We meet TV’s newest Jekyll and Hyde, actor Shazad Latif, for an exclusive shoot and interview

After landing his breakout role as Tariq Masood in SPOOKS, Shazad Latif has been popping up everywhere. And with the return of the new season of Penny Dreadful on 1st May, he’ll be back on our screens taking on the iconic role of Jekyll and Hyde. Here, we caught up with him for a chat about his recent work.

 

You play Chandra Mahalanobis in the upcoming ‘The Man Who Knew Infinity’ movie. Did you know much about the man when you took on the role?

No. Chandra was a great mathematician in his own right. But the focus in this film is ramanujan. I’m there to be his friend in the story.

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Shirt – Samsoe & Samsoe / Trousers – CSB London / Shoes – Base London / Socks – Falke

 

TMWKI features such a well seasoned cast, what was it like to work with them? What was the atmosphere like on set?

Again another wonderful and lucky experience watching jeremy irons and toby jones discuss a scene was a joy.

 

This is also another time we’ll see you acting opposite Dev Patel. What do you think it is that draws you both together?

It’s just the way it happened I guess. I’ve played his rival and his friend. What next? I think our energies work nicely together.

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Jacket & Top – Universal Works

We’re all very hyped up for the new season of Penny Dreadful. We saw a short clip of you looking very menacing in the trailer, what can we expect from your character (the infamous Jekyll and Hyde)? What’s your technique for getting into such a character, especially when you’re essentially playing two?

Expect emotional duologues between me and Frankenstein played by Harry tread away. Lots of dark science. Expect a brilliant new take on this wonderful character thanks to john Logan.  A lot of focus for such a role. An intense time on set. Exploring Angels and Demons can be scary.

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Shirt – Scotch & Soda / Trousers- Farah / Shoes – R.M. Williams / Socks – Falke

What is your dream role?

No dream role as such.. Just the dream of working with the best directors and writers, I would love to be in an Asghar farhadi movie, a jacques audiard movie, steve McQueen pt Anderson.

 

You’ve played in a number of period pieces as well as more modern dramas. Which do you prefer?

I love doing both modern and period. I really do love a family drama. Played out in an epic sense.

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Jacket – Gieves & Hawkes / Top- Villain / Trouers – Baartmans and Siegel

Shazad – What is your FAULT? 

My fault is my anger. Jekyll and Hyde’s fault. My friends and family keep me grounded though. I’ll be alright.

 

Follow Shazad on Twitter.

 

Photography Jack Alexander

Styling Felicity Gray

Grooming Shamirah Sairally

Boy George Photoshoot & Interview For FAULT Magazine Issue 23 Cover

 

Within the court of British pop royalty, Boy George sits on top of a (impeccably decorated) throne. Throughout his decade-spanning career he’s topped charts, collaborated with superstars, travelled the world and seen more than his fair share of controversy. He can now be found judging Britain’s latest batch of new talent on BBC One’s The Voice.

Boy George appears on the cover of FAULT Magazine Issue 23 (available for preorder now). 

 

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Congratulations on your work on The Voice so far. Did you have any reservations about joining the show? 

Not really. I think my only reservation was how involved I would be with the people that I chose; whether I could have any kind of impact on what they did. And, to my surprise, it is very interactive. You can get as involved as you want to.

 

 

You’ve had your fair share of demons: drugs, incarceration, negative press attention. How has this shaped you and your music?

Everything that happens shapes you and influences what you do, but I don’t tend to focus on the past. Why would I look back? Difficult things inform my writing but – if you want other people to move on – then you have to move on yourself… I try to live in the now – it’s the only sensible time to live. Living in the past or future is a bit insane: sometimes, in relationships, people spend all their time worrying about what the other person’s thinking or feeling, and get so engrossed in it that they miss living. I think it’s important to live in the now and not focus too much on what went wrong. Just learn from it and move on.

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What else does the future hold in store for you?

[Culture Club} have got a tour coming up in the summer. I’m also doing stuff on my own: I’ve got a tour with Cyndi Lauper in about a month on the East Coast of America. At the moment I’m trying to build my empire, so anything’s possible.

 

Who excites you musically at the moment?

I really like Christine and The Queens. The music they make is really beautiful. It’s in French though, so it’s a bit difficult to understand, but you don’t really need to. I’ve also been getting back into Kate Bush: recently I came home, laid on the floor and listened to Hounds of Love in it’s entirety, and it was wonderful. You can really learn from the way people made records in the past. People had more freedom.

