FAULT Music

Japandroids – Live at Epic Dalston

With the return of the infamous Pit Parties known for its 360 stage centred in the middle of the room and hosted by label Fluffer Records, crowds began to gather as the pit pried opened its jaws and welcomed Vancouver rock duo Japandroids to the cage.

The pit isn’t a stranger when it comes to hosting loud tenacious rock having had girl duo Deap Valley perform only a few nights ago. Tonight was no different as the boys fired things off with the opening track Near to the Wild Heart Life taken from their latest album of the same name.

The walls were awash with electric blue and blood-soaked red as speakers blared out belters such as Fire’s Highway and Younger Us whilst fans fervently shuffled and shook.

Security stood attentive as inflatable balls volleyed their way across the room and occasionally on stage but it was smiles all round as guitarist Brian King acknowledged the rowdiness coming from the crowd before swigging back a few shots and spitting out tracks such as North East South West and No Known Drink or Drug.

Boxed in by the masses, the band ploughed through their set with barely any room for breath as The Nights of Wine and Roses and The House That Heaven Built riled listeners into a frenzy and welcomed Brian with open arms as he embraced his devoted audience before calling it a night.

The word epic was sprawled across the venue doors and tonight undoubtedly lived up to its reputation.

 

Words and photos Jack Lloyd

‘Not Another Grime Artist’ – Discussing The Transcendence of Yungen

 

It’s no big secret that over the last few years grime music has broken back into the mainstream and been introduced to a whole new wave of listeners and supporters. Despite some scepticism to the rise, it’s undeniable that it has allowed underground and independent artists new and seasoned to flourish.

The case of Yungen is different, however – in truth it’d be wrong to label Yungen as a solely “grime artist”  – his musicality transcends genres and while many have tried to place his music into simple one-size-fits all boxes, it is, in fact, his ability as a songwriter to work in several disciplines of music which has always seen him flourish regardless of the trending musical climate.

Just off a headline show at Jamaica House 2017 and with ‘Bestie’ bursting into the UK Top 20 – we caught up with Yungen to discuss his musical journey, labels and growth.

 

FAULT: As a songwriter, where do you look for inspiration?

Yungen: I get most of my inspiration just being out and driving. When I’m sat down in a writing session, it’s difficult to just start from scratch; I need prior inspiration before I just start.

Has not releasing music which fits into solely one genre made it harder on you as an artist?

I think it’s helped me because when times have changed and music has developed, not being able to put me in a box has allowed me to stay relevant. In the last few years with grime and afro bashment-rave being in, to be able to do everything has helped me release music people are vibing at the time.

 

Is it hard when people say “Yungen, the grime artist” and put you into that one box when you work across a number of different genres?

A little bit – I feel like me being called grime MC is because I came in at its peak. Me doing grime they’d call me grime but years before I was called a UK rapper and now after ‘Bestie’ they’d probably call me an afro-beat artist [laughs]. I don’t mind that I have been labelled as this or that because I know I’m not just one kind of artist and it’s on me to always make that clear.

 

A lot of new fans have jumped on to the grime very quickly – do you think this sharp rise is going to help or hurt the genre in the long run?

I don’t believe that it’s going to hurt the genre. I think grime has just been opened up to a wider audience especially with people like Stormzy who are killing it and giving all the younger MCs coming up more opportunities.

Are you a fan of large stages or do you prefer the smaller venues and session gigs where it’s just you and the music?

I enjoy performing, it’s one of the biggest perks that comes with it. A couple of years ago I went on tour with Naughty Boy across the world, and that was a big experience for me, and it made me see a different side to performing in smaller clubs.

 

What’s been the best part of your musical journey so far?

There have been so many different moments that have been iconic for me. Signing a record deal and being able to put out songs and charting. Being on tour with other people and putting on my tour has been cool.

 

‘Bestie’ has blown up and become one of the hottest records this summer, do you ever worry about topping the high bar you’ve set for yourself?

No, I’m not worried, it just made me excited for my next one. With ‘Bestie’ I had a plan when I made it, and I had a plan of what I want to release after, I didn’t expect it to go as big as it did but I’ve always had a long-term goal, and I’m excited about the next move.

 

What are you listening to at the moment?

I listen to everything really – a lot of R&B and rap and whats popping at the moment.

 

What’s changed the most about you since the debut?

I’d say I’ve grown and learnt a lot about the industry and the strategies of putting out new stuff. Going from being independent and to signing a record deal, it’s good to learn everything involved.

 

If you could give your younger self any advice what would it be?

It’d be to learn more and be smarter on the business side of music – I’ve learnt it along the way now, but it’d have been good to have known how things work from the get go.

 

What is the big dream?

When I first started, I didn’t think I”d be here now, and because I’ve met what my target is so now, I’m just setting myself new goals every week.

 

What is your FAULT?

I don’t like going out much, and I’m antisocial with going out. I’m more happy at home with my boys or in the studio, so maybe I need to start going out and enjoying life a bit more.

