we will inevitably move on and go our separate ways.

 

So have you felt like your sets this season so far have had an element of nostalgia?

Absolutely and I feel the more I go into this season the more it’s gonna be like that because people want to experience what has made and defined the club over the years. So I don’t want to just play pure upfront techno and dance music or tech house which is the current sound, I want to play the music that people have forgotten about and make people think, ‘I remember exactly where I was when this record came out.’ Or if you’re so young that you don’t remember it, you can experience the vibe and the sound that made the club great.

Tell me about how your sound has evolved over the years?

I was born in the late sixties and I grew up in the seventies with bands playing funk, soul, disco and R&B, jazz and modern jazz. My adaptations and what I play with my music comes and stems from all of these moments in my history. I have lived all of those moments and my knowledge of music is an expanse, it’s a lot. My brain should almost be exploded with all this music knowledge that I have come to acquire. If you go back 30 or 40 years I look back at the amount of music that I’ve played, shared, begged for, borrowed and stole (he laughs) and it’s got me to where I am – my life has been dedicated to music.

 

When did you first arrive to the island?

I first came to the island in the mid eighties. When I was about twenty one I came to Space and I thought, once day I’m gonna be playing at this club and I’m gonna make sure that they’ve never heard a DJ play like me. And that’s how it started.

So from an early age did you dream that you would become one of the greatest DJs in the world?

Well I never went out looking for that title. Music was always in me, to understand it, nurture it, respect it, love it and once I had it – to share it. This was instilled in me from my mum and dad. My mum has now unfortunately passed away, but her legacy of who she was is within me to continue the legacy of the Cox family in the way that I believe I’m put on this planet to do.

What makes Ibiza your utopia? 

I wanted to go to Ibiza when I was younger cause Ibiza had so many clubs. I was drawn to Ibiza from day one since1984 or 1985 I’ve been coming to the island and not really missed one year over the last twenty years. I’m here to give to the island. I share the love of my music with people, I have always had that notion, and that is the reason I do what I do.

 

*Interview taken from an excerpt from the Ibiza Icons book in partnership with Bulldog Gin

 

FAULT meets The Veils ahead of their new album release

Led by the mysterious Finn Andrews, The Veils are one of the most sacrilegious bands in alternative rock. The group’s haunting upcoming album, Total Depravity, was co-produced by American artist El-P from Run the Jewels.

Andrews, in his interview with FAULT, gives insight into his bizarre life as a second-generation performer.

 

FAULT: What was it like growing up with a musical father [rock star Barry Andrews]?

Finn: The weirdest aspect was just being really young and not knowing who all these malnourished weirdos hanging out in my house were. And then, as I got older, that became quite cool. But when I was like eight, I didn’t really understand what was going on. These people just seemed like they all needed to have a bath and relax a bit or something. They all seemed very uptight and freaked-out and strange to me. But I sort of pieced it together as I got older. When I was old enough to actually be writing songs myself, my relationship with my dad changed a lot, I guess, because could always compare notes on and play each other new songs.

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FAULT: Did you ever meet David Bowie?

Finn: Yes, but I was very, very small. He looked after me a few times, but I don’t remember it at all.

 

FAULT: What factors went into your decision leave The Veils and do a solo tour, way back a decade ago, and then what made you decide to re-form the band?

Finn: It was never really a band with the first record. It was people I sort of found within the first few weeks of getting to London to record those songs with. It was put across like a band, but it certainly never felt like one. We didn’t know each other very well, and it was kind of a solo record, really, under a band name. So then, when it all just kind of imploded, I think those shows had been booked already, so I just went and did them by myself on my way back to New Zealand. That was a depressing time, really. I don’t like traveling, and I don’t like touring on my own. It’s not really as fun. Your sort of in your own company all the time. I like having a gang around me. Both onstage and off.

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FAULT: I saw that you wrote an orchestral piece to commemorate World War I, but I couldn’t find a whole lot of information about it. What can you tell us about that?

Finn: That was really interesting. It was just for a one-off performance in Passchendaele, in Belgium. I believe, in the beginning of last year (I might have that wrong.), they asked a Canadian artist and an Australian artist and an English artist—about five or six people—each to compose a 20-minute orchestral piece for it. It wasn’t recorded; we just performed it once, on the site of the battle there. Yeah, it was very strange, I think I ate something weird the night before, and I was incredibly nervous as well. We were staying in a hotel next to the old battleground, overlooking this huge landscape. I was up all night—half-sleeping, half-not—having these weird dreams with all these millions of little eyes just like looking at me out of the ground. And then you know when you sort of sleep, and then you don’t feel like you’ve slept at all? It was sort of one of those. And then I woke up and had to do this performance, so I was a wreck that day, probably more so than any other show we’ve done. But it was a very nice thing to be able to do. It was a a very interesting, different experience for me.

