Zara Martin – exclusive Focus section cover shoot for FAULT Issue 18

 

Zara Martin - FAULT Magazine Issue 18 - inside Focus cover WEB

Zara Martin was shot in London by photographer Paul Whitfield and styled by Rachel Holland exclusively for the internal Focus section cover of FAULT Issue 18
Click here to order your copy of this issue!

 

FAULT Issue 18 Focus section cover star Zara Martin never misses a VIP party. In fact, she’s usually the one who keeps it going all night when she’s spinning the tunes from behind the decks for the international glitterati crowd. Zara is also a model and TV presenter and you’ll often spot her on red carpet style lists or sitting on the front row at fashion week presentations with her countless celebrity friends, including Tali Lennox, Caroline Flack and Miquita Oliver. For FAULT’s RAW issue, we looked underneath the glamour with Zara to discuss her hidden talents, charity work and what her younger self wouldn’t believe about her now.

FAULT: Which came first: your modelling or DJing?

Zara: I started doing some work for MTV back in the day when there weren’t so many girl DJs. So it was the music connection that helped with the DJing but I’ve always had a model agency. I’m not super tall so I never did any catwalk stuff, more commercial work, so all the cool opportunities came from the DJing. The shows that I do on TV are mostly fashion or music based as well.

It’s slightly strange that my first job was given to me by Al Gore. It was really random.

So you’re a model, a DJ, a TV presenter and you’re creating a line of headphones… do you have any hidden talents?

Well, I’m working on doing some acting at the moment. I went to drama school before I got into all of this but I never finished it. So in my spare time I’m taking classes and auditioning. I’ll be in LA for pilot season and I’ve just got the trailer through for a short film I worked on with Director Wayne Che Yip called Toledo. I have an American accent in it and it’s all really weird. It’s based on a Charles Bukowski poem called ‘For The Foxes’.

Zara Martin - FAULT Magazine Issue 18 - inside WEB 3

Interview by Olivia Pinnock

What new music are you really pushing at the moment?

I’ve liked Angel Haze for a really long time and it seems like she’s just blowing up at the moment [Ed: FAULT Online featured her recently]. So I’m like ‘see I told you!’ I really like her, she’s just wicked.

Other than that, I love it when acts collaborate and do something a little different like the Iggy Azalea/Charli XCX track ‘Fancy’ is amazing and it kind of reminds me of old Gwen Stefani. I still love The Weeknd, he does this cover of XO by Beyoncé that’s really good!

There are so many good artists about at the moment. It’s hard to pick just one. ..

You also manage to fit in time to be an ambassador for Women for Women International

Women for Women are the most incredible organisation. I met Brita [Fernandez Schmidt], who’s the chairwoman in the UK, and I immediately vibed with her. You know when you just meet someone with such pure energy you just have to know more about them? She’s so inspirational. Every time I see her I feel like I’m not doing enough! So I wanted to get involved. At the moment we’re just working out the best way and I’m trying to get some younger people involved in the organisation and hopefully we’ll be doing some events this year. You’ll be hearing more about it soon.

Zara Martin - FAULT Magazine Issue 18 - inside WEB 2

Get the full shoot and interview – only in FAULT Issue 18.
Click here to order your copy for delivery worldwide!

What advice would you give your younger self?

Stop messing around and do some work! I wasted a lot of time in night clubs but I have no regrets. I don’t like to live my life like that.

FAULT MAGAZINE ISSUE 18 – THE RAW ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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

FAULT Focus: Moving Picture Company’s VFX Maestro Sheldon Stopsack

A flaring storm of future sentinels, engineered from Mystique’s DNA and harnessed by nanotechnology, has descended upon X-Men: Days of Future Past. These sentient creations incorporate 100,835 blades and 1019 moving parts inside faces that open up as extra weapons against adversaries. The forces of nature transcend into a seamless computer generated and 2D empyrean, all orchestrated by the Moving Picture Company: a portal from the ultimate heights of technological potential to the world at large.

