HAIM announce UK & EU Summer tour dates

Fresh from their Best International Band win at Wednesday’s NME Awards and their nomination for Best International Group at next week’s BRITs, FAULT Favourites HAIM have announced their UK & EU summer touring schedule with a glorious Spice Girls tribute at London’s Alexandra Palace:

The FAULT Issue 15 stars released their sophomore record, Something to Tell You, last year as an eagerly awaited follow-up to the sound of our Summer 2013, Days Are Gone. The latter has since gone on to be recognised as one of the best albums of the decade so far. Something to Tell You also made the Top 10 charts in both the UK (#2) and the US.

The LA trio’s UK & EU tour dates follow on from a 21-date US leg of the ‘Sister Sister Sister’ tour, which includes a spot at both weekends of Coachella festival on Saturday April 14th and April 21st. Their UK/EU tour will be bookended by appearances at Barcelona’s Primavera Sound on Friday June 1st, following their surprise late night appearance at the festival last year, and Lisbon’s Rock in Rio on June 23rd.

Haim announce UK & EU tour dates for Summer '18 - FAULT

The siblings’ UK & Ireland leg will kick off at Glasgow’s O2 Academy on June 10th, finishing up at London’s iconic Alexandra Palace on Friday June 15th. Tickets will go on sale from February 23rd, with a pre-sale from February 21st.

HAIM UK/EU dates:

Fri 1st June
Barcelona, Spain – Primavera Sound

Sun 3rd June
Milan, Italy – Fabrique

Mon 4th June
Zurich, Switzerland – X-tra

Tues 5th June
Cologne, Germany – E Werk

Thurs 7th June
Warsaw, Poland – Stodola

Fri 8th June
Berlin, Germany – Columbiahalle

Sun 10th June
Glasgow, UK – O2 Academy

Mon 11th June
Manchester, UK – O2 Apollo

Tues 12th June
Dublin, Ireland – Olympia

Fri 15th June
London, UK – Alexandra Palace

Mon 18th June
Amsterdam, Netherlands – Paradiso

Tues 19th June
Copenhagen, Denmark – Tap1

Weds 20th June
Stockholm, Sweden – Annexet

Thurs 21st June
Oslo, Norway – Sentrum Scene

Sat 23rd June
Lisbon, Portugal – Rock in Rio

Get your tickets via http://www.haimtheband.com

 Something To Tell You is out now on Polydor Records

‘Artificial Light’ by Frederick Wilkinson – Exclusive Fashion editorial for FAULT Online

Top- Minan Wong
Pants- Layana Aguilar
Shoes- Marc Fisher
Earring- H&M

Blue pants- Chikimiki
Print blouse- Chikimiki
Shoes- Marc Fisher
Earring- H&M

 

Blouse- behno
Earring- H&M

Long sleeve blouse- Behno
Dress- Layana Aguilar
Shoes- Marc Fisher
Earring- H&M

Long sleeve knit top- Chikimiki
Sleeveless knit top- Chikimiki
Skirt- chikimiki
Shoes- ALDO
Earring- H&M

Coat- Layana Aguilar
Earring- H&M

Top- Chikimiki
Long sleeve blouse (worn around neck)- Vintage
Pants- Chikimiki
Shoes- Marc Fisher
Earring- H&M

Top- Chikimiki
Bralette- KORAL
Pants- Chikimiki
Shoes- Marc Fisher
Earring- MANGO

Dress- Layana Aguilar
Shoes- Marc Fisher
Earring- H&M

Photographer: Frederick Wilkinson @fw_photo

Model: Asia, MSA Models NY @asiaprus @msamodels

Stylist: Lauren Walsh @laaurenwalsh

MUA: Elena Thomopoulos @elvendoe

Wig Stylist: Bamby @bambyofsuburbia

Photographer’s Assistant: Yanutzi Diaz @yanutzi

Jared Harris: Exclusive FAULT Magazine Issue 27 interview & photoshoot

Jared Harris

“Acting… it’s playing, isn’t it? That’s what’s great about the job. If you don’t enjoy playing then why would someone enjoy watching you do it?”

