The Brian Jonestown Massacre release ‘+ -‘ EP TODAY – 10th Nov ’14



The BJM‘s new EP, ‘+-‘ (that’s right: plus minus), is out today – and it’s a cracker. While we’re pretty sure that Anton (Newcombe, the front man and sole consistent member of what has eventually become more of a musical collective and general concept) was just trying to fuck with music writers everywhere when he decided on the internet-unfriendly name for the record, his latest offering shows few other signs of messing about.

+- is a return to the classic, timelessly awesome style that saw the BJM establish themselves as the figurehead for ‘real’, guitar driven, psychedelic rock music way back in 1990. Anton and co have largely eschewed the changing trends and passing fashions of the hits list ever since and the release of their latest full album, Revelations, earlier this year stands as a testimony to their enduring popularity with an admittedly niche but definitely devoted audience.

The Brian Jonestown Massacre for FAULT Issue 11

The Brian Jonestown Massacre, as featured in FAULT Issue 11

The +- EP has since been released off the back of a highly successful European tour, which cemented Anton’s undisputed position as the ‘Granddaddy of Psych’, and exhibits both the trademark tones and wide-reaching diversity of the BJM at their best. A key influence for the likes of the Black Rebel Motorcycle Club, the Horrors, Tame Impala, the Black Angels and many more, a simple call to action for on-the-fence readers is that all-too-clichéd come-on: “You’ve tried the rest, why not sample the best?”*

*Ed: OK, so we may have overplayed our hand a bit there because there’s no real ‘best’ out of those bands. But the BJM, and this EP in particular, are pretty damn good.

10” – Tracklisting:
1. Heat
2. Everything Was Very Simple
1. Reconstruction
Have a listen to ‘Heat’ below:
The digital download version contains an extra track called ‘Leave It Alone’.

FAULT Presents: Our Top 20 Albums of 2013 (part 1)

Along with the celebrations that come with ringing in the new year, there is always the inevitable “totting-up” of the year gone by. With that in mind, we at FAULT have put our heads together and come up with our eclectic, eccentric and (hopefully) excellent list of our favourite feature releases of 2013 – from the debuts that demanded to be noticed to the follow-ups that showed us who we can’t forget.

It’s not always the case, but last year was a particularly rich one for music lovers, which made it tough to narrow down our choices. We eventually settled on 20 of our personal favourites – mostly because we thought that most of you would get bored by a longer list!

In no particular order, then, here’s our first set of picks for 2013’s albums of the year. Part 2 will follow later this week – be sure to keep an eye on FAULT Online:

 20. Lorde – Pure Heroine


The outspoken and wise-beyond-her-years New Zealander unveiled her debut album amid a flurry of press claiming she’d denounced the likes of Demi Lovato, Taylor Swift and Selena Gomez for portraying women in a negative, over-sexualised manner. Her thought-provoking lyrics and sparse, sometimes dark, electro-pop sound immediately set her apart from the heavily visual (and sexual) gimmicks employed by some other young artists. A must-listen antidote to manufactured pop.

Lorde – ‘Royals’:


19. Black Rebel Motorcycle Club – Specter at the Feast


BRMC’s seventh album showed a mellower side to the band, with the energy of previous hits such as ‘Spread Your Love’ in something of a short supply. It works, though – they display a surprising tender side in ‘Lullaby’ and pull off this new, gentler sound very well. Calming down might not be what we expected of them after we witnessed them recording at Cobb Studio for FAULT Issue 9, but ‘Specter at the Feast’ may well be one of their best offerings yet.

Black Rebel Motorcycle Club – ‘Firewalker’:


18. Disclosure – Settle


Kicking off the proceedings is arguably one of the best debuts seen in recent years. Featuring the likes of Aluna George, Eliza Doolittle and hotly-tipped purveyors of artfully depressing aural beauty London Grammar, ‘Settle’ provided many a summer anthem and saw the duo nominated for a Grammy. Despite their tender ages of 22 and 20, brothers Guy and Howard Lawrence showed an impressive grasp of effortlessly cool minimalist dance-pop.

Disclosure – ‘Latch’:


17. Pearl Jam – Lightning Bolt

pearl jam

With ‘Lightning Bolt’, grunge stalwarts Pearl Jam proved that the murky sound of Nineties Seattle is no distant memory. They demonstrated that they’re still as relevant today as they were when their game-changing debut ‘Ten’ was released in 1991, with this set of twelve fresh tracks, showcasing a hint of lo-fi cool but plenty of their signature raw attitude and rich melodies. As if that wasn’t enough, each track has its own artwork in of-the-moment flat illustrative style.

Pearl Jam – ‘Sirens’:


16. Sky Ferreira – Night Time, My Time

sky ferreira

Proving that she’s not just a poster girl for prescribed edginess, Sky Ferreira finally (after delays dating back to 2011) released her debut ‘Night Time, My Time’ at the end of October. Featuring single ‘You’re Not the One’, Ferreira describes the sound of the album as ‘up-tempo numbers that are…electronic, but come across live as pop-rock’. Not only has she been praised by the likes of Dazed & Confused and Rolling Stone, she’s also bagged herself a support slot on Miley Cyrus’ 2014 tour. Hats off for being a true all-rounder.

