Perfectly Crafted, Post-Modern Trip-Hop Meets R&B…David Morin’s Debut Drops March 2nd

Screen Shot 2015-01-30 at 15.23.14Soulful, danceable, and mellow, “Life Goes On” is the debut single from multi-talented Canadian artist David Morin, released on 2nd March 2015 on Bombay Records.

The track features David’s, jazz-influenced vocals, a hip-shaking beat that feels like post-modern trip-hop meets old-school R&B with a message of staying cool and positive, even when surrounded by chaos. Life Goes On’ is a taste of the groove-laden vibe that fans can expect from his upcoming album,‘Every Colour’ released later this year.

Reminiscent of the classic sounds of Boys II Men and Lighthouse Family, Morin’s vocal blends effortlessly over a rhythmic guitar line and synthesized beat. Morin’s voice, like honey, brings to mind the likes of John Legend and Neyo for both its register and tenor over a complex and diverse instrumental line.

David Morin’s unique fusion of soul, hip hop and jazz has earned him much critical acclaim, taking him from busking on the streets of Vancouver to New York to recording in the same studio as Jill Scott. Growing up in the rough area of Surrey, Vancouver, Morin found escape in his guitar and the hip-hop youth group he joined. He spent his high school years skipping class to sneak into the music room and take advantage of the KORG keyboard, the synth of which, was a revelation to Morin, encouraging an interest in drums, synth and keyboard sounds that has continued and developed ever since.

Continuing to busk even today “It’s a good way for me to beef up my chops musically to try to get a crowd of people to listen when you’re kind of subjecting them to their performance”, Morin’s music is pure, authentic and from the heart. His lyrics tell of a life lived; with highs and lows within his career and hometown. He sings of real issues we all deal with, be it on a personal or political level. “People don’t even have a chance to realize what they’re up against when their born,” he explains about the blatant political and social injustices that inspire some of his deceptively beautiful songs. “You’re not given the tools to think critically enough; to gauge whether to make the right decisions or not. By the time you start thinking about those things, you’ve wasted so much time.”

Today his show, now perfectly crafted and continually perfected on the streets of Vancouver consists of him and his guitar, making use of loop pedal and his own charm to turn strangers into fans. Morin’s purpose both social and spiritual, is evident in his songs, and none more so than ‘Life Goes On’, the new beginning he’s been working towards.

COS Celebrate US Launch With Two Films Exploring Dynamic & Differences Between LA And New York

Screen Shot 2015-01-30 at 13.53.41In response to the COS brand launch in the US, directors Aaron Rose (LA) and Petra Collins (NY) have created two unique short films to reflect the ethos of these vibrant and diverse cities and the artistic credentials of both destinations as evidenced by urban physicality.
Launching this week, ‘The Bubble’ (Aaron Rose on NY) and its response ‘Drive Time’ (Petra Collins on LA) explore the creative similarities and differences in NY/LA culture. Trailers are available to review here (The Bubble, Aaron Rose) and here (Drive Time, Petra Collins)

The new works reveal the directors’ personal perspective on the corresponding cities and how the urban environment influences creativity; New York as a dynamic bustling and brooding metropolis, Los Angeles the sunny, laissez-faire counterpart, home to fledgling talent and spirit of the new. The subject of New York vs LA has long been documented in American culture. Rose (now living in LA but with roots in New York) and Collins (the young New York-based artist with large networks in LA) are the ideal candidates to bring to life the trials and pleasures of living and creating in both of these cities.

Aaron Rose’s NY film The Bubble is a nod to Robert Frank’s 1959 Beat generation film “Pull My Daisy” and a contemporary update on the idea of the salon for the city (inspired by Peggy Guggenheim’s artist salons) and is subsequently the first film to be shot at legendary New York art world hangout Max Fish. Paralleling the social dynamic of most neighbourhoods in New York city, the fabric of each character’s personality is intrinsically interlinked with each other.