X-Men  7

Close-up still shot of a Sentinel in X-Men: Days of Future Past

MPC is a global, feature film VFX (visual effects) studio that has recently worked on heavyweight, large-scale international productions including the X-Men trilogy, The Hunger Games, and Guardians of the Galaxy. Powered by technology right the way through from initial concept art to final compositing and stereoscopic workflow, and punctuated by a labyrinth of seemingly-supernatural forces and immersive interactive systems, MPC has been awarded a prestigious Gold Lion in Cannes, an Academy Award for its contribution to Ang Lee’s Life of Pi and a myriad BAFTA and Emmy awards.

VT1E0406bw (Medium)

Sheldon Stopsack, VFX Supervisor at MPC

This week’s FAULT Focus interviewee is Sheldon Stopsack, VFX Supervisor at MPC. Since he first started in the industry back in 2002, Sheldon has progressed from his speciality in Lighting to oversee a combined symphony of R&D, CG modeling, Animation, FX and Lighting in his current role. Integrating bespoke and highly complex VFX has led to him managing multi-site projects for the likes of Skyfall, Harry Potter: the Deathly Hollows I and II, X-Men: First Class and The Chronicles of Narnia while he has also simultaneously spearheaded the company’s technological development projects (ACES implementation, Katana adaptation, etc) in London, Vancouver and Bangalore.

FAULT: Sheldon, you worked as CG supervisor on recent projects for MPC like the most recent X-Men film and Guardians of the Galaxy – and have since been promoted to VFX Supervisor for various upcoming projects.   X-Men: Days of Future Past marks MPC’s second return to the Marvel based franchise. The CG sequences, make-up effects and pre-visualization was initially headed up by 12 different VFX studios – after it was originally engineered with 528 shots by MPC. Tell us about the challenges associated with the production stage of the ‘future Sentinel’ sequences?

Sheldon: The development of the future Sentinel was probably the biggest challenge MPC faced during the production of X-Men Days of Future Past. We were involved with the design of the Sentinels from an early stage. Our in-house Art Department provided a wide range of concept work for the killing machines.

The final design of the sentinel incorporated the idea of having hundreds and thousands of individual blades, similar to Mystique’s shape-shifting ability. The biggest hurdle there was the pure complexity of the asset, [all the] while maintaining flexibility. We needed to have control over each blade to allow flaring, transforming, swapping for varying blade instances and shader variations.

At the beginning we looked into existing technology that could be adapted for our needs. MPC’sin-house fur and feather system called Furtility was one of them, however it became quickly obvious that we would need to develop a new system that scaled better for our needs. We ended up developing a new system for which we build a low resolution version of the sentinel.

Individual blades were represented by a much simpler five sided geometrical shape that acted as a proxy. These were rigged up in a traditional way, ensuring optimal performance for animators. From the blade proximity we then cached out point cloud data for position and orientation. But also blade ID and various other primVars.

At render time, we then swapped out the proxy representation for a full scale render model. Dependent on the state of the sentinel at that time we could use different blade types (eg, damaged blades) or use primVars to drive various shader attributes to change the sentinel appearance (eg refracted ice for Iceman or glowing hot as Sunspot).

A sentinel attacks Storm (played by Halle Berry)

A sentinel attacks Storm (played by Halle Berry) in X-Men: Days of Future Past

The X-Jet, Cerebro’s crimson-hued virtual world where Xavier searches for mutants and Sunspot’s confrontation with the sentinels were all orchestrated in a CG environment by MPC. Tell me about the collaborative process with [Animation Supervisor] Benoit Dubuc and [VFX Supervisor] Richard Stammers – from concept to final composite? How were the fight sequences between the mutants and the Sentinels developed?

The orchestration of the sentinel fighting our hero mutants was an important part for us and, of course, for the client. Benoit handled this part incredible well. The challenge was introducing the correct mix of agility without competing with the scale and weight of each sentinel. Richard had a clear idea of what the character of these sentinel was supposed to be. Throughout the process Benoit and his team blocked out each individual shot and went through various iterations of animation. The challenge here is to find a consistent language. Even though the Sentinels are impersonal futuristic killing machines, it was important to have a uniform and distinct characteristic.

