With Baz Lurhmann’s long
awaited remake of F. Scott Fitzgerald’s quintessential Jazz Age novel, The Great Gatsby,due for release this year, the fashion world is preparing to go
ga-ga over the glitz and glamour of the roaring twenties. The Great Gatsbyfollows the mysterious life of Jay Gatsby as he immerses himself in
the sumptuous yet superficial world of 1920s New York, in an effort to rekindle
romance with his childhood sweetheart Daisy Buchanan. Widely considered a classic “American Dream” novel of personal quest, materialistic
excess and inevitable tragedy, Fitzgerald’s influence remains pertinent to this
day, still oozing the inspirational charm of effortlessly elegant chic. In a world of economic
prosperity, alcohol bootlegging and lavish parties, Gatsby’s girls understood
the paramount importance of nailing a look. Finally, Long Island
fashion is making a comeback, with the 2012 spring/summer catwalks giving a firm nod
towards Daisy’s enviable wardrobe.
Ralph Lauren's 2012 Collection
Gucci showcased a shimmering array of black, white and gold sequinned flapper dresses with drop-waists and beaded fringing, while Ralph Lauren catered his collection for both day- think cloche hats, patterned headscarves and silky florals, and night- add some feathers and gold art deco jewellery. Riding
on the riotous success of black and white silent film The Artist, footwear centres around classic takes on the curved
“Louis” heel with girlish “Mary Jane” straps, while it’s all about the
embellished purses and cigarette box clutch bags. Furthermore, if you’ve always
fancied accessorising for a lazy summer picnic or garden party with a
lacy parasol, your opportune moment has arisen. Hope and promise, for
Gatsby, take the symbolic form of Daisy’s green dock light; for Durhamstudents, in this
dark age of revision, minimal sleep and hourly Yum coffees, it hovers on the
horizon in the form of hazy summer balls, boozy formals and that all-important
buzzword among finalists, “graduation”. Already puzzling over what
attire to indulge in? Palatinate Fashion is ready to assist, for soon we’ll be
saying goodbye to exams and hello to diamonds, daiquiris and decadence…
Minjae Lee is a young self-taught artist who lives and works in Seoul, South Korea. His work exudes an insatiable appetite for drama, vivid colour and alluring mystery.
Using a range of mediums from marker pens to acrylic paint, Lee expertly blends a sense of innocent fragility with decisive, often aggressive patterning. The fascinating detail of his intricate collage-like style places his artwork in the realm of the brilliant, revealing more with each fresh observation.
Lee cites his favourite artists as the Japanese photographer Hiroshi Nonami and the Gibraltar-born fashion designer John Galliano.
Canvas prints and originals of his work can be bought from his website. If I weren't merely an impoverished student, I'd snap my favourites up without hesitation (above and below).
What better way to celebrate The Queen’s Diamond Jubilee this summer than with a host of live bands supplied by Newcastle’s annual Evolution Festival?
The authenticity of this ‘festival’ experience has undergone scathing criticism in recent years, with various reports of drunken punch-ups, vicious catfights, dangerous over-crowding, underage stoners and innumerable puddles of vomit. This year’s irresistible line-up however, will tempt those of us who defiantly proclaimed ‘never again’ to return for some more quayside carnage.
Heading the bill at Spillers Wharf in early June will be Dizzee Rascal and Deadmau5, with other popular names including Maximo Park, Noah and the Whale, Benjamin Francis Leftwich, Rizzle Kicks and DJ Fresh.
The Ballast Hills stage will surrender its folksy roots in favour of cutting-edge electro and dance. ‘What?! Why?!’ I hear the Hop Farm and Green Man lovers among you cry. Well, in truth, Evolution has always been an inherently urban event, and sets from SBTRKT,Totally Enormous Extinct Dinosaurs and Toddla T promise to keep hype levels in acceleration mode late into the night.
Local talent will have the opportunity to showcase their sound on a stage partnered with Generator, the UK’s leading Music Development Agency, offering a prime chance to discover future festival stars.
Evolution’s promoter Jim Mawdsley commented, ‘We are very proud to bring such a strong and progressive line-up to NewcastleGateshead. We look forward to partying with you all in June.’
The event is without question an absolute bargain, at only £35 for a weekend ticket and £25 for a day pass.
Opening firecracker 'Beach Sluts'(ahem, yes), signals promise for this fresh-faced quartet with its upbeat guitar-laden garage rock. Unfortunately what follows, at least in parts, is likely to disappoint. Predictably awarded third place by NME for the title of Best New Band of 2011, 19-year old Jordan Gatesmith and his indie-pop wolfpack recently supported The Vaccines on tour. Like the latter, the majority of songs on Howler’s debut last for less than three minutes, reflecting their preference for the short and snappy.