Exclusive backstage portrait photo gallery at Reading Festival 2017

We headed down to Reading festival to document the backstage goings on. As one of the most prolific festivals in the UK, this year saw the likes of Kasabian, Eminem and Muse headline.

We were backstage to catch all the action, and asked 48 of this year’s lineup: “What is your festival FAULT?”

Charli XCX

“I was playing a festival in Finland but I had food poisoning and had to keep a bucket behind the drummer because I was just going to throw up at any moment, but managed to keep it in. After I finished I just went for it!”

Sigrid

“My worst festival habit is that I get a bit too over-excited and I overestimate how much I can do on stage and always almost fall. I have a lead on my mic and always get tangled up in it… but almost falling is better than actually falling!”

PVRIS

[Brad] “I was in a mosh pit at a festival and I had my nose broken. I went to the emergency response people who set my nose back in place and went back out and started moshing. I’m a mosh boy.”

While She Sleeps

“The first time I came to a festival, I paid. The second time, I worked it. Third time, I broke in. The fourth, I’m playing it.”

Pale Waves

“We were at Leeds Festival and woke up to find my tent cover had been pulled off. My mate was like, ‘do you want me to pull it back over for you?’, so he did and someone had shit on it and wiped their arse on the tent.”

Zeal and Ardor

“I was at a festival doing a gig and I was really thirsty. I saw some water bottles so I grabbed one and took about ten sips. It was a little bitter and I went on to have what must have been the most emotional festival of my life… that ‘water’ was laced with I don’t know what but I had a wonderful time and guess that’s what you get for stealing someone’s water.”

Vukovi

“We were filming a live music video and one of us slipped and dislocated a knee so we had to cancel and re-film a couple months later…”

The Americas

“We are just a big calamity really. My guitar breaks, without fail, every show. Vomit is always involved at some point… we have so many faults!”

X Ambassadors

“We were standing on stage, about to play and our monitor board had gotten damaged on the flight – but we didn’t know this yet. We’re waiting, couldn’t hear anything, 5 mins go by… 10 mins… 15-20 minutes go by… 10,000 people are waiting to see us. I just went out there and played with an acoustic guitar on my own.”

The LaFontaines

[Jamie] “We were headlining a festival and I had never been at a festival before; I got so drunk I got caught smoking a spliff and the police kicked me out and we were not even able to play.”

Pins

“Just now I managed to put a hole in the drum. Oh, and maybe sometimes being accidentally too sexy.”

Architects

“We were at a festival once and we all got really drunk and poured beer over each other, but thats what happens when you drink. We don’t wanna say ‘don’t drink too much’ because that’s boring at a festival!”

Saint PHNX

[Stevie] “Alan’s biggest festival fault is farting on the tour bus. He is absolutely disgusting, he is rotten.”

[Alan] “Stevie’s biggest fault is that he stinks and he picks his nose and eats it.”

Breaking Benjamin

“We were in Rock on the Range in Columbus, Ohio and we had a small trailer/dressing room… when time came to do the show we got locked inside the trailer and had to climb out the window – but instead of helping the crew just stood about laughing and filming us struggle”

Anna Straker

“At Glastonbury my mic stopped working. No one knew why; I got halfway through the song and we finally got the mic started and had to start again but in the meantime, I was left standing there!”

The Sherlocks

“On Friday night we were asleep on the bus and our sound engineer started screaming, ‘help, help, emergency, stop, stop!’. He was having a night terror and thought he was driving the tour bus, so he was stood up in his bed trying to apply the imaginary breaks for like 5 minutes. He woke up and was like I’m sorry everyone, I was dreaming.”

Against The Current

[Chrissy] “So I was at Leeds a couple of days ago trying to get into the backstage area, and they were holding up the guests. I got waved at by security and this female bouncer got really mad and thought I was jumping the queue so she punched me in the arm. It really hurt but I was so shocked I didn’t know what to do! So bizarre…”

The Hunna

[Ryan] “Hands down it’s gotta be me losing my passport in Hamburg. The police let me in the country for the night, then the next morning we went to the embassy to get a one-day passport. It was a nightmare, apparently my passport ended up in Cyprus.”

Ray BLK

“I had a performance on Friday and the times were mixed up and no one was told about it. So I was doing my set and I literally watched everyone walk away. It was so embarrassing!”

Haus

“3 years ago we played a gig. I’d had no sleep, was wrecked, and my voice just blew out on stage. I didn’t know what to do. Off stage my sister had a bottle of rum… I claimed that I didn’t make it back to the tent; I passed out, pissed myself, woke up in my own vomit and heard a lot of stories… I literally could not talk!”

Judas

[Todd] “I went on stage and put my guitar behind my amp but it had been moved in the time that I had been away from stage. I went on stage to play and pick up my guitar and couldn’t find it.. I must have been faster than Usain Bolt; I had to sprint to side of stage and grab it carry on with the set.”

“Letting Todd in the band.”

