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.


Screen Shot 2016-02-09 at 20.13.10

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?




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



Words: Adina Ilie


FAULT Magazine Attends Victorious Festival 2015

Victorious Flaming Lips

Flaming Lips

I have to confess, I’d never heard of Victorious Festival until a group of friends, all Portsmouth expats, begged me to join them for the weekend in their hometown, so I was pleasantly surprised to find some top names on the line up. I was even more pleasantly surprised to find out this is not a camping festival. Given the torrential downpour for the majority of Saturday, my fellow festival goers were happier for it too.

The festival takes place on Southsea Seafront, though unfortunately you won’t get to see much of the sea due to the walls of the festival and a large grass verge. However, they have nicely incorporated the local landmarks to make the festival feel more personalised; the ‘Castle Stage’ is named after Southsea Castle which is a few hundred yards away and offers free access to festival wristband wearers over the weekend and the Southsea war monument was lit up with poppy graphics. The Spinnaker Tower can also be spotted in the background.

Flaming Lips, who headlined on Saturday night, also paid their tributes to the naval town, although in a less conventional way, by waving a giant inflatable sign that read ‘FUCK YEAH PORTSMOUTH’ on stage. They sure know how to be the most Instagrammed show of the festival.

Flaming Lips Victorious Festival

Flaming Lips headlined Saturday

The Fratellis also put in a performance on Saturday that had everyone waving their umbrellas up and down with their feel good indie pop. It was much needed to bring some energy to the dampened affair.

The Fratellis Victorious Portsmouth

The Fratellis warm up a soggy crowd

The rain managed to stay away on Sunday, something that was also noticeable by the numbers that turned out in comparison to Saturday. However, though I’m informed this year’s Victorious was almost double the size of previous years, it never felt overcrowded and, most importantly, the queue for the bar was never long enough to require buying five drinks at a time that inevitably get spilt all over the person standing in front of your enthusiastic clapping.

Sunday had some great throwback vibes, from the naughties indie hay day with The Sunshine Underground and We Are Scientists, to so-90s-it-hurts Texas to the golden oldies of Johnny Marr from The Smiths and Ray Davies of The Kinks. Something for everyone to relive some part of their youth.

Sadly The Darkness appear to have lost some of their naughty, sexy, glam rock satire. Their performance wasn’t the fun soaked set I’d hoped for. Not least because they refused to play ‘Christmas Time’ at the request of the crowd and instead used the opportunity to plug their gigs at the end of the year.

Basement Jaxx Victorious

Basement Jaxx drew a huge crowd for the last set at Victorious

The FAULTless award of the weekend though has to go to Basement Jaxx. Club classic after club classic and a visually stunning performance was the only show of the whole festival that had the entire crowd really moving. From glowing neon costumes to breakdancers and even a ballet dancer, it really reminded that Basement Jaxx are a band who haven’t surrounded themselves with huge hype but have always stayed true to their creative vision. It reminded me of all the good times I’ve had to their music, which fuses gospel, jungle and various sub-genres of EDM. It was the party to end the festival and sent everyone home buzzing.

Victorious certainly feels like ‘a local festival, for local people’. The crowd was almost exclusively from Portsmouth or neighbouring cities and unfortunately that left the atmosphere a little lacking. People were there because it was something to do in their city during the bank holiday, not necessarily because they’re big fans of the artists and that was noticeable by the fact that we were one of the few groups of people jumping around, singing along and generally making fools of ourselves.

However, it’s a very clean and well-organised event, and at £30 for a day ticket, if you’re interested in seeing some great bands and don’t rely on mass mentality to get your vibe going, it’s incredible value for money.

Johnny Marr Victorious

Victorious Festival | Pre-Coverage

Victorious FestivalFAULT isn’t giving up on the summer yet – it’s not over until the last Bestival act sings! There’s plenty more festivals to fit in until then too and next weekend we’re heading to Victorious on Southsea Seafront.

With party-banging headliners like Basement Jaxx, Tinnie Tempah and Ella Eyre, as well as some rock legends including The Darkness and Ray Davies of The Kinks over two days, this festival has attracted big names for only its fourth year. It has also made the shortlist for the AIM Independent Music Awards Golden Welly Award for Best Independent Music Festival. What’s more, it’s one of the most affordable festivals in the country, perfect for a last minute bank holiday escape!