'Wailing (Making Out)' epitomises scenester “cool” and is sure to guarantee them a spot at next summer’s Underage Festival, while 'Back Of Your Neck' sees the band aspire to the hazy, effortless vibe radiated by The Strokes on 2001’s Is This It. Regrettably, Howler lack the swagger of the influential New Yorkers and as a result have produced a rather diluted version of the authentic rock’n’roll vision.
America Give Up's tired formula, while essentially harmless fun, is not destined to lead to longevity for Howler, having been dragged up infinite times already by the likes of The Drums, The Films and innumerable other ‘The’ bands. Why this ambitious four-piece would choose to name both their first EP and a track on this record, 'This One’s Different', is bemusing and quite frankly, a little bit awkward.
America Give Up is released January 16th via Rough Trade Records.
I've designed a vinyl cover for Ben Howard's 'Black Flies' as my contribution to the awesome Secret 7" project in aid of the Teenage Cancer Trust. A range of artists including Florence and the Machine, Noah and the Whale, The Cure and Bombay Bicycle Club are supporting this cause. The artists will choose a winner, but a variety of other artwork will also be displayed in an exhibition in London and sold for the charity.
If you like my cover design, or are just feeling kindly and wanting to take pity on my relative lack of artistic ability, please click 'Support'. You'll then be sent a message once the competition deadline arrives so that you can vote.
It'll definitely be worth checking out everyone else's entries once the competition closes as I imagine they'll be some brilliant contributions from actual artists...
So it’s Christmas time again. The tree’s up, presents are being wrapped, and the boughs are decked with holly. But what about that all-important festive soundtrack?
10. "White Winter Hymnal" by Fleet Foxes
Birdy gives this track a delicate angelic touch on her cover, but Fleet Foxes’ original has just that bit more log fire warmth about it. Thick instrumental texture and layered harmonies make White Winter Hymnal the perfect auditory overcoat for a chilly Boxing Day walk.
9. "Dance of the Sugar Plum Fairy" by Tchaikovsky
Ah, The Nutcracker with its gingerbread soldiers, candy canes and dancing mice. Popular with ballet companies especially during the Christmas period, Tchaikovsky’s accompanying score is internationally famous. There are even a few dubstep remixes of The Dance of the Sugar Plum Fairy lurking somewhat ominously around YouTube.
8. "Run Rudolph Run" by Chuck Berry
It’s time to whip out the jitterbug and get “reeling like a merry-go-round” for (the appropriately-named) Berry’s 50s festive number. Not enough people dance like they did back then, so grab an unsuspecting partner at the next party and live your grandparents’ youth for them again.
7. "Calgary" by Bon Iver
Whether he wants to or not, it’s going to be hard for Justin Vernon to shake off the “heartbroken solitary songwriter in a Wisconsin cabin” label as a result of 2008’s haunting For Emma, Forever Ago. Calgary, however, from this year’s self-titled Bon Iver, has a subtly optimistic undertone suggestive of a brighter outlook. It’s the perfect accompaniment for that annual nostalgic reflection on the past year before welcoming in 2012.
6. "Do They Know It’s Christmas?" by Band Aid
The second highest selling single in UK history (after Elton John’s Candle in the Wind), Bob Geldof and Midge Ure’s charity supergroup first shot to the number one slot in 1984. It’s worth listening to the Live Aid 1985 version if only to hear just how loudly the crowd sing Bono’s famously satirical line, “Well tonight thank God it’s them instead of you”.
5. "Walking in the Air" by Aled Jones
The theme tune from the 1982 animated film, The Snowman. A young boy befriends his snowman when it magically comes to life, before the pair fly through the air to meet Santa, his reindeer and the other snowmen. Beware the rather traumatic ending though as, without wanting to spoil the plot, the snowman melts. Screened on TV every year, this story is a staple in every child’s Christmas diet. At least it certainly should be.
4. "Stop the Cavalry" by Jona Lewie
Lewie’s brass band Christmas hit was apparently never intended as a festive tune, but as an anti-war protest song. Perhaps he should have re-considered the trumpet-call opening, bouncing melody and lyrics such as “Wish I was at home for Christmas” that make this one of the most requested tracks at festive parties. It’s particularly fun to bob up and down to with a circle of friends when inebriated with mulled wine, naturally.
