Daphne Guinness Launches Second Album at London’s BFI IMAX

Album cover on BFI IMAX screen

Last night saw the launch of British fashion muse and musician Daphne Guinness ’ second album as Daphne and The Golden Chords, It’s a Riotat the BFI IMAX. As what can only be described as an extravagant homage, the heiress to Guinness – yes, the Irish stout – was the main focus of the night from the start to finish, complete with glass sculptures of the singer at the entrance and projections of her mirage covering the walls as drinks were served. As an air of nepotism swept the room, the event was bustling with friends and confidants of Daphne. From old rockers in leather jackets to big names in the fashion industry, the crowd was an eclectic mix of all ages, some of which wouldn’t have looked out of place 50 years ago.

Once ushered into the cinema for the screening with bags of popcorn, glasses of prosecco and merchandise, FAULT was treated to a sensory eye bath. With the help of Tony Visconti, the American record producer who helped the likes of Bowie and T. Rex, Daphne’s music – set to visuals created by artist Nick Knight – made an instant impact, leaving the audience mesmerised.

Over a collection of arty clips and kaleidoscopic visuals of the singer herself, the music poured out poppy, Lauper-esque hooks with ethereal lyrics taking influence from Marc Bolan and Bowie – Visconti definitely left his mark on the album. The self-proclaimed autobiographical record visits her recent near-death experience and her life as it has progressed in last few years. Using her classical training, penchant for poetry and love of Wagner (thanks to hours chatting with Bowie in the studio), Daphne has created her own unique style of glam rock – think a lot of spoken word and catchy repetition.

The unashamedly self-assured Daphne was soon interviewed on stage by music journalist Will Hodgkinson, who’s written for the likes of The Guardian and Vogue. However, as the Q&A progressed, her coquettish facade transformed into a timid, more vulnerable persona, speaking about her fears and anxieties both in her personal life and musical career, before mentioning her new relationship with her bandmates who are, of course, also big names in the music industry, including keyboard player Terry Miles.

The singer’s 80s-inspired sound and alias is a perfect partnership and, in Daphne’s own words, completes her world. Tour? She doesn’t know. But, if she does, make sure you bring your glitter platforms and leave the Guinness Toucan Tees at home.

Words: Flora Neighbour

Flora Neighbour with Daphne Guinness

Flora Neighbour with Daphne Guinness

 

Flora Neighbour with KC and Jordon Wi-Fi from Last Night in Paris

Flora Neighbour with KC and Jordon Wi-Fi from Last Night in Paris

 

Flora Neighbour with Daphne and The Golden Chord keyboard player Terry Miles

Flora Neighbour with Daphne and The Golden Chord keyboard player Terry Miles

 

Flora Neighbour with music journalist Will Hodgkinson

Flora Neighbour with music journalist Will Hodgkinson

Gary Numan: Exclusive FAULT Magazine photoshoot and interview preview

Gary Numan

I know exactly what I’m doing and I’m in a really good place.”

Photo: David Richardson
Styling: Margherita Alaimo
Grooming: Gemma Webb
Words: Flora Neighbour

Given his new-wave edge and awkward façade, not to mention his well-documented Asperger Syndrome, you’d be forgiven for thinking that Gary Numan was a shy, introverted man. You’d be mistaken. The quick-witted and honest songwriter has a lot to say – both about his own past and his (partly) Trump-inspired vision of a near-apocalyptic future. Despite maintaining a cult following to this day, the 80s electro trailblazer has only recently returned to the limelight with Savage, his first top 10 UK album since I, Assassin all the way back in 1982.

FAULT: How’s the tour going?

Gary Numan: It’s great! Last night in Bournemouth was fantastic – much better than the first night, which was a huge shock to the system. I’m still trying to get to grips with it all again while remembering my lyrics. It’s been a completely different experience to my other tours, but I’m really enjoying it.

Do you feel more in control of your work nowadays?

I’ve always felt that I had a say but, now that I manage myself, it’s opened up a whole new path for me. I was always fairly in control of my work before: I’ve always written everything and been hands-on in the process, so it doesn’t feel that different. The thing about my new album, Savage, is the self-managing aspect. It’s been the first big project that I’ve been in charge of from beginning to end without anyone to lean on. I’ve had to make all the big decisions myself, which was a bit daunting to begin with but, strangely enough, once I got into it, I began to realise it wasn’t that too difficult. There’s no black magic involved, just staying organised.

 

Can you talk us through the ideology of Savage?

It came from a book I’d been writing, which was set in a post-global warming future. The idea being that the earth’s temperature wasn’t controlled and it became this unstoppable phenomenon, leaving the planet with a large amount of desert and full of despair. That’s it in a nutshell.

If you go into it further, it looks at people living in that world and how brutal it would be. It looks at the evaporation of [grouped] eastern and western cultures and the potential for us to become far more fragmented and tribal. The album presents snapshots of how brutal it would be, and how unforgiving and savage the environment would become.

It was also influenced by Trump and how he’s come along and started to undo all the good that has been done. I didn’t write the album because of Trump but he certainly helped it along.

 

Gary Numan was shot at Cable Street Studios, London

How has your style developed over the years?

Visually it’s certainly evolved, but I have adapted musically as well. I think it’s easier because my music is essentially electronic. Every time I’ve started a new album, there’s been new technology that helps me to adapt my style and create new sounds. It’s difficult not to change your sound and move forward if you’re working with electronic music – every album should sound like a progression of the one before. My early stuff was very minimal and simple and, as I’ve grown as an artist, it’s become more complicated and heavier. The thing that has never changed – in terms of being recognisable – is my voice.

Would you call yourself a British icon?

No way! I don’t really know what makes an icon. What qualifies an icon? There are many people I look up to but I wouldn’t call them icons. I’m a huge Trent Reznor [Nine Inch Nails] fan. I think he’s done pretty amazing things but he’s not British.

There aren’t many people I would say I look up to, but there are many British people I admire. If you have a look at the music industry now there are some pretty phenomenal artists. For example: M.I.A. In terms of what she’s trying to achieve – both in the music industry and outside [it], she’s definitely someone I admire. There are definitely a lot of artists doing a hell of a lot of good.

What is your FAULT?

I don’t think you’d have enough ink! If I have to choose one, it would probably be my lack of patience. My wife, however, would say that I’m very, very moody. Actually, let’s go with that. My kids would love that I’ve admitted to being moody.

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