I like Stromae as well: I think he’s the best pop star at the moment. He’s really androgynous, and really out there.

 

Finally, what is your fault?

Where do we start! My weakness is probably…bread! Haha – I have no patience. I’m completely impatient.

 

FAULT MAGAZINE ISSUE 23 – THE ART ISSUE – IS AVAILABLE FOR PRE-ORDER NOW

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11.22.63’s Daniel Webber in conversation with FAULT Magazine

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Being a stranger in a strange land is tough.  Tough, challenging, but, as I was told, not frightening. Daniel Webber was a labourer in Australia before moving to America to follow his dream of acting. As he speaks about his journey I am filled with anxiety and fear. To leave your home, travel across the world, be surrounded by Americans, and work in an industry known for crushing dreams and destroying spirits, is terrifying! But not to Daniel, who is very zen about the whole thing. He told me he doesn’t let it get to him.

Daniel now appears alongside James Franco as Lee Harvey Oswald, in the Hulu TV series 11.22.63, an adaptation of the thriller by Stephen King. It follows an English teacher Jake, as he travels back in time to 1960s Texas to stop the assassination of President JFK by Oswald (and possibly others).

Daniel has been receiving rave reviews for his performance, something made all the more impressive given his relatively young age, 27, and the fact that this is his first break, aside from Home and Away.

We spoke about the American dream.

 

Daniel: There’s been a lot of sticking with it. Coming from Australia and living in America, you really don’t have an option to fail. When we come here, if Australian or British or anybody, you have to go all in and give it your all.

FAULT: That sounds like a lot of pressure.

You work with it. My focus, because it’s such a competitive market here, it gives you a little bit more fire in your belly. You’ve got to make it work. I think anybody who’s in this profession has to do that. It’s an added challenge coming from Australia.

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FAULT: How was playing Lee Harvey Oswald?

This role was everything that I could have possibly wanted. I like the opportunity to be challenged. I’m a bit of a perfectionist and I fear not doing a good job. When you get a role, the onus is on you to find it in yourself to be that character, to go to every length that you can to reach into the deepest parts of yourself to figure that out and there is something… that’s scary in a sense, but there’s also there is something very powerful and exciting about it.

 

FAULT: There have been incredibly powerful moments for your character in the show. Is it hard to turn that off when the cameras stop rolling?

Once you finish a shoot and you’ve been working on a role and a character for so long, there is a process of having to detach yourself from it, because the characters carry such a different emotional weight and baggage. There was a little bit of Lee in every audition room I went into for the next month after we wrapped the show. I still hadn’t quite gotten back to Daniel and my own energy. There was more of an aggressive, shut down, defensive thing going on still.

 

FAULT: Do you think Oswald did it?

He was a man very capable of having done it. Whether or not he was aided or there were other people involved, I honestly don’t know. My research was more specifically on him, so I didn’t really go into the conspiracy theories. He has the skill set and the emotional patterns throughout his life which indicate that he is somebody who would easily find motive and reason for it.

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FAULT: What is it like being written about and reviewed, and to have so much attention on you now?

It’s great to get attention from the show because I’m really proud of what I did. It’s nice for me personally to have played a man like him, and know that I can, and so can have a bit more trust and faith in my own skill set. I always fear not doing a good enough job. With Lee where there was just a mountain of research to get through and a mountain of different things to understand so I could do it.

 

FAULT: Was Hollywood always the dream?

No, not at all (laughs). I didn’t realise acting was a job until I was sixteen. I wanted to be what my Dad was – a tree lopper. I spent time working as a tree lopper. I think I realised early on that as a labourer, you have to work so, so hard and it’s so physically demanding. I’ve done a lot of it in my life – landscaping, tree lopping – so I know what it is to work very hard and to work with my hands for a living. It was something that I didn’t want to have as my career. Acting has been with me the whole time.

 

Words: Chris Purnell 

Press shots: Jessica Castro

 

See Brooklyn band MOTHXR in their exclusive photoshoot + interview for FAULT Online

 

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FAULT sat down to chat with Brooklyn band MOTHXR, the down-to-earth members of which are Jimmy Giannopoulos, Simon Oscroft, Penn Badgley, and Darren Will. Having released their alluringly enigmatic debut album Centerfold in February, MOTHXR continually illustrate that they make music for music’s sake. We discuss secret projects, making money, and how record labels are like Jeff Goldblum’s character in The Fly.

FAULT: You’ve been a band for a while now, how did you guys meet?