3. "2000 Miles" by The Pretenders
Although less well-known as a Christmas song, this record conjures delightful images of snow falling ethereally amidst pine trees. Imagine yourself riding in a sleigh through the woods, bells ringing as pale sunlight glitters through the frost-jewelled branches and you’re on the right track. A wintry love song about missing that special someone at Christmas (he’s 2000 miles away in case you were wondering).
2. "All I Want For Christmas" by Mariah Carey
Upbeat and cheery, Miss Carey can rest safe in the knowledge that her 1994 Christmas contribution will always hold a secure place in the festive pop canon. It’s the ultimate karaoke ditty of choice and is sung at the end of Love Actually by the American schoolgirl that 11-year-old Sam is in love with. What more could you want?
1. "Fairytale of New York" by The Pogues & Kirsty MacColl
Alcoholism, drug addiction and bickering do not form the usual trinity associated with Christmas. Yet the bittersweet emotion behind Shane and Kirsty’s slanging match is strangely and inescapably heart-warming. Their Christmas Eve reminiscences about past holidays spent together and the one-time hopes of their youth spark poignant memories for everyone. For an alternative take on this darkly wonderful 1987 classic, hunt out covers by Matthew & the Atlas and Maverick Sabre.
Despite
being back on the beers in his dressing room, 24-year old Marcus Foster is
clearly still recovering, in more ways than one, from the escapades of the
night before. “I went out in Newcastle
last night. There was one item of clothing for every twenty girls. That’s a
pretty good ratio! Only joking, it was terrifying. I learnt a lot about
myself.”
Foster’s gig at
The Cluny 2 had originally been scheduled for October but had to be re-arranged
after he was invited to support American sister duo The Pierces on tour.
Allison and Catherine hail from New
York and are both accomplished ballerinas; he was
always going to say yes. Having finally started his own headline tour only days
before his interview with Palatinate, Marcus’
excitement was both infectious and palpable. “It’s been great so far; we’ve
done some shows in Scotland
but it’s all only just started really. Edinburgh
was good fun, as was Glasgow.”
There’s no pause button in Foster’s world, especially as
his talents do not lie solely in the musical sphere. He recently completed an
MA Sculpture degree at The Royal College of Art and has already had his work
exhibited in the prestigious Saatchi Gallery. “I’ve got an art studio in London so next year I
want to write more songs but also make some artworks. I’m nearly halfway
through writing tracks for the next album. I want to bring it out next year and
keep everything going. We’re going to takeNameless
Path to America for a tour as well as it's still yet to be properly released over there."
A Londoner at heart, Foster nevertheless holds his
Americans fans across the pond in high esteem. “I think they ‘get’ the kind of
music that I play. It depends on what state you’re in I guess. U.S state I
mean! I think they’re willing to let go a lot more and just have a good time,
whereas us Brits are a bit more reserved.”
Marcus enjoyed playing Beatles songs on his grandmother’s
piano which he learnt to play aged seven, but music was something that he
primarily discovered for himself. “I became really hungry and would
listen to a lot of old records. I love Tom Waits, he’s one of my heroes, and
I’d have loved to have met Ray Charles or Sister Rosetta Tharpe. At the
moment I’m listening to this really weird psychedelic Peruvian music that a friend
introduced me to. It’s nuts but I love it. I’d also recommend Nathaniel
Rateliff, Foy Vance, and a band called Kill It Kid.”
Questioned on his preference between intimate gigs and
larger summer festivals, Foster reveals, “I actually love the change of
dynamic between the two. Tonight I’m doing a stripped-down set;
I’ve got a few different guitars and I’m just going to play my songs. We’ve got
Emily and the Woods supporting and she’s actually my old guitar teacher’s
daughter!”For Foster, the process of writing new music cannot be
manufactured or forced. “Songs are quite hard to “catch”. I write a lot in the North of France at a little farm place that I go to with my
family. Certain places trigger certain ideas I guess. Sometimes I do sit
down to try and write some stuff but usually I’ll just jot down ideas in little
books and see where they take me.”
Marcus started performing publicly from a young age at
local blues nights organised by his mother’s friend. Playing songs that he’d
penned himself, in his view, “That’s the best way to learn. At the time a lot
of the songs are going to be terrible but there’ll be a few moments of
great stuff. You’ve got to push that, keep it going and put yourself out
there.”