Screen Shot 2015-01-30 at 13.54.02While Pull My Daisy features narration by the then New York-dwelling poet Jack Kerouac, Rose’s film is accompanied by the voiceover of cult New York actor and artist Leo Fitzpatrick reciting Rudyard Kipling’s poem “Conundrums of the Workshop.” Featuring a who’s who of established and New York art world luminaries including: Aaron Young, Ana Kras, Andre Saravia, Brandee Brown, Brian Degraw, Hailey Benton- Gates, Jeffrey Deitch, Lele Savieri, Leo Fitzpatrick, Nelleke, Othelo Gervacio, Petra Collins and a cameo appearance by original Warhol factory member and first ever Interview Editor Glenn O’Brien reciting original personal poetry.
 The end result of this collaborative creative experience is a film that documents the essence of the power of our own imaginations and how they are magnified in a metropolitan context.

“I was really inspired by the idea of a salon and bringing people together in a city that wouldn’t normally be hanging out and trying to think of what today’s version of that in New York would be. I don’t think anywhere has served as coming together of different art worlds more in New York than Max Fish. The COS collection feels like artists clothes to me. There’s a sense of aesthetic consideration, a reserved simplicity with a twist; they’re smart clothes,” said Aaron Rose.

In response to Rose’s gritty urban allegory on the life of a NY creative, Petra Collins’ ‘Drive Time’ magnifies the more youthful, less serious and relaxed art circuit that is Los Angeles. An extension of Collins’ female-focused artwork, the film is a modern expression of the contemporary LA scene that magnifies their relationship to the city and what inspires them and their dreamscapes. The narrative journey documents 24 hours with a diverse group of LA creatives across a backdrop of the city’s skyline. The full- length film is available to view here.

Staged in different creative neighbourhoods as well as showcasing the sprawling city’s secrets, the narrative features varied groups of creative female protagonists including fashion muse Cherry Glazerr frontgirl Clementine Creevy, recently moved from New York artist couple Erin and Sam Falls, indie It-girl and Rookie mag contributor Arrow de Wilde and her mother the music photographer Autumn de Wilde and M.I.A’s DJ and Nguzunguzu producer Asma Maroof.

Screen Shot 2015-01-30 at 13.56.33“I didn’t know Aaron but had obviously heard of him, until he asked me to be in his New York film. So it was great to be able to do the LA one. I love being out here, the city plays such a pivotal part to how everyone is inspired here. Maybe I need to move out here. COS gave me artistic freedom and I’m grateful for that,” said Petra Collins.   

The two unique pieces of content show the seminal differences between the sunshine state and New York big smoke.

Atul Pathak, COS Head of Communications stated, “Our US launch, with stores in New York City and Los Angeles, marked a significant step for COS. It felt like the perfect opportunity to celebrate the creativity across both cities by honoring their differences and capturing their artistic essence. As a brand, we are greatly inspired by the wider creative world and were elated to be able to commission such key alumni.”

Each film features iconic pieces from the core COS collection as stocked in the New York and LA stores as well as online.
The COS LA store is located at 357 North Beverly Drive, a premiere-shopping destination, parallel to the renowned Rodeo Drive and features womenswear, menswear and spread across two floors and 5, 683 sq. ft. of selling space.
In New York, the COS store is in the heart of Soho at 129 Spring Street between Green and Wooster, the collection is housed across four floors and 4, 950 sq. ft. of sales area. COS’ Scandinavian roots are reflected in the modern-sleek store design in both locations.

Come Out Of the Cold With After Nyne’s New Music Edit – January Edition

Our first list of 2015 and we’re hitting the ground running. If this is how the year starts, we have very high hopes indeed. Read on..if you like it..tweet your thoughts at @after_nyne

Screen Shot 2015-01-29 at 16.31.55Thea & the Wild  – Heartattack

Despite her young age, Thea Glenton Raknes is already a name in the Norwegian music industry. She has gained experience as a songwriter, lyricist, frontwoman, and now as a producer.