Jared Harris for FAULT Magazine Issue 27

Photographer | Osvaldo Ponton
Stylist + Art Director | Chaunielle Brown
Groomer | Scott McMahan @ Kate Ryan
Set Designer | Lauren Bahr @ Kate Ryan
Photo Assistants | Nicasio Andrade + Xiangyun Chen
Fashion Assistants | Francis Harris + Ariane Velluire

A far cry from the typical, theatrical masks sputtering their pre-fabricated phrases, Jared Harris is a poised and reflective interviewee. As we banter about Brexit, Boris, and all that bullshit, there’s no suggestion that he’s keen to move things along in the direction of some scripted lines about his next role.

It’s a little surprising that he isn’t fervently plugging what promises to be another significant milestone in his storied career: the role of Absalom Breakspear in Amazon’s 2019 series ‘Carnival Row’. After all, the show reportedly has an enormous budget, stars eye-widening leads in Orlando Bloom and Cara Delevigne, and has been put together largely by his former college pal, René Echevarria. But it’s clear that Jared’s been around the block a few times. When he speaks, it’s with the assurance of someone who knows that the next role is never very far away. And it’s reassuring to get the sense that he’s treating our interview with the same sense of enjoyment as he has the rest of his career to date. It’s all part of the job, after all, so you might as well make the most of it…

FAULT: Tell us about your current project [AMC’s ‘The Terror’]

Jared Harris: The job’s great. It’s sort of special, really: the showrunner is a friend of mine from Duke University, so I’ve known him for a really long time. My younger brother’s on it as well, so I get to work with him. That’s always been a personal goal of mine.

The show itself is really well written, and that’s always the first question that one asks: how’s the script?

Jared Harris for FAULT Magazine Issue 27

There’s often a temptation to qualify actors based on a role call of who they’ve worked with – and you’ve worked with some of the biggest names in the business (Tarantino, Soderbergh, Guy Ritchie, David Fincher etc). How important is that to you? To what extent do you take jobs based on the personnel vs the project?

First of all, it’s the script. That said, when I was starting out – and I’ve kept some of those scripts – I remember reading Dracula (by Francis Ford Coppola) and thinking what a load of old tosh it was! It was almost softcore porn – there were a lot of scenes with girls in flimsy blouses getting their boobs out, and I thought to myself, “What on earth is he doing this for? It’s just dreadful!” But then, of course, you go to see the movie and you think, “wow!”

That’s when I got my first education in dealing with really great directors. You just don’t know what they’re going to do with the project. You have to assume that, with films in particular, it’s almost like a lump of clay. Not quite, because scripts are never entirely shapeless, but the great directors fully intend to reshape the material. That was true when I worked on Natural Born Killers. I read the original Tarantino script and it was completely different to the final film as it was directed by Oliver Stone. So, with films in particular, the director is almost more important than the script.

That said, it’s very difficult to improve a bad script. The shape and the structure has to be there to begin with, otherwise no-one really knows what they’re supposed to be doing. You’ve just got so many people trying to tell a story: the costume designers, the cinematographer… the script is the starting point for all of them.

Jared Harris for FAULT Magazine Issue 27

On that note, what level of influence do you – as an actor – have when it comes to interpreting the script?

It really depends. There are so many different factors at play: what type of movie it is; who’s making it – is it studio or independent; who’s directing it; the size of your role… Generally speaking, if it’s a studio film and you’re not the lead, you have very little input at all and no-one’s really interested in hearing your opinion…! They all just want to cozy up to the movie star and stay there.

That said, when I was working on Sherlock Holmes: A Game of Shadows there was total collaboration with Guy Ritchie and Robert Downey Jr. What tends to happen with that sort of film is that the screenwriter is trying to deliver a fresh product – a new take on an old story – and then, during the endless period of noting (where studio executives give notes on the script), it tends to deviate back to something incredibly familiar. Or, to be blunt, something that you’ve seen a thousand times before…

The studios’ obsession is, “when in doubt, re-state the plot.” Tell the audience what’s going to happen, what’s happening as they’re watching it develop, and then tell them what they just saw. And, of course, it’s fucking boring. So they [Ritchie and Downey Jr] tried to figure out a way of taking out as much of the exposition and plot as possible and delivering just enough so that the audience could stay ahead of the story and yet still be surprised be it: because no-one was as far ahead as Sherlock Holmes.