Yonaka

[George] “I got real drunk once and I couldn’t get into the tent. I was so wrecked they found me the next day passed out on top of the tent with a stolen bottle of rum…”

Barns Courtney

“I did a gig in Milwaukee. The crowd was really far back from the stage so I thought, ‘I have to get closer.’ I thought it would be a really great thing to get down there, so I jumped off thinking it was grass down there. Turns out it was concrete and I broke my foot in 5 different places. Managed to finish the set though… and I didn’t want people see me cry!”

Counterfeit.

[Roland] “I’m always falling over – like literally always, but at a festival that’s OK it’s expected”

[Jamie] “Always know where to pitch your tent – never do it in the walkway because it’ll get trashed.”

Picture This

“We are not very rock and roll – we don’t really drink and we are very disciplined and proper into the creative side of things!”

Jimmy Eat World

“You’re gonna be so bummed out, we’re all good boys, but I have one story.. we were at this festival in Belgium once and I ate five waffles. I felt so sick…”

Deap Vally

[Lindsey] “Today right before we went on stage I had to pee really desperately, so I went in the shower because it was the closest thing I could find, and then I accidentally turned on the shower and soaked myself before the set. But you know what it was really refreshing and I felt so great during our set!”

Louis Berry

“Security who don’t know what they’re doing, telling me to go here and there and calling me a prick for no reason really pissed me off.”

The Orwells

“Having to wait here in the sun roasting, it’s the worst shit ever! Other than that, our festivals have been amazing, we have killed it every year”

TOKiMONSTA

“I had my music stop during a set and I had to just stand there and talk to the audience while it was fixed… and I once fell while leaving the stage – but I was wearing 6inch heels!”

Huw Stephens

“My festival fault is I once went on stage to introduce a band and I forgot the name, so had to walk off stage and pretend it was a fault with the microphone whilst finding out the band’s name before coming back. I styled it out!”

Puppy

“Projectile vomiting at most festivals – it seems we haven’t done it at Reading yet, but the night is still young.”

Olly Chamberlain

“I was playing at a bar once and I just fell off the stage right on my face. I got back up, played the last bar on my guitar and shamefully hobbled off stage…”

Oh Wonder

[Anthony] “You know the mosquito mesh at the top of your tent? Well, someone was sick through mine once while I was sleeping and I was covered in vomit. It was delicious.”

[Josephine] “I turned up to my first festival and forgot to bring a tent, but i thought, ‘Oh yeah, I’ll just borrow one, it’ll be fine’. I was young!”

The Amity Affliction

“One of us nearly died cos we were drinking so much.”

Circa Waves

[Kieran] “Sam usually throws his bass in the tents but always misses and it crashes to the floor. As for me, I’m faultless!”

Anteros

[Laura] “Last year, we didn’t realise it was gonna be so muddy and the van got stuck in the mud… we had an hour before our set and I had to walk to the backstage area in my night dress. It was freezing but what no one told me is that it was see through – so these guys’ biggest fault is not telling me my night dress was see through!”

You Me At Six

[Dan] “I was at a festival as a punter. I was about 16 and I was watching Red Hot Chilli Peppers. I really needed a piss so I had my mates huddle round me while I peed in a cup, but they decided mid-pee to move away, so there I was standing there with it in a cup – and yes, just like Chris from Love Island, it does touch the bottom!”

You Me At Six

[Josh] “Realistically every time I open my mouth on the mic in front of how many thousand people that is somewhat hazardous! When I’m not singing, it has to be when I try and channel my inner Ricky Gervais in between songs – it usually ends quite badly, not as funny as I think I am, maybe!”

Bastille

“We were at a festival, at a Muse gig, and I had a few gins so my balance wasn’t great, and I fell and twisted my ankle, so while the rest of the guys were at the after party I was sitting in a Polish hospital.”

Dillon Francis

“Maybe walking off stage in Australia… but it was called for!”

LANY

“We just played Summer Sonic in Japan, and I nearly ate it on stage. It was so embarrassing but I managed to style it out. Had to pretend I was break dancing.”

Sundara Karma

[Oscar] “We played Latitude in 2015 and we still getting used to the whole rider situation. We were getting free alcohol, we got really drunk beforehand on a litre of vodka and then went on stage. I went in for a crowd surf, underestimated the strength of the crowd and just got dropped on my face. I really hurt my ribs but didn’t realise until the next morning.”

Glass Animals

“We got so wasted for a festival in Switzerland for so many days in a row that we had to cancel the show. We drank so much, got on stage and nothing came out of my mouth so we had to cancel. So yeah, not great.”

Stefflon Don

“I was told before one of my shows that we had to cut short the set time, so when I saw my manager signalling from side of stage in the middle of my song Real Ting, I cut it short. When I got off stage my manager said to me ‘No, Stef, I said go into the crowd.’ I felt so bad ’cause Real Ting was the song they were waiting for and I saw all my fans faces were disappointed, so yeah I felt really bad…”

Delta Heavy

“We took a wheeled suitcase to Glastonbury last year and literally had to drag it through the mud. Not fun…”

Jacob Plant

“We were about to go on stage at Glastonbury and we didn’t know our sound monitor had broken, so we’re standing on stage in front of 20,000 fans and there was no sound.. our set was only 20 minutes, so after 15 we just went out there acoustic and did a couple songs. We felt so bad but it turned out really good.”