Sheldon and MPC’s work on display in Guardians of the Galaxy

Sheldon and MPC’s work on display in Guardians of the Galaxy

Your work on Skyfall was an altogether different challenge – a hybrid approach that included over 1300 visual effects shots ranging from the MI6 building’s explosion, the Komodo Dragon casino attack, the Merlin helicopter crash at the manor and the London Underground encounter. What was your methodology with regards to the CG sequences and explosions for Skyfall? How did you manage the workflow amongst the various VFX offices?

Projects like Skyfall are very different from a typical VFX project that requires unreal effects work. The goal here was almost to hide that fact that any visual effects work were used and to provide the audience with an experience that they don’t question – or ideally even notice. Even though realism always plays a key role in our work, it is much less forgiving on something like Skyfall where our work needs to blend in with the non VFX surroundings.

On Skyfall we had the pleasure to work with Steve Begg as the client VFX Supervisor. Steve is a real veteran in the business and planned the helicopter crash into the Manor as a miniature shoot. The resulting plates gave us a great basis to work from.

To add more realism to the crash we decided to replace larger parts of the helicopter adding more natural movement, vibration and crumbling. We re-projected the plates onto a roto-animated version which was matching the miniature shoot perfectly. This re-projection then got baked out into a texture pass and which we partly reused on the enhanced animated version.

Newly revealed areas or destructed parts were filled in with a full CG version of the helicopter, which obviously had to blend in perfectly. A similar approach was used for the Lodge itself. We had to sell the impact with a lot more fx simulated destruction with explosions, fire and smoke. In addition we spiced up the plates with a lot atmospherics such as wind and downdraft.

HarryPotter  MPC  3

Voldemort’s killer spell in action, as visualized by MPC

How did you transform the fantasy world of wizards in the climactic showdown with Harry Potter and Lord Voldemort as Lighting Supervisor for Harry Potter and the Deathly Hollows I & II?

As Lighting Supervisor at the time I was overseeing the entire processes from Look Development of all character and assets to final Lighting all shots MPC was involved in.

It was a great experience to be involved in the last two Potter Movies which brought the series to an end. MPC obviously had a long history with the Potter Franchise and we wanted to finish it with a spectacularly high quality of VFX. Even though both parts were worked on almost simultaneously, we took a huge leap between the two by introducing a complete new shader library, which was a further step for us into the physical based direction. This made it a bit more difficult to re-use existing Look Development that was done for the first part, but the benefit of having a more accurate shading and lighting result made it worth the effort.

With the last two Potter movies we were also facing a new level of complexity when it came to fx rendering – and it certainly gave us a taste of which direction the industry was going and what future requirements would need to tackle.

Marvel's Guardians Of The Galaxy L to R: Drax the Destroyer (Dave Bautista), Gamora (Zoe Saldana), Groot (voiced by Vin Diesel) and Peter Quill/Star-Lord (Chris Pratt) Ph: Film Frame ©Marvel 2014

Marvel’s Guardians Of The Galaxy
L to R: Drax the Destroyer (Dave Bautista), Gamora (Zoe Saldana), Groot (voiced by Vin Diesel) and Peter Quill/Star-Lord (Chris Pratt)
Ph: Film Frame ©Marvel 2014

What other projects can we expect from you and MPC in the near future?

MPC just finished working on The Guardians of the Galaxy and it has a wide range of new projects already lined up, including Disney’s The Jungle Book, Batman V Superman: Dawn of Justice, Night at the Museum 3, Frankenstein, Into the Woods, Cinderella and The Hunger Games: Mockingjay: Part 1.

I am currently preparing my next gig, which is Terminator: Genesis

Interview: Rocio Frausto
Edit: Nick Artsruni
Images: Courtesy of MPC (unless otherwise stated)

FAULT ‘Sounds of 2014′ feature in Issue 18 – Alpines and Marie Naffah

 

FAULT Magazine Issue 18 - Our Sounds of 2014 section, opened by Ella Eyre, also features the impressively talented duo Alpines and MTV’s Unsigned Artist of 2014 winner Marie Naffah.