Southsea Seafront music festival

There’s nine stages to keep you entertained including an acoustic stage, a ‘beats and swing’ tent and a showcase stage for new talent. There’s also a real ale festival and boutique garden and market. Want to make a weekend of it? Your wristband also gets you free entry to lots of attractions on the Southsea Seafront.

You’re more likely to find us reliving our teenage years listening to The Fratellis, The Subways and Super Furry Animals on the main stage though!

For the full line-up and tickets visit the Victorious Festival website.

Charlie Simpson Exclusive Photo-shoot and Interview with FAULT Magazine Online




Leather Jacket: BLK DNM
Collar shirt: Karl Lagerfeld
Knit: Karl Lagerfeld

Charlie Simpson rose to fame as a member of multi-BRIT Award-winning boyband Busted, with sales of over 3 million records, and a win for Record of The Year in 2004. Prior to the band’s split in 2005, Charlie began as the lead vocalist, guitarist and co-lyricist of Fightstar, releasing 3 albums and an EP. His debut solo album Young Pilgrim was released in 2011, and followed up in Summer 2014 by Long Road Home, which entered the UK Independent Albums chart at number one. Charlie sat down with FAULT to discuss writer’s block, Warped Tour and life as a newly married man.


FAULT: You have spoken about the process of writing Long Road Home, in terms of going back to the drawing board and the obstacles that come along with that. Was the process of putting it together an enjoyable one?


Charlie: A bit of both- I always love working on a record but this was the first time I had experienced a bit of writer’s block. I just wasn’t in the right frame of mind and needed a break from writing. Luckily, it matched with me going off on the Vans Warped Tour in the US- I played 28 shows in a month and it was just a nice way to separate myself from the situation. I think I wrote some of the best stuff on the record after that happened. It feels like a record I had to fight for, which made it all the more sweet to finish working on. I’m really proud of it.


It’s interesting that you have referred to the ‘journey’ of writing Long Way Home, and it came out of your time on the road with the Vans Warped Tour. Do you find that being on tour helps the writing process?

Yeah definitely. When you’re writing at home the environment can become quite stale; being on the road adds fuel to your creativity. The album felt like a journey from one point to another where I sort of found myself again.


Leather Jacket: BLK DNM
Sleeveless Shirt: BLK DNM



Since releasing the album this summer, are you now able to identify certain undercurrents and themes, or do you go into the process wanting to say something specific?

It’s strange because my last record was a lot more melancholy and I always find it easier to write sad songs, but when I started on Long Road Home I had just got engaged and so I was feeling pretty good about everything! I had to tailor the writing around that kind of mood, which was actually a great challenge as I’d never done it before. It was really good to express that kind of emotion on the record.


In terms of ‘tailoring the writing process’, what are the distinctions between writing as a solo artist and writing as a group?

As a solo artist I get complete creative freedom. In a band, it has to be majority rules; if you write something you really like and one other member doesn’t like it, it really makes you question things. With this album I was able to take it in any direction, which is why I think it took me longer to write. With that creative freedom comes more responsibility because it’s all resting on your shoulders.


When you are struggling with writer’s block, is it a case of producing a lot and then throwing a lot away, or is it just hard to produce anything?

It wasn’t so much that I couldn’t come up with anything, just that I wasn’t writing anything I loved! I’m my own worst critic and I have actually ended up with about 20 unfinished songs I didn’t use. It’s cool because maybe I will revisit them at another time, but it’s a really strange process.

Returning to your time on the Vans Warped Tour, how does the live experience and performing impact your songwriting?

When I’m songwriting in a solitary environment, the lyrics are a lot better. But musically, I can be anywhere- on the Warped Tour I had my guitar on me the whole time. I tend to write the music first, and then I go into my little hole and write the lyrics, but I’ve always been a melody man first.



Coat: Phillip Lim
Collar Shirt: Mohsin


Do you start with a vision for songs, or do they evolve with time?

Yeah sometimes I’ll literally have a vision of a song in my head, and I’ll go to my studio and just make it happen. I like for there to not be a formula to the songwriting- when it comes, it comes. I always equate it to fishing; sometimes you go and nothing comes, and sometimes you catch a big one!


You’ve worked with a lot of different set-ups and sounds. Are your influences quite varied?