The Big Moon

[Jules] “I broke a tooth having sex with my boyfriend in my tent…”

Anne-Marie

“Whenever I have a show in another country, I try to learn their language. We had a show in Germany and I was sweating out ’cause I was proper hot, and I asked my pianist who said he’d learned German in school. I said ‘what is “I am hot” in German?’ and he said its ‘ich bin heist’. So the next show, I was shouting ‘ich bin heist’ and everyone was laughing. I just thought it was because 0f my accent. I came off stage and I had loads of tweets quoting me as saying I was sexy. Yeah, so that was embarrassing”

Photography Jack Alexander

Words Jade Cunningham

FAULT Weekly Playlist: cln

Australian producer cln is taking heartbreak and using it as an opportunity to make big changes. Musically, the end of a yearlong relationship caused him to take another look at songwriting and production – to switch gears if you will. It’s only fitting that his latest single is thus called “Switch Gears.”psuedo adds crisp verses and a melodic chorus over cln’s chilled out production with trap undertones.

This song release gave us the opportunity ask cln what he’s been listening to and inspiring him lately. Take a listen through his exclusive playlist for FAULT below.

Tyler, The Creator – Where This Flower Blooms

“Tyler’s new album is one of my favourite albums released this year. His music has matured significantly, and the whole album is really well done. The production in this song is super unique, and i love the Frank x Tyler combination.”

Sampha – Reverse Faults

“Sampha’s voice is incredible and I can’t stop listening to his recent album. I could pretty much list any song from the album here, but this one is my favourite. The snare drum in the drop is 10/10.”

Golden Vessel – Shoulders (ft. Elkkle + Mallrat) https://open.spotify.com/track/5GEDa0CNHxhGk0mn1gmcXX
“Golden Vessel is a good friend of mine, and this song is my favourite from him. The production is super lush and intricate + it’s combined with some really good songwriting.”

Frank Ocean – Godspeed

“Blonde is probably my favourite album of all time. I have listened to it constantly since it came out. A lot of people dismissed it because it’s not very poppy like Channel Orange, but i think anyone who has given it a few listens has fallen in love with it.

Again, I could list the whole album here. I’ve chosen Godspeed because i think it’s one of the more underrated songs on the album. The organ chord progression makes me melt.”

Tennyson – Like What

“This song is ridiculous. Possibly the coolest drop I have ever heard – when i listened to it for the first time it blew my mind. Their production is on a whole different level.”

Thundercat – Show You The Way

“Flying Lotus is one of the producers who I respect the most. When I found out he’d produced most of Thundercat’s album I was very excited. The whole album is really cool and unusual.
This song is my favourite, probably because of the Kenny Loggins + Michael McDonald features.”

A$AP MOB – RAF

“Any song that has A$AP Rocky and Frank Ocean is a winner in my book. Banger.”

Hiatus Kaiyote – Molasses

“This song came out in 2015 but I still can’t get over how complex it is. The amount of talent in this band is unreal.”

Montaigne – Consolation Prize

“Everyone loves a good ballad. Montaigne has an amazing voice and this song really shows it off well. Really beautiful stuff.”

SG Lewis – Yours

“SG Lewis is just a really good producer. He is good at keeping only the essential elements in his songs, he doesn’t overpopulate them with sounds. It’s really hard to do that well, and he does it perfectly.”

cln Socials:
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Celebrating 10 years of ‘Made of Bricks’ with Kate Nash

As soon as Kate Nash announced a tour to celebrate the 10 year anniversary of ‘Made of Bricks’, we knew we had to be there. On 9th August, Kate performed the first of two shows at Shepherd’s Bush Empire, so we caught her backstage for an exclusive chat and shoot.

You’ve smashed your Kickstarter Campaign, were you expecting the support you’ve received?
I was nervous the whole way through, so nerve-wracking! I’m so excited to put out my fourth record, it’ll defo be out by February 2018!

Tell us about Glow, the new Netflix series you’re in…
Glow is sick, it’s so cool! I’m surrounded by amazing female energy, it’s so powerful, it’s really magical.

And what about your new video for ‘Call Me’?
Yeaaahhh, it was filmed where my mum works, Michael Sabel House Hospice. The song is about using what you’ve been through to help other people. My mum’s a nurse and has used her experience to help other people her whole life, and the patients support each other too. It’s a really special place to me. One of my friends died there. Also, people at the hospice wanted to change the perception of what people see a hospice as – it’s not a dark, horrible place but really bright, light and positive, and the patients get massages, meditation therapy, they socialise, there’s music and really good care and treatment. I met this amazing 94 year old woman and she whispered “come back” then winked at me when she walked away. She’s my idol.