 

You’ve said that actors nowadays don’t have the same opportunities to rehearse as often as you used to. How do you manage to go between so many different, diverse roles so quickly and without that opportunity to really get into gear?

Well, I’ve never had that opportunity, to tell you the truth. From the beginning, I was always cast late. If you’re the main person on the movie, or the person whom the financing is lining up behind, then you know what you’re going to be doing well in advance. But with me…

George Hall, my principal at Central School of Speech and Drama, said it best, in my opinion. He told us, “You’re not going to have time. You’re going to have to learn how to sketch. You’re going to go into an audition and you’re going to be handed material with 5 minutes to figure something out. You can’t afford to be precious: you can’t do research and character study and work on a back story… you’re not going to have time to do that.” That was some of the most pertinent advice I got from that school.

Jared Harris for FAULT Magazine Issue 27

Special Thank You (Location) | Tomcats Barbershop and Renee McCarty

 

What’s your FAULT?

Oh God. Forget the magazine; you’ll have a phonebook to fill!

I’m never happy with the work that I’ve done. Someone told me once on ‘Mad Men’ that I’d just done an iconic scene, and asked me if that was the one that my character would be remembered for, and that I’d be remembered for then how would I feel about that? And I remember saying, “Can I do it again? Because I think I can do it better…”

Jared’s next project to appear on screens is The Terror for AMC which begins broadcasting right after the finale of Walking Dead. The Terror is an adventure/horror story that fictionalises the real life events surrounding the disappearance of The Franklin Expedition in the Arctic during the Winter of 1847.

 

Find out who else will appear alongside Jared Harris in the issue here

FAULT MAGAZINE ISSUE 27 – THE BEST OF BRITISH ISSUE – IS AVAILABLE TO ORDER NOW

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Justin Prentice – exclusive shoot & interview for FAULT Magazine Issue 26

Justin Prentice exclusive shoot for FAULT Issue 26 – Click to order your copy now

13 Reasons Why has been the most talked about show on Netflix over the past year. Produced by Selena Gomez, the show follows the trail of 13 teenagers as they uncover the reasons for their friend Hannah’s suicide. Heavily influenced by the negative impact of social media, teenage bullying and sexual assault, the show brings to light an unexplored side of leisure television. Speaking to Justin Prentice who plays Bryce Walker – Hannah’s sexual abuser – FAULT uncovers whether it’s beneficial or irresponsible to expose a young audience to explicit suicide.
 

 ORDER YOUR COPY OF THE ISSUE TO SEE THE FULL SHOOT & INTERVIEW

 
What were your initial thoughts going into a show like 13 Reasons Why with such a heavy character to play?

It’s always rewarding to play such meaty characters. I was excited for the challenge. I was also thrilled to be working with Brian Yorkey, Tom McCarthy, Selena Gomez, and Anonymous Content. Each has cemented themselves as power plays in the industry, so that alone were ample reason to climb aboard the show.

 

Having Selena Gomez as Executive Producer on the show – did you have any preconceived ideas in regards to the end result and what was your overall experience of working with her?

I knew that this project was going to be special, in part because of how much it meant to Selena. She and her mother, Mandy Teefey, have been a main force in adapting this story from the Jay Asher novel. If it weren’t for the two of them, we wouldn’t have a show. I’ve had a great experience working with Selena. She is a great boss to have.

Photography: Lionel Deluy @love artists agency
Styling: Angel Terrazas
Grooming: Melissa Walsh using jack black
Special Thanks: RCNSTRCT

To say that your character is not likable would be an understatement – how did you approach playing him so accurately and were you at any point reluctant?

Yeah, Bryce isn’t the best kind of person. I was never reluctant to play the part, but I was concerned with portraying him accurately. I had many conversations with psychiatrist Dr. Rebecca Hedrick and sexual assault expert and advocate Alexis Jones. They gave me great advice on people like Bryce and were instrumental in bringing Bryce to life. I wanted Bryce to be recognizable to the viewers. We all thought it would be more powerful if audiences were able to relate Bryce to someone they knew in their own lives vs. Bryce being a sheer monster. Not to say that his acts weren’t monstrous, but he still needed to be human.