Alpines released their debut album entitled Oasis via their own label, Untrue Records, in late May. In the midst of writing and producing Oasis, they discussed their journey so far with us at FAULT – from meeting at a wedding back in 2009, to touring with Florence and the Machine, to now releasing their own record. 

FAULT-Issue-18-lo-res-2-1

Photography & Interview by Miles Holder
Click here to order your copy for delivery worldwide!

FAULT: As a fairly new band you’ve shot straight to touring, supporting some big names including Florence and the Machine. Was it hard to stay focussed on your own album?


Catherine:
In the last 4 years we’ve constantly been learning at a fast pace but you have to stay grounded and true to your vision to keep living in the industry.
Bob: There have been a lot of ups and downs in the last few years just getting to this point. Although it’s only our first record it feels like we’ve come such a long way.

What is your FAULT?


Bob:
I’m impatient, and I know I am but I just can’t do anything about it.
Catherine: I’m a bit of a workaholic I can’t switch off. I think that’s part of being a creative.

 

Check out Alpines brand new single – ‘Zero’ – for which the video was just unveiled today! ‘Zero’ is Alpines’ 7th single and their third from the Oasis album:

Marie Naffah is currently riding high on the success from winning MTV’s Unsigned Artist of 2014. She describes the experience as ‘surreal’ as she tries to ‘define’ her musical style. However the young musician appears grounded and has a clear strategy for progressing in the shark-tank that is the music industry so we’ll continue to watch for the remainder of 2014 and beyond…

Get the full shoot and interview – only in FAULT Issue 18. Click here to order your copy for delivery worldwide!

Get the full shoot and interview – only in FAULT Issue 18.
Click here to order your copy for delivery worldwide!

 

FAULT: What is your FAULT?

Marie: I think when people meet me they expect me to be all made up and in heels but I’m not that kind of gal and it throws people off

 

FAULT MAGAZINE ISSUE 18 – THE RAW ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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

STROMAE – Exclusive shoot for FAULT Issue 18

 

FAULT Magazine Issue 18 – the RAW Issue features Belgian solo artist Stromae.  Stromae first burst onto the scene in 2010, when his trackAlors On Danse’ caught the attention of everyone from Kanye and Will.iam to Anna Wintour and Nicolas Sarkozy.  

Photographer WOLAND and styling team A+C STUDIO photographed Stromae on location at DISCO Club, London.

The Belgian solo artist has a strong belief in the notion that there are two sides to every story. In Stromae’s case, the attention-grabbing visuals and catchy club beats of his music occasionally overshadow the other side to his personal story: that of a sharp, inquisitive and sensitive young writer and composer.

FAULT-Issue-18-lo-res-2-1

All Clothing by Mosaert (Stomae’s own fashion label.)

 

FAULT: Your music has tackled homelessness (‘Formidable’), absent fathers (‘Papaoutai’) and STDs (‘Moules Frites’). What first compelled you to write about such harsh issues?


Stromae: 
That’s life. I think that to hide these issues is the worst solution. I was never concerned with music that was just about having fun. That’s great but it’s not my life; my life has always had problems, I just prefer to dance on them.

In light of the success of modern hip-hop artists like Drake and Frank Ocean, do you find it’s easier for male rappers to show a sensitive side and to tell a story beyond the swag and braggadocio?

Yeah I think it’s much easier than before. For me, it’s thanks to people like Kid Cudi – the people who crossed that line between hip-hop and dance music. They come from the same family but in Belgium that was a really different line to cross. If you were doing hip-hop you couldn’t be carrying a skateboard but people like Kid Cudi, Technotronic and Snap! just changed that.

FAULT-Issue-18-lo-res-s-1

Interview by Will Ballantyne-Reid

There are many dualities in your music- the puppets in ‘Papaoutai’, the cross-dressing in ‘Tous Les Me?mes’. Was this a conscious decision?

I love telling two sides of a story, and really I find it difficult to have just one opinion! I like to hear what other people think and see both sides. Obviously my vision will always be a part of my songs but I like to keep a certain degree of openness- I don’t want it to be all about me. I don’t think that my life is that interesting!

FAULT-Issue-18-lo-res-2-3

Get the full shoot and interview – only in FAULT Issue 18. Click here to order your copy for delivery worldwide!