With the project Thea & The Wild, she produces music both bold and brittle, future thinking production with a foot in classic folk and pop. The soundscape is inspired by Thea’s love for the organic, with warm bass, analogue synths and a focus on melodies and rhythm. Glenton’s characteristic vocals serve as a guide through the songs, and it is all elegantly produced by Kenneth Ishak (Beezewax, Heyerdahl), and Thea herself. Ishak also contributes as the only other musician on the album other than Thea.

The success of her record in Norway has led to a UK release for “Strangers And Lovers”, released January 12th on Jansen Plateproduksjon.

Screen Shot 2015-01-29 at 16.36.46Gallows Ghost – Arrows EP

Striking, London six piece, ‘Gallows Ghost’ are intent on carving out a unique musical niche. A blend of electronic, folk and rock, they give their feverishly receptive audiences big chorus hooks, driving bass lines, strings and beats, but despite musical ingenuity akin to that of Florence, Goldfrapp, Massive Attack and London Grammar, the audiences fervour is definitely increased by the tall, flame haired beauty at the front of the stage, Kate Young whose distinctive and haunting vocals soar effortlessly across the bands ambitious tracks.

On their new EP Arrows the band have worked with Bristol producer Chris Goulstone (whose former collaborations include; Geoff Barrows from Portishead, Alison Goldfrapp & Mushroom from Massive Attack) like a mechanic refining a well oiled engine, Chris brings elements of Primal Scream and Maya Jane Coles giving their new material a much harder, faster and darker edge.

Since their inception only 18 months ago they have been cutting their teeth and honing their live shows at various venues and festivals including; Headlining the Bestival Bandstand, playing Bush Hall, Oxjam, Wilderness, Secret Garden Party, Metropolis Studio Sessions and are continuing to play around the UK building a steady and loyal fan base. They will be performing an acoustic set at The Camden Lock Tavern on February 5th and a full live gig for their EP launch at Hoxton Bar & Grill on February 25th.

Screen Shot 2015-01-29 at 16.43.33of Montreal – Bassem Sabry 

“A golden despondency” is how Kevin Barnes translates the meaning behind Aureate Gloom, the title he gave of Montreal’s thirteenth full-length album.

The oxymoron is one Barnes says best describes the overall state of his life and mental outlook while working on the record: first on a writing retreat in New York City, then while demoing tracks in Athens, before finally recording at Sonic Ranch, just across the border from Juarez, Mexico in the Texan desert.

If you’re wondering what exactly would lead Barnes to use this epithet to describe his reality at the time, look no further than the songs themselves.

Lead single “Bassem Sabry” (named for the Egyptian journalist who tragically died in the spring of 2014), is perhaps of Montreal’s most political song to date, with Barnes proclaiming “Every leader is a cellophane punk,” while handclaps and danceable drums incite the listener to follow his command: “If you hear me, say ‘Yeah!’ ‘Yeah!’ ‘Yeah!’

Aureate Gloom drops March 2nd on Polyvinyl.

Screen Shot 2015-01-29 at 16.45.50

NVRS LVRS – City Lights 

San Francisco 6-piece NRVS LVRS began their journey at the beginning of 2014 when a collection of songs, written initially for the purpose of musical experimentation, found themselves at the centre of a newly forming band.

The resulting group was driven by the desire of Andrew Gomez and girlfriend Bevin Lee to link their creative muses and express their thoughts and feelings on their rapidly-changing city.

Circuit bent bleeps, grimy drum loops, buzzy toys, humming synths, processed handclaps, and failing 80’s keyboards are all creatively edited together with the flesh and blood sounds of guitar, bass, & drums in this album – an album that presents a band ready to explore the fading art of political music.

Their debut LP ‘The Golden West’ is out March 16th on Hz Castle Records

Screen Shot 2015-01-29 at 16.52.54Satellite Stories – Heartbeat 

Praised by the likes of 6Music, XFM, NME and Q Magazine, Scandinavian 4 piece Satellite Stories are set to release their second single Heartbeat off the forthcoming album Vagabonds.