Ten years – especially in the music industry – is such a long period, and yet Made of Bricks has stood the test of time. Are you surprised by the reaction of your fans?
I wanted to do something special. It’s crazy taking in that much love from the crowd. We’ve got through so many highs and lows together. I’ve done toilet tours to arenas, no one is solidly in one place ever, you have to be okay with that and work through the difficult time. It’s so nice to do a big joyous tour, it’s so overwhelming, the whole team’s just crying all the time cause its evoking so many memories. ‘Skeleton Song’ has been so emotional to play. My fans are the weirdos/outsiders/cool people that stand out, they all come together and are there for each other, it shows the true meaning of music.

You’re passionate about womens rights – do you think gender equality is becoming more prominent in the music industry?
There was a period of time where things got better, but now I feel like we’re in this low zone again behind the scenes, like yes there’s so many women in music, but it seems no one knows who they are, they’re not getting the exposure. Record labels are scared shitless of putting something out there that’s unique; they’re not willing to put themselves on the line to break the mould. Solo female artists can’t break through and they’re told to feature on dance tracks. I feel really passionate about it and encourage female artists to stay independent for as long as possible. The internet is so powerful now, it’s right at your fingertips and you can get that connection with people – fuck labels. I haven’t had any radio or label support for the past five years, and here I am doing two nights at Shepherd’s Bush Empire. It doesn’t matter because I’ve built such a strong connection with my fans.

What advice would you give to young female solo artists trying to break into the industry?
It’s brutal but I think artists need to see their power. Don’t work with people unless you feel their being innovative. I just don’t trust labels at the moment. I’m not saying I would never go back, it’s just it’d have to be with someone who was being really innovative.

You quote tonight’s venue – Shepherd’s Bush Empire – as your favourite. But is there anywhere you’d love to play in the world on this tour?
Australia & Japan so bad. I really want to go back.

If you could collaborate with anyone ever, who would it be?

Stevie Nicks, MIA, Dolly Parton & Cher obviously.

What’s the most important message you want to share with the world?
I’ve learnt loving yourself is the most important thing in the world. To try and sit comfortably with who you are is the most difficult and important thing to do in your lifetime. It’s the only thing worth striving for. We put out so much energy pining for things or people, getting abused, taking in shit and negative energy from people, we feed ourselves with the love we’re trying desperately to get from someone else and we obsess over other people. When I sing “Nicest Thing,” at the end I feel like you should be your own nicest thing, if you love yourself as much as you stalk/pine/obsess over someone else, you’ll be in such a good place.

If you could only eat one meal for the rest of your life what would it be?
My fave food is avocado, I feel like I would meditate and eat avocados. I love eating healthily, it gives me life.

What is your FAULT?

I’m always late. I’m always 2 hours late for everything. Time doesn’t exist in my brain, I was the last kid in the class to learn the time. Time just doesn’t make sense to me.

Watch the video for ‘Call Me’ below, and find Kate on Instagram.

Words Lucy Holmes

Photography Charlotte Patmore

Fault catch up with PVRIS ahead of their sophomore album

PVRIS are back with their new album ‘All We Know of Heaven, All We Need of Hell’ (AWKOHAWNOH), featuring some massive tracks that are sure to fill venues on their upcoming US and European tours. FAULT had the opportunity to catch up with Lynn Gunn ahead of the album’s release.

Hey! How’s it going? Has it been quite manic with the release date for the new album approaching?

Yeah, it’s been a lot of chaos, but it’s fun chaos. I think it’s a lot of the universe testing us but making things somehow fall into place.

 

All We Know of Heaven, All We Need of Hell’ is an interesting album title. What was the motivation behind this?

It was a super serendipitous kind of thing. I was staying in Sacramento finishing editing our video ‘Heaven’ with our director, Raul [Gonzo], and it was around the same time we were getting the album art and track listing together and really just finalising all the details, and we still didn’t have an album title. Raul and I wanted some kind of dialogue or poem or quote to put at the beginning of the video that we released before ‘Heaven’, just to mark the transition and capture the theme of the next record.

I was online all day looking at quotes and just trying to find some really cool things mostly just pertaining to the word heaven, not necessarily hell either. I was up all day trying to find stuff and I just couldn’t find anything, so I gave up. Then later than night I was watching a TED Talk and the lady giving the talk had quoted the last line of an Emily Dickinson poem, so I wrote it down and looked up the poem the next day and found a few different personal interpretations for it and I just thought it was really beautiful.

I think it captured especially what ‘Heaven’ was about, but I think afterwards – once it was finalised and announced it was the record title – I noticed a lot of things tying together and just naturally playing off each other.

 

So it was like everything was nicely falling in to place then?

Yeah. The album art is kind of duality in itself. There’s a lot of really subtle references in the lyrics to duality, which was not a conscious effort whatsoever, it just happened pretty naturally. There’s a lot of pushing and pulling and rising and falling. Even the first verse in a lot of the songs on the record and the second verse were written a year apart, which I think offers a natural duality in itself.