What is your FAULT?

That’s a difficult question because I can always find a way to make something out of my faults [laughs]! One of my faults in the past has been not composing when I’m on tour.

FAULT MAGAZINE ISSUE 18 – THE RAW ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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

Mr Hudson: Exclusive shoot and interview for FAULT Online

After originally breaking onto the music scene in 2007, Mr Hudson has now notched up over 80,000,000 views on YouTube (with his feature on Jay-Z anthem ‘Young Forever’) to date , collaborated with Kanye West on the platinum-selling ‘808s & Heartbreak’ album, and released his solo album Straight No Chaser in 2009, spawning the #2 single ‘Supernova’ featuring Mr West.

Since this last release, he has featured on Jay Z’s ‘The Blueprint 3’ in 2009, and on the Jay-Z/West juggernaut ‘Watch The Throne’ in 2011, as well as having recorded and toured with industry giants from Tinie Tempah and Calvin Harris to Amy Winehouse and Miley Cyrus. Now he’s back with another album of his own- the upcoming Step Into The Shadows. This is a record with a new sound and a dark intensity, with cameos by the likes of George The Poet, Giggs and Luther star Idris Elba, who features on the title track that dropped in May of this year.

Blazer: Monta Heritage Shirt: Sand Trousers: Duchamp Tie: Topman Shoes: Kurt Geiger Watch: Triwa

Blazer: Monta Heritage
Shirt: Sand
Trousers: Duchamp
Tie: Topman
Shoes: Kurt Geiger
Watch: Triwa

FAULT: Your new album is very influenced by London. How has your experience of the city shaped your music?

Mr Hudson: I’ve just been running around so much the last few years- the first big tour we did was with Amy Winehouse around the UK and Europe and then I was in America with the G.O.O.D guys and Kanye. So it was a real decision to set up a studio in London and not run around so much.

I was struck by the narrative quality of the new album- the imagery, the place names. Is that something you are conscious of?

I really wanted to pin it- like on Google Maps- there are pins all through the music. Part of that was due to living and working in Central London. My studio was in Clerkenwell, near Smithfield market, and that place has a vibe. And I was watching a lot of Luther, which was where I first saw Idris [Elba.] I was like “I want to work with this guy” and he came round the next day!

When you were first coming onto the scene there was a kind of Brit bubble with Amy Winehouse, Lily Allen and Mark Ronson. Do you see that trend coming round again?

I think we have a really nice kind of Brit Pop bubble happening but at the same time, I think the mainstream is definitely looking towards the US and a very America-centric sound, which it wasn’t ten years ago. It’s interesting that some people still want to sing with an American accent- girls more than guys- but I love the scene that’s coming through at the moment; Disclosure, Sam Smith, Aluna George, MNEK.

Suit: Richard Anderson Shirt: Sand Tie: Topman

Suit: Richard Anderson
Shirt: Sand
Tie: Topman

With the new album you have spoken about the theme of secrecy and hidden moments. Was there a desire to get away from the hyper-activity of being so in the public eye?

Yeah, and really just to slow down. Some of the tracks on the album are so slow which might seem a bit downbeat but my thing with music is that you’ve just got to let that out if that’s what you’re feeling. I’ve always just made the music that I want to hear come out the speakers. Sometimes it will resonate with the mainstream and sometimes it won’t.

You have spoken about the ‘physicality’ of your music. In that vein, what is your approach to the live experience?

I love singing live- I have mixed feelings about the way in which the industry has moved towards performing to a track. You’d be surprised by how little of the sound you hear is actually made on stage. I’ve always been influenced by the likes of Bowie, Chet Baker, Cole Porter, and I play musical instruments so it makes me sad that music doesn’t really start with the musicians anymore. These days it starts on a laptop in a room, the vocals are done in that same room, and then maybe when it comes to the stage you get people together in a rehearsal room.

Suit: Richard Anderson Shirt: Sand Tie: Topman Coat: Atelier Scotch Shoes: Church’s Watch: Triwa

Suit: Richard Anderson
Shirt: Sand
Tie: Topman
Coat: Atelier Scotch
Shoes: Church’s
Watch: Triwa

Do you create everyday?