Sky Ferreira – ‘You’re Not The One’:


15. James Blake – Overgrown

james blake

Former BRIT Award nominee James Blake’s second album, featuring Brian Eno and RZA, touched down this Spring, with the lead single ‘Retrograde’ gaining extensive airplay on Radio 1. Variance Magazine named it their Album Of The Year, and it isn’t hard to see why, with its languid beats and subtle jazz overtones.

James Blake – ‘Retrograde’:


14. Youngblood Hawke – Wake Up

youngblood hawke inside 1

Youngblood Hawke inside FAULT Issue 16

Don’t let the fact that two fifths of FAULT Issue 16 stars Youngblood Hawke used to be Iglu & Hartly put you off. The video for the album’s lead single ‘We Come Running’ is all about saving whales, and featured an irresistible beat last heard when Black Kids were a thing. Sing-a-long indie-pop at its best.

Youngblood Hawke – ‘We Come Running’:



13. Savages – Silence Yourself


Sufjan Stevens may not be a fan of the typography used on the cover of their debut, but Savages, fronted by ex-John & Jehn (featured in FAULT Issue 2) member Jehnny Beth, have given us a collection of songs that have been described by The Guardian as reminiscent of ‘the debut releases of Public Image Ltd and Siouxsie and the Banshees’. The foursome capture the spirit of punk with insistent beats and sparse, reverb-heavy guitars, all topped off with Beth’s aggressive, clear vocals.

Savages – ‘Shut Up’:



12. Little Boots – Nocturnes

Little Boots inside FAULT Issue 12

Little Boots inside FAULT Issue 12

After telling us in FAULT Issue 12 that her second album, inspired by the poetry of Edgar Allan Poe, had taken “a while and [would] be worth it”, Victoria Hesketh aka Little Boots released ‘Nocturnes’ in March. Suffice to say that it didn’t disappoint. There’s a strong Madonna-esque retro vibe and plenty of the promised spookiness with heavy use of minor keys and low, moody strings. Victoria said that she “DJed a lot over the past couple of years and that’s inspired it – things like how people react at 3am” – check out the whole interview in FAULT Issue 12, and check out the behind the scenes video from our shoot here

Little Boots – ‘Every Night I Say A Prayer’:



11. Arctic Monkeys – AM

Arctic monkeys

The opening beat to first track ‘Do I Wanna Know’ sounds like Dizzee Rascal’s ‘Fix Up, Look Sharp’, and that is reason enough to love this album. All the lyrical wizardry and gritty Northern charm you’d expect from the Monkeys are there, but with added elements such as falsetto, syncopated beats and a lot more moodiness. Not to mention the wonderfully minimalist cover art, which in a few years will probably be described as ‘iconic’.

Arctic Monkeys – ‘R U Mine?’:




Words: Thea de Gallier

Dark Horses: New Single


Dark Horses – featured in FAULT Issue 3 –  have announced a double A-side single release.  The single features ‘Boxing Day’ and ‘Traps’, two songs taken from their debut album ‘Black Music’. The double A-side single will be released on the 11th February and is followed by UK tour dates set to be announced this week.

2012 saw a lot of hype around female-fronted bands such as The XX, The Kills and Beach House with both The Joy Formidable and Yeah Yeah Yeahs waiting in the wings with a new album.  Dark Horses set themselves apart, not only due to the heavy input of cult imagery, dark art and performance which the band incorporates into every aspect of what they do, but also with their cathartic, ethereal tracks.




‘Black Music’ is Dark Horses’ debut album and the two songs featuring on the double A-side single are highly polished, clearly showing the input of producer Death in Vegas’ Richard Fearless. ‘Traps’, produced with soft vocal and guitar effects, exposes Lisa Elle’s atmospheric and haunting lyrics. This slower guitar and drum-led track is a subtle contrast to ‘Boxing Day’ which leads in with simple and repetitive synth, creating an undercurrent which drives the song, only broken by the chorus which furthers the song’s intense atmosphere.

The band has previously toured with Black Rebel Motorcycle Club and Tame Impala and was hand-picked to support both Sigur Rós and Beck. This year is set to be just as eventful for Dark Horses with rumoured Stone Roses supports and Mercury Prize nominations.

Dark Horses are a melancholic yet undeniably refreshing change in current music. The double A-side single is a great introduction to both the band and its manifesto and will no doubt leave you aching to buy their debut LP ‘Black Music’.



Words by Rebecca Hopkins

The Reverb Conspiracy Album Review

Out of the late 60s, drug-induced Woodstock haze in America came the new music/art genre of Psych Rock.  Pioneered by bands such as Jefferson Airplane and The Doors, we at FAULT have been privileged enough to oversee its modern day revival in the form of The Reverberation Appreciation Society.