That was such an important thing all us learned in the past year, the importance of balance, whether it comes to your emotions, music, or your health, or hard work.

How would you describe the pressure that you, Alex and Brian had to live up to ‘White Noise’?

It was quite intense and it wasn’t at the same time. Our approach with this record and our mentality was very much the same as ‘White Noise’. It was all just about following our tastes and not boxing ourselves in… not being afraid to experiment, just follow our inner compass and create what feels real and genuine.

I think with this record it was natural from being on tour and then suddenly stopping – it was a total emotional whiplash and all of us processed it completely differently. For me, personally, I just kind of shut off emotionally and mentally. That was something we had to shake off at first when we started the recording process, but we found a lot of really beautiful moments in that mindset and that experience.

 

There’s quite a feeling of intensity and a very full sound to AWKOHAWNOH – it feels like a more mature sound compared to ‘White Noise’. Do you think that reflects the maturing you’ve gone through since releasing your debut album?

Yeah, absolutely. I think everybody can hear it. It’s different and it’s fresh and it’s definitely just naturally more mature and progressed from the last record, but I definitely think it still has that heart and that guts and same integrity behind it.

I think we’ve really been able to hone it a lot more on this record with our writing and everything. We’ve all matured so much. And even coming down to our team in general, from videos to producers to management, we’ve all gotten so tight with each other and there’s a lot more trust and better communication. Everything in every aspect is really honed in.

 

When ‘White Noise’ was written you were around 19…?

I think 18 or 19, I don’t even remember! I was a baby! We’d just been on one tour and then recorded the record and everything else was history.

 

So does it feel quite different doing things the second time around? Do you still feel that kind of sense of ‘newness’ that you felt with ‘White Noise’?

I think there’s definitely a ‘newness’ and it feels like a sophomore update for us. We’re working properly and everything works. It definitely has a really nice freshness to it, but I think we’ve learned so much as well… so it’s a freshness but with a little more of a backbone and a little bit more preparation I guess.

 

When you were writing the album did you set out to create an almost anthemic sound?

I think it just really naturally happened. A lot of the demos before this record, before we went through and started picking and choosing, were really kind of, not stripped down, but quite driving and quiet. I think the studio we were in and the environment we were in at the time was so massive with so many tools. We had three drum sets set up, two grand pianos, organs, harps… there were so many instruments and tools around that we were like little kids in a candy shop.

Do you think having all those instruments at your disposal encouraged you to play around more?

Definitely, yeah! We had a bigger arsenal of instruments but also a bigger environment and space to be in and think that really helped create the big atmosphere. But also I think there was a lot of energy to get out and a lot of catharsisism in the process of making the record, and I think that just came across in the bigness of it. Working with Blake [Harnage] as well, he always takes things to the next level and really just makes it huge and that was another key factor for sure.

 

That must’ve been exciting with all those instruments there to play with!

Yeah! There was a drum set set up at all times and I would probably hop on it three times a day, just getting anger and frustration out. We tracked a good chunk of it and it blended in on some of the songs, which was really cool. There was so much explosion of sound, which was really fun.

 

You deal with quite heavy themes in your music, with the likes of depression and anxiety, and you’re quite open about that. Do you find music’s been really good at helping you express all those emotions in an artistic form?

Absolutely. It’s so cliché saying that music is our release but it really absolutely is. Just the creative process in general – whether it’s some visuals, to videos, to just tracking and recording and writing – it really is the most cathartic part and the biggest release, and really is the reason we do it.

 

You mentioned the visuals there; from the visuals you’ve released so far for AWKOHAWNOH there seems to be real focus on marrying them in tightly with the music. Is that something you were all really keen to focus on?

We’re on our 15th or 16th video collaborating with Raul, our director now, and this time around with this record he and I are basically kind of co-directing now, so it’s been much more hands-on and a lot more of an honest and intimate process. We’ve become best friends through everything we created on ‘White Noise’, and even that was a super collaborative process, but this time around on this record it’s been even more hands-on and I think that really comes across.

 

From watching the ‘Half’ visualette you recently released that definitely shows.

That video was super last minute and was something that really makes me think there’s some kind of crazy inner workings and a weird energy looking over us at all times.

Happen’ leaked a week before we had anticipated releasing it and the boys and I had just got back from Australia, we were in LA doing some press there and I had to stay an extra day and the boys had gone home already, and we got a call from the label and management saying they wanted to put ‘Half’ out next. We had another song we’d planned to put out next and a video that was already booked to shoot and that was in the works, but the management and label wanted to put ‘Half’ out and wanted to provide some visuals for it, so asked if we had any ideas we could get rolling on. Coincidentally Raul was in LA at the same time shooting another video for someone else. I forget how it came about, but we linked up and drove from LA up to Sacramento, came up with the visual idea on the car ride up, and filmed it in like an hour the next day.