Penn: I mean how can anyone meet? We all met at various times in Williamsburg. Darren and Jimmy met seven years ago or something like that. Jimmy and I met about four years ago, or maybe five? That would’ve been around the time that I met Darren as well. About a year or so after that was the time that Simon was passing through I believe.
Simon: Yeah, 2012. That’s when I lived there.
P: Yeah, he lived in LA when we were recording, and that’s actually again how it all happened. He lived down the block from where we were recording, so it all kind of made sense.

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FAULT: I heard that you rented a house in LA to record your debut album, how was that experience? How long had you been waiting to release those songs?

P: Again, it was a practical thing, I was going to be there anyway. I’d just finished a film and then I went to go visit my parents in the Northwest. Jimmy and Darren were going to be there finishing a tour – they were playing in a band called Rathborne and supporting Albert Hammond Jr. Their last show was in San Diego, and so they showed up at like four in the morning with their van right outside this little room that I’d rented and that was that. Some of it we’ve been sitting on for those first eight days, and some of it was recorded over time. The music itself I think came out in that first blast so defined and so well imagined. We’ve been spending the last year and a half really getting the live show to represent it well.
S: So that when it did come out we would be ready to play it.

FAULT: Did you record everything in those 8 days?

P: Well, no. Basically, the first day we recorded one song, and we were like ‘okay this is happening.’ Second day, same thing. Third day, same thing. So the first five days produced that body, damn near half an album, but it wasn’t all finished. We had the bulk of the work there, so the last three days of those eight were I think just spent fine tuning and probably trying to enjoy ourselves a little bit. We spaced the rest out over some time in New York and Chicago.

FAULT: Where did the album artwork come from?

S: The true story of it, which I always forget, is that Jimmy made it as a tour poster, or a poster for some show.
P: It was a show that we played in Canada I think.
S: Yeah I think so, and then a couple months later we were trying to think of artwork and we weren’t getting anywhere.
P: We all had pretty opposing ideas.
S: The label dug back through our Instagram and were like ‘what’s that?’
P: Yeah, Matilda at Kitsuné, she’s rad, she’s the person there who reached out to us. She’s a young, creative woman, really smart and savvy. She was just like, ‘This is an incredible image that you guys had before, so what do you think of this?’
Jimmy: Yeah, I mean, we put out so much content on social media like Instagram individually, and the label pays attention. We’re constantly putting it out, so when it came time to think of ideas, they were like, ‘Out of all the things you’ve done, this really stuck out.’ We looked back and didn’t even remember doing it, but we thought it looked pretty cool. We trust this specific girl at Kitsuné, she has a good aesthetic. So we tried it and it worked. She’s actually very, very rare. She’s one of the only people that we actually artistically respect. We work with a lot of people, that doesn’t mean we don’t respect them, some people are really smart business wise, but some people get it. Like, I respect my parents but I wouldn’t ask them-
P: You wouldn’t ask them what they thought of the Kanye album.

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FAULT: You tweeted on Sunday, “We’re looking 4 female dancers in hip hop/grime all shapes & colors 2 be in no-budget 1-take vid 1 hour tops.” When will we get to see what that’s about?

J: Well, that’s for something that we’re not going to disclose yet. That’s for a project we’re still putting together. We don’t know when yet, but at some point in the future we’ll unveil it.
P: It’s exciting though.

FAULT: Last night was your final show with The Neighbourhood, how was the tour? Was that your first time touring Europe?

P: Properly like that, yeah. It was great, they’re good guys, we got to play for a lot of kids who are just really passionate. They were really excited to hear us because they were really excited to hear The Neighbourhood, they were excited to just get out of the house probably.

FAULT: Everyone was really into the hand gestures you had them do.

P: They were! The first time I did that I was like, holy shit this is so easy I can’t believe it.
J: We’re not used to playing in front of a lot of people like that. None of us are. I think, from my understanding at least, I’m not speaking on behalf of him, but I think Penn’s kind of just like, ‘What do I do here? How do I get them involved?’
P: Totally. I’m just like, ‘Put your hands up!’
J: They don’t know our music, so he’s just trying different things. When people know your lyrics and stuff like that, you don’t really have to do much because they’re participating. Our job there is to support, we have to get them pumped for The Neighbourhood. That’s what we’re there for. We’re not being egotistical, we’re not trying to blow anyone away with our own music, we just want to get everyone hyped.

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FAULT: Whilst supporting The Neighbourhood in London, you also played a headline show at Birthdays. Is it’s better to play to a crowd that’s there specifically for you?