It’s completely varied but it’s always been centred around heavier, Rock-ier sounds. I love Deftones and Metallica, but my Dad also put me onto artists like Jackson Brown and those West Coast bands from the 1970s like The Eagles and The Beach Boys. Whatever form of music it is, I have always just loved vocal harmonies and making big sounds with voices.



Overcoat: Dent De Man
Sleevelss shirt: BLK DNM
Bracelets: Hermes Jeans, Shoes and Watch: Charlie’s Own

It’s interesting talking about your childhood influences and you mentioned music has been in your family for over 200 years, from composers and musicians to a former head of the Royal College of Music. Now you are married, is it fair to say family is an important focus for you?

It’s actually the most important! One of the themes of the record is how you can be in a dark place, and be unsure of what is going on, but the one constant is family. I’m really blessed to have a loving family, and that will never change. I’ll always have my family, my wife, and (hopefully) my kids.


Is that easily compatible with the music industry?

When I was younger I loved just getting out on the road, and I still do. I love making music, but I love getting out and playing it just as much. But that’s getting harder as I get older. Family life and being a musician aren’t that compatible, there has to be a balance.


You scored the British film Everyone Is Going To Die, which debuted at the SXSW Film Festival in March 2013, and you’ve mentioned this as something you’d like to pursue more extensively later in your career. Can you talk more about the relationship between the music and the visuals in your work? 

It’s huge! I love film as much as I love music and the marriage of visuals and music is such a wonderful thing. With scoring a film, someone else tells a story and it’s your responsibility to bring out the emotion in it. When you’re writing your own music, you constantly feel that it’s not just music but somehow a representation of your entire make-up. It’s nice to take that pressure off a bit!


You’ve now been a touring musician for over 10 years. What changes have you seen in the music industry?

The industry is almost unrecognisable. Facebook, YouTube, Spotify – none of these things existed! The landscape of the industry has changed so much, you’ve just got to go with it. Whether streaming or downloading, as long as people are still consuming music (legally!) it’s a good thing.


Overcoat: Dent De Man
Sleevelss shirt: BLK DNM
Bracelets: Hermes Jeans, Shoes and Watch: Charlie’s Own


What is your FAULT?

You should ask my wife! (laughs) I would say I’m pretty impatient, which can be a good thing. I get quite frantic and when you’re in the studio that can be a good thing, but in other situations it can be a nightmare.


Photography: Miles Holder

Writer: Will Ballantyne-Reid

Stylist: Vesa Perakyla

Grooming: Stefano Mazzoleni @ Emma Davies Agency

Ameriie – exclusive interview and photoshoot for FAULT Online


American-Korean artist Amerie Mi Marie Rogers first hit the airwaves back in 2002 with ‘All I Have’ – although it was 2005’s ‘1 Thing’ that really pushed her to international prominence, reaching number 8 in the Billboard Hot 100 and number 4 in the UK.  Fast forward to 2014: the name is now Ameriie (spot the extra ‘i’), and she’s back with a bang.

After a few years experimenting with different musical styles, Ameriie has been keeping a beady eye on the pop industry in recent times. New single ‘What I Want’ is a punchy, 80’s inspired song that feels right at home in today’s music climate. With a plethora of different projects on the way, both within music and outside of it, she found time to chat to FAULT about her new single and plans going forward.  ‘What I Want’ is available as a lyric video on YouTube now, while Cymatika Vol. 1 and Because I Love It 2 are the next projects to look forward to. FAULT Online got an insight into Ameriie’s creative process in this exclusive London interview:


Dress : Julien MacDonald Earrings: Maria Black

Dress : Julien MacDonald
Earrings: Maria Black


FAULT: What have you been up to in the last 5 years?

Ameriie: The last 5 years I’ve been constantly creating new music, it’s something I always do. I was recording for Cymatika, which is Part 1 of a Trilogy, that I’ll be releasing in the future and also simultaneously recording songs for BILI [Because I Love It] 2.

I’ve been recording songs, writing and co-producing as well – and then depending on the sound of the song, that dictates which project the song will be landing on because Cymatika has a very distinctive sound, sonically it’s very tight. BILI 2 has a certain sound as well, but the sound is not as extremely specific as Cymatika is.

I’ve been doing that, and I’ve also been writing – because when I was younger, I used to write little short stories and I would staple them together and make little books and newsletters and see if neighbours would buy them, which some of them did because they were very nice!