 

FAULT: What was the deal with you guys living out of a garage in OKC for a period of time?

Finn: That was because we had a manager—this guy who managed The Flaming Lips—and his bright idea was that we relocate to Oklahoma for six months, or however long it was. We lived in Oklahoma, and then we had a little van that we drove to the coasts and back. It seems okay except, like, it’s a fuckin’ long drive from New York to Oklahoma. But it was great. I got a lot of songs out of that period of time—certainly “King of Chrome” off the new record. It was really interesting and sort of foreign to us, that part of the world. It was right in the middle of, like, peak W. Bush, as well, so it was an interesting time to be staying on the Bible Belt, you know?

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FAULT: Why did choose to record Total Depravity in three different countries and four different cities?

Finn: It really wasn’t a choice. It was just by virtue of having El-P involved, and Adam [Greenspan] and Dean Hurley as well. And also having no money really to pay anyone. It was a case of me going around with a bag full of hard drives and, you know, stealing time from people whenever I could. I believe we and Run the Jewels were touring around the same time, so it was whenever we both had days off. You know, that’s how ended up in Porto; it was just because everybody was there and had a few days off at the same time. Yeah, it was quite stressful, mostly because I just kept thinking I was going to lose the entire record in an airport or something. It was a strange way to make a record, but it was possible for us to do it like that because we had the luxury of time.

 

FAULT: Finally – What is your FAULT?

Finn: That’s like in a job interview, isn’t it? What are the ones you’re not meant to say, like perfectionist and stuff? There are many to choose from, certainly … I don’t go on holidays. I need to occasionally do that. We weren’t really a family that had holidays growing up. I think it was because we were moving around such a lot anyway. We’ve got lots of Europeans in band, so they’re constantly going on holiday. They like to live a more relaxed life. So I probably need to learn how to relax a little more.

 

The Veils release new album ‘TOTAL DEPRAVITY’ on August 26th via Nettwerk Records.  

Words Cody Fitzpatrick

Photography Thomas Wood

FAULT Magazine Attend Fresh Island Croatia

As the storm from Fresh Island 2016 settles it’s time to reflect on the experience. The first thing you notice when driving through the windy coastal roads to the Island of Pag, is just how beautiful Croatia really is. The beach paradise is everything you want in a festival: sun, style, world-class artists and a whole lot of fun. Pool partying on Zrce beach is unlike anything you could have imagined ever attending… it’s like a scene from Dr Dre’s pool party in Straight Outta Compton. Picture this, Shorebitch DJ’s dropping Drake and Popcaan’s hit Controlla meanwhile you have two girls whining in the pool with one lucky guy behind them appearing to conduct their every move.

Grime Karaoke hosted by Julie Adenuga with Sian Anderson on the decks, oh and not forgetting Big Narstie keeping it real eating his sandwich. Here at Kalypso Club everyone got their chance to grab the mic and perform all the best in grime to a high-energy bubble soaked crowd. Stakes were high as Julie stated anyone to butcher a track risked being exiled from the grime community for life. The grime feel of day one carried on with Logan Sama providing one of the top performances of the festival with lots of grime heads making their way to see him at Kalypso Club. Wiz Kahlifa, one of the larger artists came through with a sick set Papaya Club donning inflatable spliffs for everybody to pass around and enjoy.

The Faded Wave boat party kicked day 2 off with a bang. Although the saying goes “the calm before the storm” there was certainly no calm on this boat. Once the boat hit the open waters first up was DJ Melody Kane who brought instant fire to the decks with Mr P on the mic getting the crowd hyped rocking a fresh two piece! Next up were Jam Masters and Shorty Bless who kept the boat rocking right into the storm.

As the storm made its way to Zrce Beach, Do Gibson & Illvibe were closing up their set at the Complex Stage at Aquarious club. Next thing we knew, the heavens opened up and this sent the audience wild as they partied in the pouring rain. DJ Premier was next up and which prompted a change in plan leading the crowd indoors. Once up DJ Premier certainly lived up to his name and delivered a mix of his own classic sample based hip hop and rap tracks, which had all the old heads buzzing. Statik Selektah stepped up and kept the old school hip-hop vibes going till sunrise.