P: Well, yes and no. Okay so, our record release show where we played to a sold out a sold out Baby’s All Right which is two or three hundred people. It’s in Brooklyn in our neighborhood, so it was packed with people who knew our stuff. It was actually a really fun, rowdy show, but playing these shows with The Neighbourhood has been more amped than probably 80% of our shows. I think it’s just because of the crowd, we normally draw a bit of an older and more diverse crowd who aren’t as ready to dance because they’re not teenagers.
S: Yeah, we didn’t really change the way we played either. We played the same as we always do.
P: Exactly, it’s just that they reacted differently.
S: Honestly though, I’d be happy to play to The Neighbourhood’s crowd for the rest of this band’s career. It was really cool.
J: Yeah, anybody would be extremely lucky to be able to tour like that. What you saw last night, that’s the one percent. That’s not us, we didn’t earn that. We’re just there as spectators.
Darren: They’ve also built it up pretty slowly. Jesse (Rutherford) was saying that every time they play London they just amp it up a little more.
P: We play these fun little venues; we tend to sell them out which is great.
J: They also have a very loyal fan base, which is different from us.

FAULT: Do you think that the success of an album directly correlates to the size of venues a band plays on tour?

S: I heard that LCD Soundsystem’s last album has sold like, fucking nothing, and they’re playing arenas. There’s a weird thing now that it doesn’t mean shit anymore, if you can develop your fan base then you’re winning.
J: No one sells records anymore! It’s all free on Spotify, that’s what we do.
P: I mean, I don’t care, money isn’t the issue.
S: I would pay $50,000 to have 100 million listens. I would pay to have that exposure; I don’t give a fuck about getting money from it.

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FAULT: Speaking of money, I read in another interview that you guys weren’t making any money from this. Care to comment?

P: Just for the record, that was blown way out of proportion. It was a very oddly contextualized quote, at that point I was like ‘This band isn’t making any money right now, that’s not why we’re doing it’ and the headline of the interview was that our band makes no money. That was a very odd thing, and then Huffington Post picked it up. I mean, that’s one of the many things going on with this band. We’re at a point where you don’t make money yet, you just don’t.
D: It’s like a small business, you get money in from some shows and then you spend it on other shows.
P: Yeah, you put money and energy and time in, and eventually you break even and start getting some of it back. This is not a debt endeavor; this isn’t a money pit.
S: Let’s just say we make shit loads of money.
J: You know what you can put in the interview? One of our friend’s bands said once that they don’t make any money, that nobody hands them any money to play shows or something like that. So then they wanted to play a festival, and the promoters read that and said, ‘let’s not give them a lot of money because they said they do stuff for cheap.’
P: Yeah, so please say we’re making money now.
J: No, you don’t have to say that, but say we make what we make, it’s private, whatever, it is what it is. If a festival comes to us and offers us a festival slot, the more we don’t give a fuck about the festival, the more money they’re going to have to pay us to play it. If Coachella said we could headline, we would do it for free. They’d never have us, that’s ridiculous, but if a festival comes up to us and asks us to play and we like the festival, we’ll negotiate something. If someone asks us to play and it doesn’t make sense for us, we won’t do it.
P: The boring reality of it is that it doesn’t even make sense to be talking about money at this stage. I mean, who the fuck has even heard of us?
J: If we were doing this for the money we’d be making a different kind of music.
P: Yeah, I would have my shirt off, for one thing.
J: If you start to see his shirt come off and the music starts changing, then we’re in it for the money.
P: The second you hear rhyming couplets and I’m in better shape and the sides of my hair are tighter-
J: And if the rest of us are replaced with beautiful girls, that’s when you’ll know.

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FAULT: Previously you had been self releasing all of your stuff, now you’re with Kitsuné Records and Washington Square Music. Why did you switch?