 

So, backtracking slightly… in a recent piece in Billboard you discussed coming out and how you identify, and it’s great seeing how open you are. How important do you think it is that artists are open about how they feel and who they are?

I think this is something I really was battling with a lot over the past few years, especially in press, with how open should I be. I never want it to be something that takes away from our music which overshadows everything else we do, I never want it to be a main focal point of our band. But I think in the past few years, because I was so unsure as to how much to share and discuss, I was really not being fully vulnerable and not sharing everything. I think that really builds up over time, especially with anxiety, and definitely made it worse, and I think that just being vulnerable and straight up about it really helps with it. It was such a big thing and such an important thing I’ve learned, especially in this record cycle – just being vulnerable and being open and honest. That in itself can be really healing.

And I guess when you’re using songwriting as an emotional output as well that must’ve helped you flourish creatively?

Yeah! Cause there’s no blockages and no energy being shut off, it’s just all flowing and feels so much better creatively. Even on stage there’s much more openness, it’s not like anything’s being hidden, it’s all out there on the table.

 

When you’re out on stage do you love getting in the moment and just going for it?

Haha, I try! I have a really weird relationship with playing live because I get so anxious to play and I’m just on edge all day waiting to play for some reason. I still haven’t figured it out as to how to properly navigate it yet, but I’m really trying to work on that and just being in the moment and enjoying it, not worrying about sounding perfect… that’s definitely been a concern the past two years, just sounding great live and focusing on that. I think every singer and everyone on stage deals with that to a degree.

I’m definitely overly critical of myself so I just really am trying, especially with this record cycle and on the next upcoming tours. I want to be in the moment and learn to just roll with it.

 

Are there any particular songs from AWKOHAWNOH that you’re really looking forward to playing live?

Yeah absolutely! Honestly, almost every single song… I think a lot of them are gonna translate very well into a live setting, just from the size of the songs and the size of the venues we’ll be playing, but also because there’s a lot of new instruments and a lot of jumping around. I think all of us are really going to get to showcase how diverse our talents are and our musicianship.

 

‘All We Know of Heaven, All We Need of Hell’ is out August 25th.
Pvris are playing across the UK at the end of November, and tickets are available now.

Words Sammie Caine

Photos Brandon Taelor Aviram

FAULT speaks to Ella Eyre about her new single ‘Ego’ and upcoming album

BRIT School-educated Ella Eyre first stepped into the spotlight back in 2012 with a feature on drum and bass hit ‘Waiting All Night’ by London band Rudimental. Since then, the award-winning singer-songwriter has featured on feel-good tracks with Wiz Khalifa, Naughty Boy, DJ Fresh and more recently, Sigala. Now, Eyre is back with pop single ‘Ego’ and a sophomore album in the works.

We spoke to the songstress about taking a new direction with her new music, guilty pleasures, supporting her rivals, and learning not to swear on social media.

Hoodie – Gucci at MyTheresa.com / Sunglasses – For Arts Sake

Your new song ‘Ego’ ft. Ty Dolla $ign is out now! What were the inspirations behind the track?

Finally! I wrote it last year so it’s been a long drawn out process trying to make sure it’s perfect. I think it’s fair to say that most of the men I’ve ended up dating have been quite sure of themselves and confident. When you first have a crush on someone you wind each other up. It’s that sort of playfulness in the early days of dating that I wanted to capture for this song.

Dress – Vetements at MyTheresa.com / Earrings throughout – O Thongthai / Trainers – Vans / Socks – Topshop

You’re currently in the process of writing your new album. Will you be changing direction from your debut album ‘Feline’ [2015] at all?

Completely, yeah! I’d say there was quite a bit of pop on the first album so I’m definitely honing that more and moving away from drum and bass. I love drum and bass and I’ve had so much fun touring it but I want to show diversity in my voice and explore a different genre. At 23, I’m still very much in my youth so I want to maximise that. I feel like my first album was rather sad and depressed because as a teenager you think the world is against you. Off the back of that, though, I’ve taken some time to reflect, travel the world, see my friends and realise life’s not all that bad!

Dress – JW Anderson at MyTheresa.com / Trainers – Converse

Who are you working with on the album? Any exciting collaborations with other artists?  

There will be a few more [besides Ty Dolla $ign on ‘Ego’]; I don’t know how many yet as it depends on what songs are on the album. I came up on collaborations and I feel like it’s a really great way of introducing new artists who’ve come up with something new, different and exciting, so there will definitely be more!

You recently teamed up with Sigala for feel-good dance track ‘Came Here For Love’ as well!

The fact that it was the official soundtrack for London Pride was amazing! I’m so glad I was a part of that.

Hoodie – Gucci at MyTheresa.com / Trousers – Topshop / Sunglasses – For Arts Sake

You have been a well-known face in the music industry for several years now. How have you developed as an artist in that time?

I’ve definitely learnt to be more patient. I’m quite an impatient person, especially when it comes to things like my career. Even if you don’t want to be, you become a role model and people aspire to be like you. One of the hard things for me has been learning not to swear on Twitter. I still do sometimes but when you have young people following you, you gotta stay PG [laughs]!