The Big Dawg Tim Westwood put his name on day three as he hosted one of the hottest pool parties of the festival. Day two was massive but with Tim Westwood at the helm at Papaya Club, any sleep or tiredness vanished as he got everybody’s energy levels up. Westwood made a second appearance when he was on the ones and two for the headline act Chris Brown. Unfortunately as well as Tim Westwood, the storm also made a second appearance and gale force winds closed down the purpose built Beach Takeover Stage for health and safety reasons. Chris browns performance was moved to the Aquarius Club where we were treated to a more intimate set. Brown’s high-energy mix of dancing and singing had the girls in the audience wooing and left with the crowd wanting more. London based Applebum closed up the festival with a celebration of hip-hop and r&b.

Fresh is the word to describe the feelings and highs that every aspect of this festival encompasses. This is displayed by the energy throughout every performance, every track and every well-put together outfit.

Words: LXN

Preview: DNCE On the Music Cover of FAULT Issue 24

 

Joe Jonas’ DNCE has been topping the UK charts for 3 weeks straight, with their overly catchy tune Cake By The Ocean. After giving it a try solo, Jonas ultimately decided that he’s more comfortable in a group rather than on his own. And he couldn’t have made a better call. With Cake By The Ocean blasting from every corner you could possibly imagine, the band are currently touring Europe and are expected to release an album late in the summer. It’s safe to say that Joe has broken the Jonas Brothers mold, much like his younger sibling Nick who was FAULT 21’s cover star. In FAULT Issue 24’s Music Cover shoot, we catch up with Joe here’s his take on life outside of The Jonas Brothers, personal tracks and growing up in the public eye.

 

 

When you first got the band together, what was your initial aim? Where did you want it to go?

Originally, it was just about creating the music. At first, we had a bit of a writer’s block and we couldn’t quite figure out the vibe that we wanted. And finally, we worked with new producers from Sweden and kind of just broke the mold. It all happened very quickly and we’re really thrilled with the reaction and how things have happened so far.

 

How important do you think chemistry is within a band and do you think you have it?

Chemistry is very important. You’re sharing every moment with that person and you want to be able to feel comfortable with them, wherever you go. Sometimes you’re traveling internationally, you’re sharing a tour bus. Not to mention the overall vibe about performing on stage. You want to feel comfortable. I’m very lucky to say we get along.

 

You must have a lot of unreleased tracks under your belt that you can’t wait to put out. Do you have one in particular that you’re eager to release?

I’d say that Cake By The Ocean has been one of my favourites. There’s also a song called Almost that I wrote with our producer, Nolan, and a few other writers in LA. Almost is a personal song and I feel like it’s really fun to share those with the world. When you can really pull from personal experience and find a way to showcase it in a relatable way, it’s always a rewarding feeling. If you’re going through stuff and have any sort of creative outlet, you might as well put it into good use.

 

You’ve also had a solo project beforehand. Pros and Cons to working solo as opposed to working in a group?

There are a lot of similarities. There are obviously things that you do when you’re traveling and touring with your brothers that are nice, because you’ve got your family with you at all times. And then, there’s also the element of playing with friends. It’s a fun vibe. But I do prefer playing in a group. There’s something special about our band.

 

Do you have to deal with Jonas Brothers comparisons anymore?

There are sometimes some comparisons here and there, but I don’t mind. We’re also really supportive of each other’s individual careers, so it makes it all a lot easier.

 

Since you’ve been in the public eye your entire life, what’s your personal take on fame?

I think fame is something that kind of comes with what you do. Some people handle it differently. I grew up around it, so it hasn’t always been an easy thing for me, but you learn to adjust and adapt to how you’re comfortable. Ultimately, there are things that you’re gonna be cool with and things that are gonna be tough to get over. But at the end of the day, if you remember where you come from and how it can all go away so easily, it makes it a little bit easier to handle.

 

What’s your FAULT?

I can be clumsy on stage. There are definitely a few shows where I’ve fallen off. There are a couple of Youtube videos to be watched.

 

FAULT MAGAZINE ISSUE 24 – THE DISTINCTION ISSUE – IS AVAILABLE FOR *PRE ORDER* NOW

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