P: Both labels expressed at the beginning that they didn’t want to change what we were doing. They saw what we were doing and wanted to enable it. Obviously that becomes a difficult and convoluted promise over time with labels and contacts and stuff, but they didn’t want to change anything. They want to support what we’re doing and, in turn, invest in it, encourage us, and enable us. That’s great, rather than all of these labels who are like ‘yeah… but no.’ and have so many ideas. It’s like The Fly. Jeff Goldblum wanted to literally deconstruct his entire existence molecule by molecule and put it back together, and he thought it would be the same thing. Well, look how wrong he was. That’s what businesses want to do with art, they’re like ‘This is amazing! How about we take it completely apart and put it back together, but just slightly differently so that we’re more comfortable with it, and then just bet that it will be the same thing. It might even be better!’ So at first, Jeff Goldblum is doing backflips, but then he turns into a vomiting fly, murderous and full of rage.
J: On top of it, it can be done in such a bad way when collaborating, because at first everyone’s cool with each other-
P: You can’t control whether or not there’s a fly inside the chamber, you never know!
J: You sign contracts, and this is the problem for younger bands, we’re old enough to know better. They say you’re going to do exactly what we want you to do, and then you’re stuck. Don’t get me wrong, we would have signed to anybody the first day we got in the studio, but only if the contract said you can make the music you want. The contracts always say though, they wait for you to get a certain amount of buzz and see if it works, and then they say they want to take it and they want to change it and make it more successful.
P: They want to put a fly in the chamber, that’s what they all want to do! It’s a law of physics, you cannot do it!

FAULT: What are you up to next?

P: We’ll put out an album next year, we’ll tour more, we’ll play some festivals, we have a lot of videos to release.
S: We’ll be back in the UK at the end of summer, I think. We have a special project we’re working on, too.
P: We’ll just keep making what we want to make. I mean, that should be everyone’s answer, and it more or less is because even if labels are forcing them to do stuff they’re still going to make something. So yeah, we’re just going to keep making stuff as long as we’re willing and able.

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FAULT: What is your fault?

S: That’s assuming we only have one fault each.
P: My greatest fault? Well my greatest fault is one that I can’t name, because my biggest fault is one that I’m not aware of. That’s fucking brilliant! Maybe you can put that in, maybe arrogance is my fault.
D: My biggest fault is that I’ve been wearing these pants for three weeks.
P: It’s my fault I got toothpaste on this black sweater. That’s embarrassing.

 

You can follow MOTHXR on Facebook and Twitter.

 

Photography: Jack Alexander

Grooming: Shamirah Sairally using Bumble & Bumble and Dr Paw Paw

Words: Courtney Farrell

Special thanks: Tooting Tram & Social

Lyndie Greenwood X FAULT Magazine

We first fell in love with Lyndie Greenwood when she played the role of Sonya in the hit television show ‘Nikita‘.  Meant to only appear for a brief part of the show the public loves her character so much that she was reworked into a permanent cast member. History would repeats itself again when Lyndie took the role of Jenny in FOX’s hit show ‘Sleepy Hollow’. Lyndie’s captivating performances and portrayal of Jenny once again had the audience calling for her to have a larger role so you can imagine everyone’s excitement when Lyndie once again brought a temporary character into the leading cast.

With season 3 coming to a close, we caught up with Lyndie to find out more!

 

Jenny’s personality and relationships have transformed so much since we first were introduced to her at the jailhouse. Has it been a natural transition for you in terms of performance?

I feel like it was a natural transition for me as an actor, because the writing made the transitions in Jenny’s storyline natural. She changed realistically throughout the seasons because of what was happening in her life. It felt organic.

 

What shade was the most fun to perform? The softer and more vulnerable Jenny or sniper to the face murderous Jenny?

I love “sniper to the face murderous Jenny” (especially now that you’ve called her that). But, I feel like seeing only that shade of Jenny for three seasons would have made her seem one dimensional, and I knew from the beginning of the show that I wanted her to be more than that. Seeing Jenny’s softer more vulnerable side rounds her out, and makes her a compelling character. Also the human, heart to heart scenes that I get to explore because of Jenny’s new-found openness are very rewarding.

 

We’re very excited for Friday, will season 3 leave us a cliffhanger ending, or will everything be tied up in a neat little package ready for another season etc?
You’re going to get both from this season finale: some things will definitely be wrapped up, but it wouldn’t be Sleepy Hollow if we didn’t leave some cliff-hangers, too.

You’ve battled headless knights, summoned demons, leapt through portals and all sorts. With a special effects heavy production, does it make it harder to feed off your environment?

Our show definitely uses VFX, but a larger portion of the world is created tangibly. Our sets and props and monsters are mostly there for us to see and touch and interact with. It makes the job a lot more fun!

 

We’re (slowly and much overdue) starting to see more strong female figures on our tv screens. Do you feel enough is being done to empower women on our tv screens?

I definitely feel like we’re heading in the right direction. There are many female characters out there right now who are strong, multidimensional human beings, and not just props used to move the male-dominated stories along. I feel like it’s an exciting time!