How does it feel to be releasing music, and what made you decide that now was the right time?

Whenever I’m about to release a new album, I usually feel like a new artist, maybe because I’m constantly creating and so I’m always used to hearing it and I usually keep a lot of the music to myself. I don’t really give it out or play it for a lot of people, it’s just something I create and put away and so it’s kind of the first time people are really hearing it because it’s not like I play it for a lot of my friends, everything feels very fresh.

It feels like the right the right time because both projects are close to being complete.


The single What I Want is a your lead single – what made it the choice for your first single, and is that indicative of the sound we can expect to hear from you on future music?

It came about because my husband who produced the record, he really knows what I love and gravitate towards. I love percussions and break beats, so he had the idea and I loved it and so he ended up creating the track and I was like ‘wow this is really great!’

It’s a bit of a departure for me because for the most part I’ve been recording these new songs, creating the track around the melody, coming up with the melody, lyrics and everything, so in this instance, it was amazing!

The song took a long time – sometimes I can create a song in literally 5 minutes and it just comes but you never know if that will be the case. In this instance it took 8 months because I didn’t want to force it. I never sat down and said ‘it’s time to write the song and let’s just do this’, it had to be organic, it had to come to me, I didn’t want to think about it, and I wanted it to be driven very much by feeling and nothing cerebral. One day the pieces really started falling together and it just came.

Black Leotard: Reckless Wolf Coat: Daniel Pillott

Black Leotard: Reckless Wolf
Coat: Daniel Pillott


What kind of music have you particularly been listening to and do you feel that’s changed since you first started out?

No I pretty much listen to the same music, the thing about it is I don’t actually listen to a lot of music – and when I do listen to music, I tend to get into a zone and I listen to the same few songs over and over.

I love Kanye’s music, I really enjoyed his ‘Yeezus’ album – I wouldn’t say it necessarily inspired this project but I think everything is an inspiration…whether it’s television, films, paintings, music, books…just ideas.

I’m inspired a lot by things that aren’t usually related to what I’m doing, to me this was more of an aura of energy and I was inspired a lot by human energy of the frantic sort. I did a lot of running, and a lot of exercising while I was listening to it –I’ve really been listening lately to Lorde, Lana Del Ray, Kanye and lots of instrumentals, Hans Zimmerman, a lot of scores.


Do you feel the music industry for you has changed since you began?

I think everything changes. I think that right now it’s a great time because there’s so many opportunities. I think the mixing of genres, as far as in the music we listen to is so much more open to different genres. Mixing genres isn’t strange, and you have people that listen to Taylor Swift and Lorde, who also listen to Kanye and they listen to everything.

I can appreciate that – I think that’s changed a bit – but I think that’s not just music, I think it’s just what happens with the world, it’s globalisation. People in NY are eating sushi and people in LA are eating Ethiopian food and we’re all enjoying everyone’s culture, and that includes music, food, film, clothing and style. There’s less division with people now, which I think is good, and an appreciation of different things.


Black Leotard: Reckless Wolf Coat: Daniel Pillott Shoes: Christian Louboutin

Black Leotard: Reckless Wolf
Coat: Daniel Pillott
Shoes: Christian Louboutin


Is there anyone you would want to collab with in the future?

Doing something with Kanye [West] would be really cool, I really have a lot of respect for him as an artist. I hear what he’s doing and I feel like, without speaking to him about it, I know where he’s coming from artistically and so I feel a certain kinship with him, sonically with the things he puts together so he’s someone I would like to work with.


What do you feel the future holds for Ameriie (both musically and also outside of that)?

I’m just riding the wave. I look forward to everything that life has in store for me and I’m in a really great place, and I’m open.

Leotard: Zeynup Kartal

Leotard: Zeynep Kartal

What is your FAULT?

I’ve got better at it but  one of the things I’ve always struggled with is that I’m a perfectionist and a lot of that has to do with my personality. I’m a little OCD, certain things will bother me if they’re not in the right place.

Recently I’ve realised that everything does not have to be perfect. You can be as precise as you want when you’re creating a song or you’re designing something, but you have to accept that everything will always be imperfect because we’re human beings.