With London
as his musical playground, Foster immersed himself in the open-mic night scene
to get his songs heard. He offered Palatinate some advice to pass on to
aspiring musicians in the Durham bubble: “London’s such a crazy
place and as a result, it’s easy to get lost. I was just playing to my flat for
a long time before I started trying to build up a little following of people
who liked my stuff. I guess the advantage of living in a small town is that if
you set something up and do something new, you can create a more noticeable
buzz of excitement and build from there. Find a small pub or bar and put on a
music night. The best thing to do is to play live in front of people, even if
it’s just acoustically outside somebody’s house.”
Half an hour later and it’s show-time. Rarely does an
artist possess the ability to mesmerise that Marcus Foster exhibits on stage.
With all crowd murmurings silenced at the first quiverings of "Tumble
Down", his spontaneous yelps and howls on the ballsy "Shadows of the
City" and bluesy "Rushes and Reeds" confirm once again that
there is no genius without some touch of madness.
Fronted by medical student Peter Liddle, East London five-piece Dry the River were never destined to be a simplistic musical project. In replace of minimalist chord patterns and generic indie-pop hooks, we are presented with complex layered harmonies that crescendo to anthemic choruses.
The desperately impassioned "Weights & Measures" from which the EP takes its name, carries with it a hymnal solemnity. Simultaneously depressing and curiously cathartic, there is an undeniable touch of Bon Iver in the subtle darkness of lyrics such as, ‘I was prepared to love you and never expect anything of you’.
Dry the River’s dramatically intense style can at times verge on the overly grandiose, an element guaranteed to divide critics. "Bible Belt" however, provides a soporific contrast to the theatrical, recorded in an acoustic session and hence lacking that often-superficial studio polish. A lullaby of ‘wintry calm’, this track is a poignant elegy to the lost fire of youth.
There are dazzling moments on this EP that present Dry the River as a band desiring to escape genre restrictions and expectations. However, whilst a sense of aching urgency is often most powerful when suppressed, they at times risk emotionally saturating their listeners. "Bible Belt" for instance, begins beautifully yet lacks the magical lustre heard on "Family Tree", perhaps because it fails to reach the climax anticipated throughout.
The highlights, for the most part, dominate this record’s relatively few weaknesses, proving that the time has surely come for Dry the River to quit flirting with EPs and make that first album move. They’ve no need to fear rejection; we’re already seduced.
Dry the River's official music video for "Weights & Measures"
Surf-kid by day, singer-songwriter by night, Ben Howard
confirmed at his recent Newcastle gig that he
has captured the musical hearts of Britain. Due to illness, he was not
his usual talkative self on stage, yet this far from threatened the audience engagement
he strived for and successfully achieved. Confident enough to rely on his
evident talent for infectious hooks and instrumental improvisation, he appeared
an unpretentious figure, instantly endearing and likeable. Irresistibly
rhythmic finger-picking and wavering female harmonies washed over the welcoming
crowd as they hungrily surged closer.
Hailing from Totnes, South Devon,
Howard’s parents had a strong influence over his musical development, the soundtrack
to his childhood consisting of the legendary likes of Bob Dylan and Joni
Mitchell. Currently signed to Communion and Island Records (the latter due to
its history with Nick Drake and John Martyn), his debut album Every Kingdom was
released in October to widespread acclaim.
Howard’s humble reverence for natural beauty resonates from
tracks brimming with imagery of water, wildflowers and, of course, wolves. His
melodic vocals are, however, often caramelised with an illusive cheeriness. Addressing
much deeper, darker themes than a first listen may suggest, "The Fear" and "Black Flies" both address the painful experience of losing someone you love.
Yet
Howard’s lyrics do not merely weep melancholic doom and despair. Just as the
unassuming 23-year old risked losing the full attention of those feeling a
little dampened, his ability to sense a crowd’s reaction triggered a shift
towards the upbeat and positive. Latest single "Keep Your Head Up", an
optimistic anthem of self-empowerment, saw the eager Newcastle fans snap back freshly focused on
the performance.
Closing an atmospherically charged set with the evocative "The
Wolves", Howard bid goodnight to a rammed Riverside venue already excitedly anticipating
his return next February.
Ben Howard plays "Keep Your Head Up" by the sea, naturally.
Whether you started at Durham last week or three years ago, you’ll probably be well aware by now that everybody’s favourite bubble is, by the very nature of a bubble, pretty damn small. A fortnight of fun but hazy club nights later you may well find yourself longing to experience something a little bit different, particularly if your iPod isn’t filled with, well, Rihanna, David Guetta and Example. This is where Durham’s relatively elusive live music scene comes into play. There’s a live music scene in Durham?! Why yes there is, to be unearthed right here, right now, before your very eyes.