 

You’ll also be playing playing ‘Nola Barnes’ in the upcoming ‘Cut to the Chase’ action movie. Can you tell us a little about your character?

Nola is a tough cookie who fell in with some bad folks, and was witness to something that puts her in danger. She decides to cooperate with the DA, but that’s not where her heart lies, and many twists and turns ensue.

 

 

Is the action/thriller genre where you feel most at home now?

I do definitely enjoy action/thriller, and sci-fi. I’d love to do more comedy – I feel it calling me.
You’re also a big comicbook fan and this year will see a lot of different supermovies hitting the big screen from Deadpool and Batman vs Superman to the upcoming Xmen, avengers movies. What franchise are you most excited for?
I’m really looking forward to seeing Suicide Squad. I think it looks awesome, and perfectly cast.
Marvel Vs DC?
DC
Collared Vest LOTUZ

Collared Vest LOTUZ

What is your FAULT
I can be very irritable and impatient at times. It’s something that I’m trying to work on. I feel like the more I recognise it, the less intense it seems to get. All we can do is try to do better, and forgive ourselves when we don’t, so we can try again.
Photographer: Irvin Rivera /@graphicsmetropolis
Styling: Tyler McDaniel@tylerjmacdaniel
Photo Assistance: Phill Limprasertwong /@phillldotcom
Makeup: Erik Torppe / www.eriktorppe.com @eriktorppe
Hair: Shelby Swain @theshelbyswain
Production: Ashley Tsai  @ashley.tsai
Sleepy Hollow Season 3 Concludes On Friday 8th of April

‘The V Word’ – Vinette Robinson In Conversation With FAULT Magazine

 

Vinette Robinson stars in upcoming BBC mini-series The A Word. A new BBC drama centered around the family of a 5-year-old boy with autism, characters must learn to communicate if they want Joe to follow suit. The series tackles the family drama and approaches a character with a developmental disability with fresh eyes and sensitivity. The six-part drama airs on BBC1, Tuesdays at 9pm.

 

Is autism the main focus of The A Word? What other themes are there?

It is about autism, that’s a very important part of it, but it is also a family drama. I think the main theme is about communication, and the gaps between what we want to say and what we’re able to say. The writer (Peter Bowker) has already spoken very eloquently about how he wanted to write about what appears to be a perfect family on the outside, they are comfortable and they are articulate and funny, but who still has problems communicating about some things as we all do. At the center of it there is a child who, by definition, can’t communicate, but that also reflects and reverberates throughout the family who have their own problems communicating with each other. Joe’s autism at the center of it is a catalyst to explore a lot of their relationships.

 

What was it about this story that made you want the role?

Pete, the writer, the way that he observes relationships and behavior. There are lots of beautiful humane moments. I also think that the way he approaches the subject is so beautiful because there is some levity there. It could quite easily be an issue based drama, but hopefully people will find it amusing and heartwarming and will be able to connect with these characters. I really love Pete as a writer anyway, so that’s why I wanted to do it. It’s also an important subject, and I’ve never seen anything like this. It’s quite nice to do something that’s different. There are loads of amazing procedural shows, but I can’t remember the last time I saw a really great family drama. I think there’s room for one.

Vinette Robinson (2 of 3)

Top: Robert Wilkin Trouser: Perseverance London Shoes: Miss Sixty

What are you expecting or hoping the response will be when The A Word airs?

Obviously a good one, but I hope people connect to the characters. Everyone has to deal with family, and the craziness of family life, so hopefully people will relate to that and really be able to identify with those characters. It would be lovely if it opens up a conversation about autism and other disabilities. It’s always good to open up a conversation.

 

Autistic characters have unfortunately sometimes been created as either “problems” that needs to be dealt with, or quirky geniuses. How does The A Word break that mold?

I think part of what Pete wanted to look at was hidden disabilities, so someone who isn’t at the extreme end of a spectrum. This is a story about one child, a single child with autism. It can never be a story about all people with autism, it just can’t be. Part of the question in the middle of it is, at what point in trying to address the autism do you want to stop Joe from being himself? Joe is fine as himself, he should be celebrated, but there are challenges with that as well. It’s about looking at a person, and not at an issue. I think that’s how it stops it from being like that, you can’t just peg an issue on a person. You have to see the person, and that’s part of who that person is, and it should be celebrated.

Your character is called Nicola. How is she involved in the life of this boy, Joe, and his family?