Austin Psychfest & the Reverberation Appreciation Society in FAULT Issue 11

The Reverberation Appreciation Society, founded by Christian Bland, Alex Maas, Oswald James and Rob Fitzpatrick is exactly what it says on the tin. When you mix lots of reverb, trippy rock sounds and four guys with an appreciation for the people who make them, what do you get? Austin Psych Fest – the festival started in 2008 by The Reverberation Appreciation Society to showcase some of the genre’s best and brightest talent right in the heart of one of its birthplaces – Austin, Texas. Bands that have previously played the festival include The Brian Jonestown Massacre, The Black Lips and Beach Fossils, with Warpaint, Black Rebel Motorcycle Club, The Black Angels and Acid Mothers Temple already announced to play in 2013.

The Brian Jonestown Massacre in FAULT Issue 11

FAULT interviewed Christian Bland and Rob Fitzpatrick, as well as 2012 headliners The Brian Jonestown Massacre, for our Underground Issue (Issue #11) earlier in the year to delve deeper into the festival’s history and the two founders’ visions for the future of Psych Rock. What they didn’t tell us in the Summer Issue is that they’ve been busy collaborating with Fuzz Club Records on the first in a series of European Psych Rock compilation albums: The Reverb Conspiracy – Vol 1.

The Reverb Conspiracy – Volume 1

The Reverb Conspiracy – Vol 1 is a double LP available as a digital download and also in limited quantity on white vinyl – the perfect format for the album considering the importance of art within the genre. It is also a decision which shows its producers have taken into consideration the unrivalled sound quality of vinyl. The double LP opens with Black Market Karma’s ‘Weightless’ which shares a warm nostalgic resemblance to MGMT’s ‘Pieces of What’. The band, which formed in London in 2007 liken themselves to My Bloody Valentine, Nirvana and Black Rebel Motorcycle Club – which is apparent from their song composition. ‘ Weightless’ is taken from their first album Comatose where other tracks such as ‘March’ share similarities with new Indie band on the block Peace with their close vocal and guitar styles.

The Reverb Conspiracy – Vol 1 has been carefully put together with no songs feeling out of place. From the first track there is a consistent flow through soundscapes, samples and a build up into heavier sounds towards the end of the first LP. The second LP has been approached more delicately and features one of the best songs on the compilation: Lola Colt – ‘Diamonds’, as well as The Underground Youth – ‘I Need You’ – both of which will appeal to fans of The Cure, Sonic Youth or early New Order. The Underground Youth, a Manchester-based band inspired by Shoegaze and Psychadelic Rock that have been described as “combining psychedelic and raw garage sounds with a hauntingly beautiful twist”, are particularly worth checking out.

The compilation album’s epic 19-track list is a great documentation of the Psych Rock genre, coming to a head with Dead Rabbits’ dreamy, Oasis-reminiscent ‘When I’m Blue’ with Hammond organ interludes and strong influences of early 90s Rock. Although this LP is primarily aimed at devoted followers of the Psych Rock genre, given that both so-called Indie and Pop music have always taken varying levels of influence from psychedelic music it is a great entry point for more mainstream listeners to hear some brilliant bands that are still playing under the radar in the UK and Europe.

The Reverb Conspiracy – Vol 1 is on sale now from and with 25% of proceeds going to Child’s i Foundation that help abandoned children in Uganda:



FAULT Exclusive: Cobb Studio for Issue 9 including Interviews from members of BRMC & Kasabian

Billy Nicgorski & Pete at Cobb Studio

FAULT Issue 9 features an exclusive interview with Cobb Studio and band The Cobbs. Cobb Studio is owned and operated by Ryan Bernstein, Paul and Billy Nicgorski. FAULT’s forthcoming article will also include insider shots of recording sessions at the home studio in Philadelphia. So many legendary artists have spent time living and recording at the Nicgorski home including Black Rebel Motorcycle Club who recorded part of their albums’ Howl and Beat the Devil’s Tattoo in The Cobbs space. In addition to the guys recording session’s, they have played with everyone from BRMC and The Strokes to Clinic and Kasabian, FAULT also spoke to Robert Levon Been (BRMC) and Jay Mehler (Kasabian) about their time spent at Cobb Studio.

Full feature with more exclusive shots (courtesy of Billy Nicgorski) in FAULT Issue 9.

Paul Nicgorkski & Ryan Bernstein


BMRC recording at Cobb studio


Pete Hayes (BRMC) recording at Cobb Studio

FAULT Issue 9 launched – now available to pre-order

We are pleased to announce that FAULT Magazine Issue 9 – The Regeneration Issue – is now available

FAULT Winter cover stars Ali Lohan and Jackson Rathbone

FAULT Magazine – The Regeneration Issue  – proudly presents exclusive shoots and interviews with:

Ali Lohan

Jackson Rathbone

Black Rebel Motorcycle Club


Michael Steger

The Horrors

Mayra Veronica

The Golden Filter

Leven Rambin

Lynn Collins

Will Poulter

Plus a FAULTless selection of the best Film, Fashion, Music & Art from 2011.

This is your FAULT