Now I strive for things to be perfect in their imperfection. As an artist, you have to know when to stop. You can continue to do something over and over again, do a vocal over and over again, over think something, a video treatment, anything – and sometimes that can stagnant and stall you, and you have to know when to let it go.

Ameriie on the web: Twitter/ Facebook/ YouTube

Photography: Miles Holder –

Words: Kevin Lyster

Styling: A+C Studio

Grooming: Patricia Obaro Odje

Angel Haze – exclusive shoot for FAULT Online

Angel Haze by Miles Holder

Bomber Jacket: D’Albert
Trousers: Jean Pierre Braganza
Boots: Dr Marten
T-Shirt: This Is A Lovesong

Last week, Angel Haze took to the stage at Heaven for her headline gig and told the assembled masses that “fans of Angel Haze are fans of themselves.” Amidst the crowd of people crying, screaming and hanging on every lyric, there is no denying that Haze has forged a rare bond with her fanbase. Sitting in the make-up chair before her FAULT shoot, she explains that “people who get me, get me because they are me in some sense….they take my music and they make it what they need.” Haze has overcome unusual adversity; she grew up in a religious cult and suffered abuse throughout her childhood, before taking on the music industry with her unique brand of raw, lyrical rap. The aggression in her music is high-impact and searing, with lyrics that possess a brutal honesty and a surprising spirituality. On stage, she has a religious quality; equal parts saint, sinner, preacher and, on the harshest tracks, appearing almost exorcised mid-set.

Angel Haze by Miles Holder

Jacket: Napsugar Von Bittera
Shirt: Joy Rich
Trousers: Carlotta Actis Barone

Perhaps this isn’t far-off; “I wanted to use music as catharsis…to rid myself of all my demons and all the shit I couldn’t deal with alone.” Having put her life so much in the public domain, it would be easy for her ‘story’ to become a burden, and she admits that “once people relate to you, they will run to you.” Haze seems to fear being pigeon-holed, although she is resigned to the fact that “people take your demons and run with them….they become who you are.” Taking a breath, she looks around the room before asserting that “my story isn’t the only story I have to tell.” The story Haze refers to is one of “prosperity, of becoming a better person” and it’s a story ongoing. Her latest single Battle Cry features a vocal from Sia and has already broken into the Top 20, jumping 62 places in a week.

Haze is accustomed to this rapid, viral success. “I got famous from Tumblr”, she laughs between texts on her phone, “and I’m not even as famous as I’m gonna be.” By her count, it’s taken two years to transform her life and she appears incredibly introspective (and honest) for such a rising star. When I compare her to other rappers and their declarations of status, swag and self-deification, she almost timidly confides that “the braggadocio shit doesn’t come easy to me.” Instead, her lyrics are about “being honest with myself and obsessed with love”, filtered through her honest voice and confessional verses; “there’s an immense loneliness to my life.”

Angel Haze by Miles Holder

Jacket: Joy Rich
Trousers: Jean Pierre Braganza

Haze seems both born for the life she is living now, but also so clearly  conscious of where she has come from and, more importantly, what she has overcome. Over the course of our time together, boxes arrive from Chanel, messages get sent over from Karl Lagerfeld (in London for a store opening,) and at one point John Newman texts her to be his date for an event that evening. Haze is that rare thing- the humble rap superstar, with something to say that is truly her own, and a sense of self grounded in her lyrics and not in her designer labels. Amidst the chaos of the set- of publicists and hair people and rails of designer clothes- she pauses and reflects on what she refers to as her ‘process of becoming’ who she is now. “You change, you evolve, and you never want to go back.”

Words by: Will Ballantyne-Reid
Photographer: Miles Holder
Stylist: Denise Brown

FAULT Reviews: Kid Cudi – ‘Satellite Flight: The Journey to Mother Moon’


Kid Cudi’s new album, Satellite Flight: The Journey to Mother Moon, is out now

Last week Scott Mescudi, better know as Kid Cudi, simply tweeted ‘Time to make the world stand still’. Much like the artist himself, it would appear that his latest album,‘Satellite Flight: The Journey to Mother Moon’, needed no further introduction. Dropping without any prior notice, the world was and has been treated to a could-be masterpiece album, both in production and lyricism (or lack thereof).