 

The show in itself holds a strong responsibility towards young people battling depression and social bullying. Did you ever feel that it might be harmful to put out a project so heavy? There have been reports of a suicide in Austria that followed 13 Reasons Why’s formula with the tapes.

Any time you have a show that unapologetically sheds light on controversial issues, there’s going to be controversy. 13 Reasons Why is often times hard to watch because it can hit so close to home, but that makes it real. It gives people an opportunity to talk about these deep issues that are so often hard to initiate conversations about. We get so many letters and so many people coming up to us in person thanking us for the show and our portrayal of the events in the show. It’s definitely helping people. I wouldn’t say they followed the formula in 13 Reasons Why. For starters, their method was different than Hannah’s. They also didn’t leave any tapes. Any blame on the show is just speculation at this point. The girls had recently watched the show, but it has been admitted that there is no conclusive evidence of any correlation. Cases like this are heartbreaking, and our hearts go out to all people who are going through similar things. We have heard from several experts that a show does not cause someone to take their own lives. Anxiety, depression, stress, etc can. Our show gives people an outlet to talk about these issues that they may be experiencing.

 

Interview by Adina Ilie

What do you think are the positives of putting a character like Bryce Walker out there?

Most people know someone similar to Bryce Walker, and if they don’t personally, there are many cases of privileged athletes who get away with rape. Bryce is real. That’s terrifying, but true. Film and Television have the wonderful roles of spotlighting problems in society. The lack of education on sex and what consent looks like create people like Bryce and create people who think they can take whatever they want. These are kids, who would, often times, never do such things if they were just given the proper guidance early on.

 

13 Reasons Why has been confirmed for a second season  – where is the story going for Bryce?

My lips are sealed [laughs]! I can say that it’s going to be great! There is more to see in all of these characters. Season two takes some interesting turns.

 

Lastly – what’s your FAULT?

I suck at time management! I’m working on it. We only have one life, that we know of, so I should spend less of it procrastinating. There are a lot of things that I hope to accomplish. All of which are going to be hard to achieve if I don’t start cracking down…

GET THE FULL SHOOT AND INTERVIEW EXCLUSIVELY IN FAULT ISSUE 26 – AVAILABLE TO ORDER NOW

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ANNINA ROESCHEISEN : A MULTIMEDIA ARTIST TO WATCH

What are you fishing for - videoart Annina Roescheisen  2014

Credit to Annina Roescheisen

Annina Roescheisen is a half German half Slovenian multimedia artist based in Paris since 2009 ; she is specialized in Medieval art and she used to work for a little while for Sotheby’s in Munich before being full time dedicated to photography, films, sculptures, drawings, writings and human causes, especially to children. I met her last Saturday at her Parisian studio in 17th arrondissement and we naturally started talking about our common friend and visual artist Fawad Khan who used to sublet his Brooklyn apartment to her when she visited the big apple for work from times to times… At the moment, she is living between Paris and NYC ; NYC is the place where she is creating and writing whereas Paris is where she produces her artwork.  She is exhibiting her last video piece “What are you fishing for?” at the 56th International Venice Biennale in a few days and she is very excited about it : “It will be my first time attending the official opening as a featured artist so I will be going with the flow, it’s a big step for me! I hope I will be meeting up there with some friends : Xavier Veilhan and his studio team, some NY friends and my friend the galerist Imane Fares. I still don’t realize I am part of this international exhibition. It’s completely surrealistic…”. She added : “Having good supportive friends is very important when you enroll yourself in an artistic venture as you can easily feel lonely… It is essential to open yourself to what life is for real, accept failures and be patient, and of course, stop judging and labelling as good and bad things which are around you.” If you closely look at her website, you will notice she has a tab entitled “HUMANITY” where she features all of her actions towards human causes. She was recently selected by a French charity, L’Assiette Gourm’Hand, to take part in the jury process, under the patronage of the President of the Republic François Hollande, of a food experience designed by several groups of developmentally disabled people alongside big French Chefs next November. This human creature is a bottomless pit of generosity and creativity ; it is hauntingly beautiful. At the end of our talk from German painters to autism, she invited me to watch her selected video for the Venice Biennale in a darker and smaller space. The setting was perfect ; she built a TV frame made of birchwood to add a little something to her eight-minute narrative story. The music created by The Shoes’s band member Benjamin Lebeau as a background noise fits it so well. It helps you plunge in the water with this young pale girl all in white -played by the artist herself-, clean yourself from fears and thoughts and make peace with all around you for a bit. It feels so good to be stranded in the present time at this space full of good vibrations and energy. When going back to the main space, she handed me a little rainbow-colored book entitled LILLIE recommending me to read it on the train whenever I feel like it (Of course I read it right after leaving her). LILLIE is her first published book and I believe she is telling her own story through a little girl who is searching for peace of mind, facing both interior and exterior barriers… Welcome home, Annina! And thank you for being true to yourself.