She’s the outsider in a way because she’s part of this family by marriage. She’s a doctor, so she has some knowledge, but she’s not an expert. She’s done a pediatric rotation for three months so she has a bit of knowledge which probably allows her to see it. Being slightly removed and being a bit of an outsider allows you to see things more clearly, but when you’re in the midst of a family it’s hard to see. Obviously she cares a lot about this family, but her attachment isn’t the same as the parents, so she doesn’t have that same attitude that they do where they want it desperately not to be true. It’s hard, so they’re sort of burying their heads in the sand a little bit, but because she has a bit of distance she can see it.

Someone asked me today, they said they didn’t quite buy that, but I said that I absolutely believe it. When something matters to you so much and you love someone so much, there might be a niggle but you just don’t want to face it. Also, as it’s explored in the drama, once you pin a label on someone it’s there and that can have its own momentum. You just want to allow that child to grow and to be themselves, and not to confine them by such a huge label.

Top: Robert Wilkin Coat: Samsoe & Samsoe

Top: Robert Wilkin Coat: Samsoe & Samsoe

The twitter account for The A Word has been posting introductory character descriptions. Nicola was described as “Professional, driven…and completely tactless.” Are those the same three words you’d choose?

Yeah, I would. It’s very important for Nicola to be honest. The conflict with her is that the reason she and her husband are moving back to the village is because she’s been very dishonest in the relationship. So honesty is what she’s tries, that’s the ideal that she wants to live up to that she’s failed at somewhat. She will always just say what she thinks, because she thinks that’s the best way to operate. Sometimes it’s not said in the most tactful way, so other people can find that a bit flinty and obviously that rubs some people in the wrong way. I don’t think she understands the effect she’s having. I think she just thinks if everyone was honest and said what they really thought, people would get along much easier. Of course, that leads to its own set of problems. I don’t think it’s not being honest; it’s more about not putting things gently. Nicola doesn’t always put things in the gentlest manner.

 

What is your fault?

Overthinking everything and procrastinating.

 

Photography: Jack Alexander
Styling: Kiera Liberati
Styling assistant: Rhys Marcus Jay
Make-up: Lauren Kay using Antipodes Skincare and RMS Cosmetics
Hair: Amidat Giwa using Wella EIMI Ocean Spritz and Wella EIMI Extra Volume 
Words: Courtney Farrell

SUNDARA KARMA RELEASE NEW TRACK ‘A YOUNG UNDERSTANDING’ – EXCLUSIVE INTERVIEW WITH FAULT ONLINE

 

Reading’s golden boys Sundara Karma have only just unveiled their new single ‘A Young Understanding’. The indie-pop quartet has seen undeniable success over the past year with only just two EPs under their belt and things seem to be getting bigger and better for the boys. They haven’t even released an album yet and they’re already set to globetrot around Europe’s festivals on the same bill as Years and Years, The 1975 and many other household names. It’s difficult not to label them as the next big thing. We caught up with Oscar Lulu, Sundara’s lead singer, and we’re tempted to say that England’s new wave is in safe hands.

 

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You’ve just finished recording your first album. What can you give away?

I can give away that it’s done and that we’re proud of it. It’s a really weird and difficult thing to say. To be honest, I don’t really want to say it. I find it difficult letting things go.

Have you done anything different with the album or is it going to be a continuity of what you’ve released so far?

We’ve released two EPs and I think the album is just going to be an evolution from those two EPs. Our second EP was a progression from our first EP and I think the album will just be a natural progression from the two combined. If you’re fans of the EPs, you’ll be fans of the album. There isn’t a direct distinction.

What’s your production process?

Well, I’m the main writer so it just comes from me singing in my room and messing around, thinking of ideas. Sometimes literature can be a source of inspiration or a certain philosophy that struck a chord.

You’ve also got a tour lined up in March. This is going to be your second headline tour after supporting acts like The Wombats, Wolf Alice and Circa Waves. What do you have in store?

This is going to be our second headline tour, so it should be fun. I couldn’t say what to expect from our shows except for a really good night out. Let’s just say that they’re going to be like an extreme house party.

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Let’s talk a bit about what you’ve released so far. Vivienne and Flame are some of your most popular tracks. What can you tell me about those two?

The early versions of both of those tracks were so different to how they sound now, after we’ve recorded. I think there’s something in the four of us. When we come together, we have this unidentifiable quality that suddenly comes to life. So I suppose those two tracks came to life the same as the others. Flame is more of a wake up call. If someone says something, it shouldn’t be taken at face value. There are different possibilities and there is more to life than meets the eye. That’s what Flame is about. As for Vivienne, we like to think of it as a classic love song.