 

Between their heavy list of Festival and live appearances in 2014 the band decamped to the UK to record their third album in the Kentish countryside with producer Simon “Barny” Barnicott (Arctic Monkeys, Temper Trap, Kasabian and Bombay Bicycle Club).

 

Vegabonds takes inspiration from the relentless touring the guys have undertaken since their indie breakthrough. Living like drifters and writing songs, “We became Vagabonds going from pillar to post with no real fixed address” Says lead guitarist Marko Heikkinen

 

The release of the first single from Vagabonds, The Trap saw the lads streaming numbers accumulate into the millions with the single hitting over 100k in the first 5 days alone.

 

This new release sees Satellite Stories bigger and better than ever!  UK fans can catch them at Londons Barfly venue on March 9th.

As always, tweet your thoughts on our latest list at @after_nyne 

There and Then Gone……Daniel David Gothard’s Journey Through Linklater’s Landscapes

Screen Shot 2015-01-29 at 15.09.26I haven’t seen the film Boyhood yet, but I know I’m going to love it – a film shot across 12 years; a complete story of a child growing up, through the travails of this life, into a young man.

I know I will love it because I trust the filmmaker – Richard Linklater – and I love his careful rendering of time and its importance in cinema.

Linklater has made some ‘Hollywood’ films, such as School of Rock, but he has worked long and hard to provide his fans with some beautifully drawn out stories – much in the same way that David Simon has talked about the five seasons of The Wire forming a ‘novel on television’.

I have watched thousands of films and people often ask me the old question, ‘What’s your favourite?’ It’s virtually impossible to give a single title answer – genre, mood, story, memories – so many factors play into any favouritism. But if I was pushed to give a top ten list, Richard Linklater’s ‘Before …’ trilogy would be in there. I saw Before Sunrise when it was released in 1995. I was in Paris at the time and a similar age to the film’s stars – Julie Delpy and Ethan Hawke. I was spending my time walking and talking in a foreign, European capital and so were they (Jesse and Celine).

I connected with the romance of the story, the two wide-eyed characters, falling in love in one day. It is an inspired film, a moment of undiluted amour captured.

When they returned years later in the second film, Before Sunset (set in Paris) I couldn’t wait to see how the story would continue and culminate. Linklater handled the passage of time and its ramifications perfectly – the picking up where they left off, Jesse’s sour marriage back in the USA and his idealised version of how he could live and Celine’s silent desperation to be honest about the intensity of her love and loneliness.Screen Shot 2015-01-29 at 15.06.43

I didn’t expect a third film and when I heard that Before Midnight was being made I had my reservations. I was looking forward to seeing Jesse and Celine again, but I wondered if there was anything more for them to say. Linklater must have guessed that might be on the minds of ‘Before fans’.

He was courageous enough – as were his co-writers Delpy and Hawke – to show Jesse and Celine in middle-age, with children, years later, trying to move forward and yet rediscover their original romance in the midst of the everyday chores and disappointments.

The result was the least romantic of the trilogy but, possibly, the most honest. I am equally divided between wanting another Before film in a few years and wanting to leave them on the quayside in the moonlight.

I am 46 years old now, and like Jesse and Celine I have children (a girl and two boys) and the responsibilities of the everyday. But I’m still a sucker for the sort of honest romance Linklater’s films provide and his unblinking view of the way we use our time on this planet. My eldest son will be ten years old in March and it seems only a short time ago since we brought him home from the hospital.

I can’t wait to see Boyhood.

@GOTHARDDANIEL

Daniel’s latest book Friendship and Afterwards is available as a Kindle download here http://goo.gl/3ZIWzJ 

Vivienne Westwood: Cut From the Past at Danson House, Bexleyheath, April 1st – October 31st

Screen Shot 2015-01-29 at 14.12.49The 18th century is the high point of art and culture”
– 
Dame Vivienne Westwood

The impact of 18th century art and design on the work of distinguished British fashion designer Vivienne Westwood is celebrated in a new exhibition at Danson House this spring. Vivienne Westwood: Cut from the Past brings together for the first time a number of her ground-breaking designs, and explores the collections that proved to be her turning point both critically and commercially. The exhibition runs at Danson House, Bexleyheath from 1 April – 31 October 2015.