Meet the Wilders

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Credit to Neil Wilder + Tanja Wilder-Roos

 

The creative Brooklyn-based pair Neil + Tanja want their art works to make people smile; and they hope they help them think about what is important in life. They do fashion and advertising. They do portraits too. Vivienne Westwood, Clint Eastwood, Tim Burton, JK Rowling, Yoko Ono, Beth Ditto, Arctic Monkeys, Adrien Brody, Adele, Scarlett Johansson… The list of celebrities they already shot goes on and on… What else? They like brie cheese, the orange colour and Ozzy Osbourne ; and today they are enrolling their kids and friends in a new venture. Au menu : animation, illustration, video and conceptual art direction. The Bushwick chocolate factory Fine & Raw whose mission is to save the world through silliness and chocolate is among their best clients. You can find more info about how their hypnotic + childish world looks like by visiting their website. Anything is possible inawilderworld

 

 

Simon Helberg & Jocelyn Towne interviewed for FAULT Magazine Online

 

well_never_have_paris

We’ll Never Have Paris is a surprising, honest and enjoyable romantic comedy, with an all-star cast, dark subtle humour, great physical bits, and lots of cringe moments to have you peeking at the screen through your fingers. It is surprising as it’s made by the guy most people know as, ‘the guy from the Big Bang Theory,’ and even more surprising as it is as far away from the broad gags fans of the popular sitcom love. Simon Helberg and wife Jocelyn Towne co-directed the movie penned by Simon about the time before they got married and after they broke up. In it, Simon gives a strong, heart-felt performance, which left me wondering if it was the same guy from that show on E4.

 

I was tenth in line at the press-junket set up during Simon’s and Jocelyn’s breakfast. They seemed to be on autopilot at first, so I let them continue…

 

Simon: The movie is based on our real life break up before I proposed. It’s a disastrous and clumsy break up, followed by an even more embarrassingly horrific proposal, but at its core it’s about a quarter-life crisis.

Jocelyn: The next question is, what was it like working together, since you’re both directing the film.

Fault: Go ahead, this is great.

Simon: Thank you.

Jocelyn: It was challenging working together and also a great experience. We developed a shorthand during pre-production of what we were looking for and then when we got on set we went about trying to execute that. It wasn’t always the smoothest sailing, but we got better and better at communicating and working together.

 

Fault: Not the smoothest sailing, cause ‘someone’ is a diva?

Jocelyn: He’s so demanding.

Simon: I had a Bentley take me to work every day.

10958047_820331981393572_6830882201630613577_n 

Fault: I’ve found that working together and living together can be a nightmare.

Jocelyn: We’re both really passionate and obsessive about our work so while it is a little bit complicated to take it home every night, as it shoves parts of the relationship out the window, it worked out really well. We were able to turn to each other at the end of each day and discuss the same thing, and I think it helped make the film better because we were able to keep discussing it at all hours.

 

Fault: Simon, who did you complain to when you got home at night?

Simon: Well I made the mistake of complaining to Jocelyn about herself. I told her that the director is driving me crazy!

Jocelyn: It was the most stressful thing we’ve ever done.

Simon: We lived in a little bubble, just the two of us, unfortunately reliving a lot of those tragic mistakes that I had made in the past. I don’t know if it was therapeutic or just pure…

Jocelyn: Narcissistic.

 

Fault: Simon, as opposed to being a part of an ensemble cast like with the Big Bang Theory, you are a writer of this film, the co-director, this is you, this is your story. Did that add to the pressure of making the film?