Kid Cudi cover

Kid Cudi and Dot Da Genius on FAULT Issue 10‘s Music section cover. Photo by Michael Casker

From the outset, it is clear Cudi is trying something different with this album. All 10 tracks build and intertwine into one another to take you on a journey within the musician’s creation. Opening track ‘Destination Mother Moon’ doesn’t include any spoken lyrics, but acts as a building block in the narrative for the whole album.

Through the synthesised cosmic sounds of later track ‘Too Bad I Have To Destroy You Now’, Cudi addresses the critics who have attacked his style and criticised his music. Finding no valid reason for their disdain, he delivers a lyrical middle finger to the naysayers and moves on unfazed.

Brooding track entitled ‘Troubled Boy’ concludes the album but little is said. Cudi’s haunting voice groans “No one wants a troubled boy, Leave alone the troubled boy” throughout the track before abruptly ending with “Goodbye”. The silence that follows the closing of the album is just as haunting as the final track preceding it.

kid cudi inside 1

Kid Cudi as featured inside FAULT Issue 10
Click here to order your copy for delivery worldwide

‘Satellite Flight: The Journey to Mother Moon’, is an exciting album; not only for the great music, but for the door Kid Cudi has opened for other high ranking Hip-Hop artists to try something different musically without sacrificing credibility within the genre.

It’s clear each lyric has fought for its place on this album and where they aren’t needed, they aren’t included. The album is a great addition to the Kid Cudi discography and a wonderful glimpse of things to come from the Ohio rapper.




Hailing from London, Woman’s Hour is the unlikely four-piece of siblings Fiona Burgess (vocals) and William Burgess (guitar), along with Nicolas Graves (bass) and Josh Hunnisett (keyboards). who’ve been quietly flying under the radar for the past few years. In 2001, The Guardian selected them as their new band of the day, praising Woman’s Hour for their experimental yet accessible brand of slow burning seductive shoegaze. Today the band announces a new single “Her Ghost” ahead of a string of North American shows, including an appearance at SXSW. “Her Ghost” has Fiona’s same demure vocals complemented by languid synth flurries that come together to create a blissful 3 minutes and 24 seconds of hazy romance. We had the opportunity to sit down with frontwoman Fiona to chat about the beginnings of the band, lyrical inspiration and what’s on the horizon.

FAULT: Hey guys, thank you again for taking the time to do an interview with us! Just wanted to start off with a pretty routine question but where did the name Woman’s Hour come from?
Fiona: When we first started writing music we didn’t know what to call our songs, so we used the titles of Radio 4 programmes as namesakes. So when it came to our first gig we had a set list of Radio 4 programmes but didn’t have a name, and Woman’s Hour just stuck.

Fiona, you started Woman’s Hour with your brother. How has being siblings either positively or negatively affected your working relationship?
We’re all close friends so it feels quite relaxed, but you should probably ask our bandmates what it’s like. I’ve only ever made music with my brother so I don’t really have anything to compare it with, but it seems to work alright.

How is the whole band dynamic when it comes to the creative process? Can you walk me through how you guys come up with a track?
Every song is different. Someone will bring something to the group – it could be a melody, a guitar riff or synth line, or even just a sound – and we’ll layer things on top of that. We always try to be open to trying new ideas out, pushing something as far as it can go and then striping it back to find the elements we like best.

I absolutely love the band’s black and white aesthetic – how would you describe Woman’s Hour’s ‘brand’ in three words that start with W or H?

Tell me about your new track “Her Ghost” and what the inspiration for the lyrics there is.
I try to avoid explaining what a song is supposed to mean, or what inspired it. There’s often many forms of inspiration. But more importantly, I want the listener to have the freedom to respond to our music in whatever way they want. The beauty of making music is that you can create something that has a very specific meaning for you personally, but other people can respond to it in a very different way.

What are you looking forward to the most at SXSW?
I think the food will be exceptional

Finally, what is your FAULT?
I have too many to mention!

Woman’s Hour Tour Dates:
March 11th – 16th: South By South West Festival, Austin, Texas
March 17th: Bardot, Los Angeles
March 19th: Mercury Lounge, New York
March 21st: Glasslands, New York
April 3rd: The Purcell Rooms, London
April 25th: Gulliver’s, Manchester
April 26th: Cathedral, Sheffield
April 27th: Bodega Social Club, Nottingham
May 7th: Louisiana, Bristol
May 8th: The Great Escape Festival, Brighton