Yeah- even if just in my head. I love sitting with a guitar on my knee, or at the piano with a cup of tea. I’m more into the process of actually making music than being recognised for it or being famous- whatever that is! I worry that we’ve shifted back into a sort of ‘music as a way to be rich and famous.’ Money’s cool but it’s not a way of life. Shakespeare was not the richest man in London in his day!

Did you approach the new record with a view to core themes, or a particular message?

I just went in and thought about making music. I made a real effort not to be cerebral about it. Not to think about it but to actually do it. For me, the new record feels like driving or walking around London at night. My reference points were things like (the film) Drive, Luther, Blade Runner, Hitchcock.

Coat: Atelier Scotch T-Shirt: Lazer-eye Watch: Triwa

Coat: Atelier Scotch
T-Shirt: Lazer-eye
Watch: Triwa

It’s interesting that those are all visual references.

Yeah! I wanted to paint some pictures with the music, as if each song is a vignette of a time and place. Driving around West London, driving through Canary Wharf. In terms of music I was drawn to this kind of unnamed genre that centres on a guy who is miserable, but it’s okay. A kind of Frank Sinatra ‘One for my Baby, One for the Road.’ You’re going through it but it’s okay and you’re not a wreck. We celebrate Sinatra for the kind of big, brassy music he made but he has some incredible, miserable albums!

What is your FAULT?

I think I’m too diplomatic sometimes- too much of a peacekeeper. If we were having a row, I’d just do whatever to calm everyone down but that avoids the problem. I don’t face up to shit.- I’m a coward. It’s a stiff upper lip thing of not wanting to deal with it.

Photography: Miles Holder

Words: Will Ballantyne-Reid

Styling: a+c studios

Makeup: Patricia Obaro Odje

Hair: Natalie Viner

Eliza Doolittle: Exclusive shoot and interview for FAULT Online

Skirt and Top: NYMPHA Shoes: New Balance Earrings: Gogo Philip

Skirt and Top: NYMPHA
Shoes: New Balance
Earrings: Gogo Philip

Eliza Doolittle has had a vibrant career well-matched to her style and nature, with her first and eponymous album, released in 2010, debuting at number three on the UK Albums Chart and launching two UK top forty hits: “Skinny Genes” and “Pack Up”, both of which were released straight into the top five on the UK Singles Chart. Since then, she has toured and recorded with Disclosure, and worked on a World Cup song with Gary Barlow. Last year she released her second album In Your Hands, featuring tracks ‘Big When I Was Little’, ‘Walking on Water’ and ‘Let It Rain.’ We met her just as she was getting back to work on her next record!


What is the writing process like for you?

It changes all the time! Usually I write little one-liners or titles and think about the project as a whole. On my first album I  was just writing whatever I felt that day but this time I want to have more overall themes. Sometimes I’ll be working with someone who has a beat and so we’ll build it from there but I think it’s important to switch it up otherwise you get stuck.

 

What are themes for the next album?

You have to wait and see! I’ve only just started the writing process so I’m holding off because you always start with one thing, and it ends up being completely different!

Miles Holder

How do you feel you’ve developed as a writer since you released your debut?

Personally, I think the structure of the song has come on a lot. As a teenager, my writing was a lot more away with the fairies, and sometimes I need to just focus and bring it back to the chorus! I’ve worked with some incredible producers and writers and have learnt so much by just taking in other people’s process. Collaboration always keeps your mind open.

 

Are there any dream collaborators on your mind at the moment?

I love Andre 3000- he’s on the list! I would love to work with Raphael Sadiq- everything he touches is brilliant and I think we could do something really cool. It’s got to be a natural thing, you have to have a mutual respect for each other.

Dress: Antipodium Shoes: New Balance

Dress: Antipodium
Shoes: New Balance

 

You’re currently working on your new album. Is there a pressure to reinvent, either your sound or your image, with a new release?