Simon: It feels like it is mostly on my shoulders, which is hard. I had nobody else to blame if a joke didn’t work, if the craft service was bad, if the lighting got messed up, I felt essentially it’s all me. Of course Jocelyn and I were collaborating, but I definitely felt like, ‘oh my god, I’ve brought everybody here to tell this story about a very self-indulgent time in my life and in some ways and here I am indulging in it again.’ But I think the terror of being vulnerable and honest and depicting myself in what wasn’t the best light or, weren’t the best times of my life, was something that excited me, and scared me.

 

Fault: Simon, you are from a very successful long running show. One would assume that you could just do that character forever and make a lot of money doing it.

Simon: I could just do that, but my interest goes beyond playing one character or doing one kind of thing.

Jocelyn: There’s always going to be something else that you want to do. Art is sort of this black hole. It’s insatiable because you do one thing, and you think that’s the one thing I always wanted to do, and then there’s a new desire that pops up from that.

Simon: I think it’s an easy defence mechanism to just stay with the one thing and keep yourself safe. It’s very scary to put yourself out there in any way at all, whether it’s walking up to somebody and saying hello, or making a movie, or confronting whatever it may be. When you’re in any vulnerable situation I think it’s easy to shut down or get angry and say, ‘I don’t really care anyway,’ and I do a lot of that. I’m trying more to enjoy this part of it because it’s rare. I’m getting to watch our movie in a theatre with people, and it’s…

Jocelyn: Really cool.

Simon: Really. I try to hold on to that moment, and not for validation or praise, but because nothing is more honest that a collective group of people experiencing something together and having a visceral reaction sitting in a room. It tells us all that we need to know.

 

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Fault: Can the show be limiting?

Simon: The show can be limiting. I don’t think that’s taboo to say. I don’t even mean it negatively. I’m playing one character and even though it’s gotten this incredible long run and will continue to run, hopefully, and you’ll get to see more colours of this guy, it’s still one character so it’s as limiting. It’s a hot button topic. ‘Do you get to pigeon holed?’ ‘Is it limiting?’ I think about those things too. Do I get to…

Jocelyn: Will people always see me in one way?

Simon: ‘…I’d love to play other parts, but do they see me only as that guy?’ It’s something that is scary. I understand it too, because I’ve seen certain people say things, and they clearly have a hard time separating me from the show, and I’m guilty of the same prejudice in a lot of ways. There’s a lot of people who do one thing, or are known for one thing, and then I see them do something else and my immediate knee jerk reaction is, ‘WOW!’ and I didn’t realise that I had limited the person in my own head.

 

Words: Chris Purnell 

FAULT Issue 20 – The Faces Issue – is now available to pre-order

 

We are pleased to announce that FAULT Issue 20 – The Faces Issue – is available to pre-order NOW.

Official release: 20/03/15

FAULT Issue 20 front cover star Kylie Kenner was shot by Lionel Deluy and styled by Monica Rose.
Issue 20 will also feature Jim Sturgess as its reversible cover star – with preview imagery set to be unveiled very soon!
Click here to pre-order your copy of this issue!

 —

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

Kylie Jenner

Jim Sturgess

Iwan Rheon

Michelle Monaghan

Audrey Kitching

To celebrate a landmark edition, FAULT Issue 20 includes very special ‘Faces of FAULT’ section, showcasing some Behind the Scenes insight from a selection of our favourite features from our 19 issues so far, including the likes of:

Rupert Grint (Issue 5)

Tom Felton (Issue 8)

Ali Lohan (Issue 9)

Adam Lambert (Issue 10)

Kelly Osbourne, Shay Mitchell, Logan Lerman, 2NE1 (Issue 12)

 Richard Armitage & Billy Bob Thornton (Issue 13)

Zach Braff & Daisy Lowe (Issue 14)

Ben Barnes, Big Sean, Tyra Banks, Ellie Goulding (Issue 15)

The Jonas Brothers (Issue 16)

Little Mix (Issue 17)

Demi Lovato, Usher, Debby Ryan (Issue 19)

Plus our usual, FAULTless selection of the finest editorial and feature content from both sides of the Atlantic and beyond – featuring some of the most internationally recognisable Faces in the world today.

This is your FAULT

FAULT MAGAZINE ISSUE 20 – The Faces Issue – IS AVAILABLE TO PRE-ORDER NOW

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