The impact of 18th century art and design on the work of distinguished British fashion designer Vivienne Westwood is celebrated in a new exhibition at Danson House this spring. Vivienne Westwood: Cut from the Past brings together for the first time a number of her ground-breaking designs, and explores the collections that proved to be her turning point both critically and commercially. The exhibition runs at Danson House, Bexleyheath from 1 April – 31 October 2015.

Danson House, a splendidly restored Georgian villa, provides a tailor-made backdrop to the exhibition which highlights Westwood’s seminal work of the 1990s which was influenced by the 18th century. Designs and outfits on show make particular reference to the Rococo paintings of French artists Watteau and Boucher.

Westwood’s passion for 18th century design is also reflected in some earlier pieces from the ‘Cut, Slash and Pull’ and ‘Mini Crini’ collections, and the Malcom McLaren and Vivienne Westwood ‘Seditionaries’ Collection.

The exhibition brings together loans from the Victoria & Albert Museum and private collections. Caroline Worthington, Chief Executive, Bexley Heritage Trust  said,  “We are delighted to be working together with the Victoria & Albert Museum for the first time to bring cutting edge design back to Danson House for the 2015 season – just as the original owners, the Boyd family, did in the 18th century.” 

Bexley Heritage Trust manages Danson House, a beautifully restored Georgian villa where sumptuous interiors tell the story of a country house built for entertainment.

Danson House, Danson Park, Danson Road, Bexleyheath, Kent, DA6 8HL, UK
Tel: 020 8303 6699
www.dansonhouse.org.uk
www.facebook.com/dansonhouse
@BexleyHeritage

Opening times:
Danson House is open Sunday to Friday from 1 April – 31 October.
Opening hours are 12pm – 5pm.

Admission: Adults £8, concessions £6, under 16s free (no unaccompanied children).

Gift Aided tickets are valid for unlimited repeat visits within a 12 month period.
English Heritage and National Trust members receive half price admission (not valid for groups). Admission is free with a National Art Pass.

After Nyne HQ Launch Kickstarter Campaign: After Nyne Magazine Needs YOU

Screen Shot 2015-01-29 at 11.14.40Let me first start by thanking you for your ongoing support. Each one of our readers has played such an important role in getting us to where we are today.

Without your ongoing support After Nyne would have never evolved; and it is with this in mind that we are ready to start tackling some new hurdles to progress our brand.

Today (29/01/15) see’s us launching our new Kickstarter campaign. The aim is to raise money which will be used to fund a new online platform, marketing & design co-ordination for our quarterly magazine.

At After Nyne, we believe in giving opportunities for the talent of tomorrow; having a new website where readers can access the magazine, marketing & design co-ordination will ensure our contributors get the attention they truly deserve, as well as giving you the quality product you’d expect from us.

You can check out the campaign here: https://www.kickstarter.com/projects/afternynemagazine/after-nyne

We would be so grateful for any contributions made, big or small – and there are some awesome rewards up for grabs too!

From everyone here at After Nyne – thank you.

Kindest Regards,

Claire Meadows

Editor-in-Chief

After Nyne Magazine

‘You Don’t Need All the Answers to Create Something Beautiful': After Nyne Meets…..Helen Duff

Screen Shot 2015-01-28 at 15.49.25Helen Duff’s show  ‘Vanity Bites Back,’ an anarchic comedy about anorexia, attention seeking and finding the freedom to bite back at the stigma surrounding mental illness,  comes to Vault Festival (Waterloo) on the 28th January – 1st February.

Duff’s charming voice of experience guides her audience through moments of hysterical revelation and shocking poignancy – encouraging them to laugh at their own anxieties. Vanity Bites Back promises to leave audiences hungry for more.

As part of our After Nyne @ The Vault Festival coverage, we met Helen to talk about the show, the root of her illness and why she thinks laughter is the best medicine. 