I think you just have to be honest with what you’re feeling and what you wanted to make at the time. I like to move in new directions and explore- it’s important to grow. When I was writing my first album I hadn’t really experienced the world, or even lived much of my own life. There wasn’t a single love song because I hadn’t really gone there but now I feel totally different. Love is the most important thing in the world, and whether you’re experiencing it in a great way or in a sad way I think it’s so great if you can find the honesty in it and express that in a song.

 

You mentioned that you’re quite shy- is the live experience something you enjoy?

It’s my favourite part, I can’t even describe it. Being on stage is just the best thing. In fact, I can understand why that whole idea of sex, drugs and rocknroll exists because you have that amazing buzz on stage that nothing else can give you and you come off to nothing, really. And that’s when you could potentially indulge, I totally get it. I’ve always tried to be aware of that and separate one from the other.

SONY DSC

Dress: NYMPHA Shoes: New Balance Earrings: Gogo Philip

Your music and outlook seems very quintessentially English- -is your British identity really important to you? 

I wouldn’t say I’m the most patriotic person but I was raised in London and it’s so mixed I think it just makes you love lots of different cultures. But I’m proud of where I’ve come from and I absolutely wouldn’t want to stand for anyone else.

 

You seemed to have a lot of fun on the shoot- is the relationship between fashion and music something that’s really important to you?

I think you have to just enjoy it. Most of my favourite musicians have a lot of fun with their clothes as well, whether it’s David Bowie or Andre 3000 or even someone like Kurt Cobain. I think it’s got to just express your personality.

 

What is your FAULT?


I don’t have any (laughs). No, I’m definitely a bit of a control freak, especially when it comes to my music or anything creative. But I’m trying to let go a little bit- it’s important to let people in who can elevate you and make you the best that you can be. I need to be less of a control bitch basically (laughs.)

 

Back issues of our first shoot with Eliza back in 2010 are available through the ISSUES page. Click HERE for a direct link to buy your copy of FAULT Issue 6: No Man is an Island, which also features Alesha Dixon, 2 Many DJs, The Vaccines, the Black Angels, Nick Cave’s Grinderman project, John Cooper Clarke, Benn Northover and the Correspondents.

FAULT Magazine Issue 6 - £20.00

FAULT Magazine Issue 6 – £20.00

 

Photography: Miles Holder

Words: Will Ballantyne-Reid

Stylist: a+c studio

Make-up: Emma Miles using Mac Cosmetics

Hair Stylist: Natalie Viner

Kina Grannis: Exclusive shoot and interview for FAULT Online

Kina Grannis started her career back in 2005 with her self-released album Sincerely Me. Today Kina has has amassed an intensely loyal online following, with her YouTube channel receiving over 150 millions views to date. With the release of Kina’s sophomore album - with all tracks written by Kina herself - FAULT sat down with the songstress to find out what it’s like to be part of a new wave of internet-propelled musicians.

Miles Holder

FAULT: Does it annoy you when people refer to you as a YouTube celebrity when in fact you had released music and had record deal offers years before you had even created your account?

Kina: Yes sometimes it can be frustrating to be only known for one step of the many stairs of my career but then I understand that YouTube is a giant part of my career. As a platform it has been so good to me and allowed me to do so much that while it can be annoying that my early career is sometimes glossed over, I guess that comes with the territory.

 

What would you say was your biggest fear as an artist and when you look a few years down the line what do you just not want to happen to your music?

As a musician I think the biggest struggle is getting too caught up in listening to what people want versus what you naturally want to create. That’s something I struggle with in the YouTube world. I constantly read people’s comments and people have a lot of opinions which are good to hear but I want to make sure that for me I keep making music for myself and what inspires me and not get tainted by what’s big and cool.

 

Do you actually read the comments? Many say you should never read news about yourself, so on YouTube where there is and endless stream of good and bad opinions, it must be hard.

I try not to but I inevitably do and it’s a crazy thing. For the most part it’s just like Christmas morning and it’s so exciting but then there’s that one comment that’s just so devastating that it ruins your day and I remember that comment and the way it makes me feel is why I’m not supposed to read too far into every comment.

 

You have a lot of young fans and like any performer while you haven’t asked to be a role model, people still look up to you. As your fan base continues to grow, do you find yourself being extra cautious about what you say and do?