Have you noticed a change in the way people treat you [in the industry]?

I came from the Rudimental team and they’re all about family, so whenever I meet somebody who might be seen as a competitor, like Jess Glynne or Raye, I’ll always be friendly. I think being happy for other successful people is something people really struggle with in this industry but it’s something you have to do because the industry is so unpredictable.

Dress – Topshop Boutique

What is your biggest bugbear?

A lot of things piss me off. For a start, I hate automated phone calls. Having to call up a company and speak to a robot for half an hour before I can speak to an actual person. I hate balloons – I hate the rubber ones because when they pop they’re so loud! It makes me anxious when people hold them [laughs]! I also really hate slow drivers.

Who would be your dream dinner party guests?

Joanna Lumley, Stormzy, Barack Obama and Lauryn Hill!

Bra – Love Stories / Jacket – Le Seine & Moi / Trousers – Rick Owens at MyTheresa.com / Trainers – Adidas / Choker – O Thongthai

What is your guilty pleasure?

When I was younger, I would mix butter and sugar in a bowl and eat it! I still do it sometimes when I’m sad.

What is your FAULT?

Never being satisfied with what I have and not appreciating how lucky I am. I would like to think I could retire happy.

Ella’s new song ‘Ego’ ft. Ty Dolla $ign is now available on Apple Music, Spotify and iTunes. Find Ella on Instagram.

Words Aimee Phillips

Photos Jack Alexander

Styling Daisy Deane @ Frank Agency

Hair and Make Up Yasmina Bentaieb using Kerastase hair and MAC Cosmetics

Stylist’s Assistant Lois Jenner

Special thanks Jon Greenland

FAULT Weekly Playlist: Night Argent

Welcome to Night Argent’s world of alternative rock. The Washington outfit recently released their highly anticipated sophomore EP “The Fear,” touting heavyweight co-writes from John Feldmann (Neon Trees, Biffy Clyro, Blink-182) and Steven Solomon. The six-track collection showcases Night Argent dynamic sound and puts forth the overarching mantra of tackling the thing, whatever it may be, that’s holding you back.

 

We asked the guys to put together a playlist of songs they can’t get enough of right now, including cuts from Halsey and Kesha’s new albums. Take a listen below and be sure to watch their self-directed and produced video for “Dreamcatcher.”

 

K.Flay – High Enough
“The thing I love about K.Flay is she doesn’t hold back lyrically. Her music is catchy, grimy, and honest. The production/arrangement in ‘High Enough’ is a great example of her musical versatility.”

Paper Route – Chariots 
“Paper Route has been one of my favorite bands for a long time. The Peace of Wild Things is still one of the best records I’ve ever listened to. Their new album ‘Real Emotion’ just builds on that legacy, with ‘Chariots’ being one of the stand out tracks.”

Syml – Where’s My Love
“We’ve had a chance to work and write with Brian Fennell, the mastermind behind Syml. His voice is raw and pure, and carries an emotional weight to it that’s unmatched. ‘Where’s My Love’ is melodically haunting, and never fails to illicit an emotional response from me.”

John Legend  – Love Me Now
“Hands down one of the best live performers of our lifetime. He can command an arena full of people with just his voice. I can listen to his music anywhere and everywhere, whether it’s working out, relaxing at home, or out with friends.”

Imagine Dragons – I’ll Make It Up To You 
“Obviously one of the biggest Rock Bands of this millennium, Imagine Dragons has no shortage of big and powerful rock songs. This song showcases their ability to take an 80’s dance production vibe and create an emotionally charged track that grooves the best of the Alt-Indie dance tracks.”

Niall Horan – Slow Hands
To be honest, I fell in love with this track long before I found out it was by a former member of OneDirection. That only made me respect this track that much more. The simplicity in the production, the unique gating of the vocals, and the catchiness of the melody create an irresistible combo.”

Halsey – Castle 
“I always expect to hear Halsey in every movie trailer or soundtrack. Her cinematic production, pop melodies, and edgy lyrics all act as the perfect display for her sweetly unique vocals. ‘Castle’ is a great example of that.”

Kesha – Praying 
“Anyone paying attention to things going on in the world are very well aware of Kesha’s story. Her struggle played out very publicly, and this track is a culmination of all of that. Stripped of the huge Dance/Pop Production, Kesha’s vocals are allowed to shine, and she pours every bit of herself into the song.”

Post Malone – Congratulations
“Say what you want about Post Malone, I know he’s the target of a lot of jokes, but he’s proven himself to be a real player in the music game. ‘Congratulations’ is extremely catchy, and every time it comes on I can’t help but to groove with it.”

Allen Stone – American Privilege 
“Allen is from our neck of the woods, and proudly represents the Pacific Northwest in everything he does. He’s one of the most soulful singers you’ll ever hear, and his band are some of the most talented guys in the game. ‘American Privilege’ is a very poignant look at our society and all of the things that we take for granted.”

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