Helen, tell us in a nutshell what to expect from Vanity Bites Back.

Well, it’s been dubbed a clown cookery show about anorexia, but that’s really just a way to wet your appetite. It’s an explosion of thoughts, feelings and digestive biscuits, all inspired by my love for clowning and my interest in opening up a wider conversation about mental health.

Take us back in time a little. When did anorexia start to play a part in your life? 

Hmmm, play a part, that makes anorexia sound like a fun finger puppet! Outwardly, I was most ill while studying my A levels, but inwardly I struggled with the thoughts and feelings that characterise anorexia for a long time after that. Which one of the things that drove me to make the show.

I wanted to explore the belief that “I’ll never be good enough unless I achieve X, Y and Z, and if I can’t do that, at least I haven’t eaten A, B or C” – a thought process that can become all consuming. Feeling as if you have to earn the right to exist, or atone for being human, has a detrimental impact on your state of mind, not to mention your physical well being.

Thinking particularly in terms of information available to you at the time, was it easy to feel isolated by your illness? 

I wanted to be “rescued” from my controlling thoughts for over 7 years before finally seeking private treatment.  I knew that my quality of life was being severely restricted – spontaneity and self belief always felt like occasional treats rather than something I could appreciate every day.  Anorexia has an extremely powerful hold – my self worth had become so low that the illness was a safety blanket. It set me clear boundaries and allowed me a mental check list of ways in which I’d either succeeded or failed during each day.

That sounds like a staight jacket, but I think a lot of people seek structure and rules to feel secure. Getting treatment in England is a mine field, because NHS resources are incredibly stretched and waiting lists are over a year and a half long. That’s created a horrific situation where people feel the need to qualify for treatment – losing weight until they become critically ill. Charities like B-eat (who I made the show at Edinburgh in association with) do amazing and essential work to raise awareness and funds but more needs to be done to break down the social stigma surrounding eating disorders and recognise that their physical manifestation is only a slice of a very complex story.

At what point did you realise that laughing at the illness was, if you will, the best medicine?

I never make direct jokes about anorexia because I’d hate to undermine other people’s suffering. The cookery show host that I’ve created, Jill, is determined to make her programme work no matter what. The extremity of that drive and the beauty of her idiocy creates a lot of the comedy. I’ve always loved observing interesting details about other people and creating stories in my mind. When I was really ill, I lost all confidence in my ability to communicate those imaginings. Losing my sense of humour scared me more than anything else.

Why are people so afraid to talk about mental illness, in your opinion?

Because it’s really hard to explain. Despite huge amounts of research, there’s no instant cure. People are complicated, mixed up, murky beings and your mental state is totally interlinked with who you are, what you stand for, how people see you. It can be terrifying to put that into words and think “am I giving the right impression of myself? Is that really how I feel?”.

There’s an intense fear of using the wrong words and being pigeon holed or ostracised. So it seems easier to cover up and carry on, rather than risk an unknowable outcome. In theatre we have the luxury of leaving gaps and allowing the audience to draw their own conclusions; to suggest stories rather than spelling them out word for word. Theatre allows you to explore being human on so many different levels.

Having seen it from the inside, what’s your advice to someone struggling to reach out to someone they love who is struggling with anorexia, bulimia or in fact any mental illness?

I would never go so far as to say I’ve made a “perfect” recovery. I think it’s dangerous to deal in absolutes – setting up unhelpful, unattainable  targets, when who you are and how you feel is always shifting. I’m immensely lucky to have reached a point where I feel comfortable to talk about my illness openly. That was key to breaking down its hold over my behaviour.

It was also incredibly frightening. There were a lot of family and friends who assured me that I was loved. Ultimately though, it’s the patience and compassion I’ve been able to show myself that’s made the biggest difference – giving myself permission to think, feel and reveal things that I’d otherwise have punished myself for.

Finally, what would you like your audience to take away from Vanity Bites Back?

A sense that you don’t need to have all the answers to create something beautiful.

All ticket information can be found at http://www.vaultfestival.com

@VAULTfestival