It’s definitely a weird thing, and when you realise it’s happened it’s like oh! I better be a good person all the time but I haven’t felt too much crazy pressure because I don’t live a crazy life. For the most part I’m doing things pretty safe but it is something you think about as I want to make sure I’m putting out a good image so I can make sure people are putting out the best image of themselves also.

Miles Holder

Is it fair to have that pressure on you when really your job is only to be an entertainer and not a role model to thousands of young people?

It’s an interesting question, I don’t know if it’s fair or not but it’s just how it is so I’ve just gone with it and I have to be ok with that.

 

Who did you look up to for musical inspiration when you were young?

I think the first one for me what James Taylor, my dad listened to a lot of his music so I think that’s where I found my love for the acoustic guitar and another was a Belgian band called K’s Choice. They really showed me how powerful music can be and that’s something I’ve always strived for in my music – to make it important.

 

When you look at your career 10 years down the line, what is the long-term goal?

I’ve always been afraid of concrete goals as I’m afraid of not reaching them. I’ve always kept the mind-set of I want to make the best music I can and share it with as many people as possible. And I want to keep growing and doing greater and better things.

 

What is your FAULT?

I think one of my FAULTs is that I’m very indecisive. I just can’t make decisions.

 

Words and Photography: Miles Holder

Example – taster from our exclusive shoot for FAULT Issue 18

Example was shot in London by photographer Rachell Smith and styled by Dan Blake exclusively for FAULT Issue 18  Click here to order your copy of this issue!

Example was shot in London by photographer Rachell Smith and styled by Dan Blake exclusively for FAULT Issue 18
Click here to order your copy of this issue!

It’s been almost seven years since Example released his debut album in 2007. Since then he has gone on to release twenty-one singles, perform at sell-out concerts across the globe and dominate both the UK Album and Dance music charts alike. FAULT caught up with Example to talk about his recently released album, Live Life Living, and life after music.

FAULT: People can guess the meaning behind the title Live Life Living but, in your own words, can you explain the thinking behind the title?

Example: For me it just means live life to the max but I didn’t want to call the album ‘Live Life To The Max’ either because it sounds like a boyband’s album or an X Factor runner up single. I feel people are always trying to escape either their jobs or maybe a relationship breakdown or financial woes, so people need a to feel good sometimes. I think the music on this album will definitely [help to] do that.

Do you worry that you sing too much to be remembered as a great rapper, and rap too much to be remembered as a great vocalist.

I’ve never thought about that but it’s a good point. I’ve always felt that rapping is really useful when you’re really emotional or really aggressive and upset. For me, I’m in such a happy place that it doesn’t make sense to do rapping. I’ve got a bit of a unique gravelly voice and it’s probably closer to blues – like you said earlier – where it’s more about the character in the voice rather than how good a singer you are. That is where I’ve always felt like my strength lies, and to be honest I’m not bothered about being remembered as a great singer or rapper – I’d rather be remembered as a great entertainer.

Interview by Will Ballantyne-Reid

Interview by Will Ballantyne-Reid

Have you done anything different on this album?

The process of writing was the same, what’s changed is the way I’ve produced them. ‘Kids Again’ was just started on guitar and then once we were happy with a guitar demo we go from there. The song originally was just me singing over a guitar but then you chop out words you don’t like and interchange bits and then the guitar became a piano and then a synth and a bass line and then drums. I think when you’ve been working in the music industry as long as me then it’s kind of about time that I should be doing a lot more on the production side of things.

Get the full shoot and interview - only in FAULT Issue 18.   Click here to order your copy for delivery worldwide!

Get the full shoot and interview – only in FAULT Issue 18.
Click here to order your copy for delivery worldwide!

What is your FAULT?

My main FAULT used to just be lying; I used to just compulsively lie and make shit up. I would constantly lie to family, friends, my ex-girlfriend. It took meeting my wife and going to therapy to actually realise I could just be honest. It was almost like “your life is so amazing-why do you have to make shit up!”

FAULT MAGAZINE ISSUE 18 – THE RAW ISSUE – IS AVAILABLE TO ORDER NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

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