Last year’s student-run Vane Tempest Sessions continue to bring the best up and coming folk/indie acts from around the UK to Durham. This year their intimate setting will host the welcome return of Dry the River and a variety of artists who you should definitely catch while you can. After last year's Athlete show some more big gigs are in the pipeline too!
A promising new Thursday gig night is to be launched at Fishtank. According to its founder Tudor Skinner, ‘One More Tune!’ will feature “an eclectic range of acts, running from the ethereal folk of Bridie Jackson, through the up-and-coming Sunderland indie-sters So What Robot, to the deranged experimental noise of Waheela”.
Fishtank, appropriately named for its location above Stanton’s fish’n’chips shop on Neville Street, has a unique atmosphere that marks it out from the more typically ‘Durham’ drinking establishments. With ambient lighting, regular acoustic sets and its very own indie disco ‘Grammar’, there’s a character to the place that is well worth checking out.
A Deer For Your Lamb sessions, run by Shaun Atherton and his independent live music promotion team, showcase an array of intimate, unplugged shows from artists who would normally sell out much larger venues. Shaun commented to Palatinate, “We’ve got some really amazing people coming through, some of whom you’d rarely ever see playing a show in the North East. There’s such a wealth of interesting music happening right now and it does go a little underappreciated. I get a kick from watching people come out of shows with that ‘yes, that was amazing’ look on their faces. I think live music is probably the closest thing we have in our culture to a shared spiritual experience. I always feel on a high for days after seeing a good show”.
Returning this Friday after a successful appearance last year, Edinburgh’s highly regarded Withered Hand will play an intimate gig at Alington House on the Bailey. Other forthcoming acts include David Dondero at Head of Steam who is signed to Bright Eyes’ label, and The Shivers, an experimental rock band from New York previously compared to Lou Reed.
With the most extensive line-up of shows A Deer For Your Lamb have ever had lined up in such a short period of time (see their Facebook page for more information), it would be foolish not to see a gig for yourself. If you’re a live music fan, disappointment really does not look likely.
However, it’s not all about the folk here in Durham, just as North Road’s Live Lounge is not merely a nightclub popular on Saturdays. As its name suggests, the venue often plays host to bands from all over the country with their past repertoire including Funeral for a Friend, Gallows and Twin Atlantic. The popular Itchy Feet nights held at Live Lounge showcase a unique blend of 50s rock’n’roll, funk, swing and soul and have started to present live music, with Will and the People playing an upbeat set last year.
Moving on to those who take a more active approach to music and are keen to make themselves heard in Durham (you know, the ones who can actually play the guitar that sits in your bedroom looking pretty). With regular gigs, open mic nights and a music-orientated quiz every Wednesday, The Angel Inn in Crossgate has built up quite a reputation as an alternative rock pub. The proof is in the jukebox. Osbourne’s, next door to Klute, also hosts an open mic night every Sunday that will cure even the worst Saturday night hangover. Well, maybe not the very worst, but they try.
Let us not forget that many, if not all colleges organise live music nights to coax their talent out of hiding and into the Durham spotlight. Van Mildert’s free annual festival, Jam by the Lake, always proves a fun day of music post-exams, whilst many colleges have an Arts Week of sorts during which students’ music-making is celebrated.
The Alternative Music Society aims to bring Durham’s developing live music scene to the attention of students by organising their own gigs, as well as providing listings to events in both Durham and the rest of the North East. Socials include the popular Mixtape Swap Socials which aim to broaden attendees’ musical horizons whilst they enjoy drinks with like-minded people. They try to co-ordinate people going to the same gig further afield so that cheaper transport can be arranged, as well as offering discounts to events based around Durham for only a £3/year membership fee.
Speaking to Alex Appleton, president of the society, it became clear that the main reason many Durham students fail to attend local music events is simply because they are unaware that they exist. Alex commented on how “regular live events in Fishtank, Head of Steam, Live Lounge and Alington House as well as DJ nights have started to become really well attended in the last year”. When asked his own honest opinion on our current live music climate, he described Durham as having “a DIY and alternative music scene that belies the small size of the city- you just have to look for it and you’ll find it”.
The entertainment hub of Newcastle with venues including the O2 Academy, Riverside and The Cluny is but fifteen minutes away on the train, but this is no reason for Durham to remain eternally locked in its shadow. Live music relies on a supportive audience, so instead of moaning about the apparent lack of a music scene, why not get involved and help the existing one grow into something bigger and better? It’s what we make of it after all.