What about the visuals for the tracks? How much input do you get on them?

For Vivienne, I put that together along with the director. We’re hands on with everything we do, creatively speaking. I feel really strongly that as an artist, you can’t be complacent or lazy about it. You need to be on top of all of it. Especially now, with social media and everything, because people never look at an album cover and see just that. It’s got a lot more to do with the music videos or the pictures that you upload on Instagram. It’s a bigger beef rather than just your music.

What was your concept behind the Vivienne video then?

Tragedy and escapism I suppose.

Do you always have a certain thing that you try to convey through your tracks? As you said, they all come across as a form of escapism, from the outside looking in at least.

I think that the broader message within the tracks is hard to define. You know, I’m 20 years old and I’m still young. I don’t feel like an adult. At all actually. Everything is coming from a very young point of view and it’s just my way of seeing the world at this very moment. I’m trying to stay away from mundane, cliché things. What interests me is obsession and ritualism. Love, hate, sex and drugs.

It’s not your job to tell people what to take away from your music, but if it was, what would you want people to take away from it?

Joy or happiness, if you can.

What are you listening to at the moment?

Let It Happen by Tame Impala and 15 Step by Radiohead.

What’s your FAULT?

Impatience.

 

 

You can check out Sundara Karma’s new single below.

 

 

Words: Adina Ilie

 

Susanne Sundfør exclusive photoshoot and interview for FAULT 22

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Maroon polo neck: DAGMAR
Circle loop Earrings: HPR (SMITH GREY)
Gold Ring: Spanner Wingnut

 

 

Susanne Sundfør might well have recorded the most audacious pop album of 2015. Endlessly inventive and unrepentantly her own, Ten Love Songs—her fifth long player since 2007—sees the Norwegian chart topper skillfully weave complex layers of synthetic and organic instrumentation to create a mix of precision-engineered electro and drama-soaked mini-symphonies. It is the sound of an artist operating without boundaries, seeing each idea through towards its maximum potential.

 

There’s so much to love about Ten Love Songs and the lead single, ‘Delirious’, is a certain standout. How did that one come together?

Thank you! Well, I wanted to record a pop song. Most of the arrangements were written in bed, actually. The melody was the first thing I wrote. Sometimes I just start with beats or baselines, which is what I did with ‘Insects’, and the vocals came later. I don’t have a recipe for how I do it. It’s completely random what comes first.

Lyrically, ‘Delirious’ is dark: “I told you not to come, my victim number one.” It feels quite aggressive compared to a lot of the other tracks on the album.

It’s sort of a game, isn’t it? I wanted to write from a femme fatale perspective. It’s still a pop song, and pop music doesn’t necessarily have to be fun. Arrangement-wise, it’s definitely more pop than anything I had written before. I wanted it to have a spy movie-vibe to it as well. The harmonies were inspired by Depeche Mode.

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Pale blue Top: Filippa k
Suit: Filippa k
Grey Shoes: Melissa x Alexandre Herchcovitch
Pearl Claw Gold ring: Tessa Metcalfe
Gold ring: Spanner Wingnut

What kind of parameters do you set for yourself when you’re making music?

Since it’s a big task, I’m a fan of being in the moment. That just works really well in the way I like to work conceptually. I think coming up with a concept for an album is the hardest part. Luckily, I work with people in the business who don’t push me. The only pressure put on me is my own doing. They just know how musicians like to work. There are certainly musicians out there who can tour with a 9 to 5 job and go into the studio at night, but I don’t work like that. When I work on someone else’s music, I would never want to give them something I’m not happy with.

 

What are some early ideas you’re toying around with for the next album?

I think I’ll maybe go a little more ambient and darker, and not so much pop. I don’t really know yet because I haven’t had the time to think about it in-depth. It’s like Ten Love Songs and how I wanted it to be very dark and industrial. I recorded ‘Fade Away’ and that made the album something different. So that’s what’s in my head.

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Black Polo neck: Theory
Navy Textured Wool suit: 2nd Day
Khaki shoes: Filippa K
Brown socks: item m6

What is your FAULT?

I’m whimsical and forget things all the time!

 

Photographed at the Urban Villa Hotel

Words: Kee Chang

Fashion Editor: Rachel Holland

Photographer: Woland

Make-Up: Faye Marie Quinton

Hair Stylist: Kieron Lavine

Stylist’s Assistant: Belda Chung