Kult Mag May 2010

Th

e K

ult

Tea

m Director:Ralph Peskettralph@kultmag.co.uk

Graphic Designer:Susudio Designsusudio@kultmag.co.uk

Editor:Orlando Bowieorlando@kultmag.co.uk

Music Editor:Huw Bradburyhuw@kultmag.co.uk

Advertising:ads@kultmag.co.uk

Further Assistance from:Sophie Harrison, Fat C, Sam Greenup, Rory Powis & Paul Jenkins

03

Con

tents

Ben The IllustratorAdam Haynes

Bambino MonkeyPaul Shih

NIKE78Pimp My Pumps

D*FaceArsek & Erase

FatimaMusic Reviews

Kult Mag May 2010

Ben The Illustrator...

When did you first discover that you wanted to be a designer, and did you come from an arty background?I don’t really come from an arty family, but drawing was all I ever really did as a kid - drawing, daydreaming and being outside. My folks were very supportive of me, which helped a lot. I guess I grew up with creativity around me though. My mum was an antiques dealer, so we always had all this awesome vintage stuff hanging about - old bakelite cameras and radios, vintage magazines, clothing… And both my folks were really into music, so that was always influencing me. I knew I wanted to get into some kind of art or design career, but it took me a while to figure out what. I admired a lot of graphic designers in the late 80s and early 90s - loved graffiti, loved music, and more so music videos. When I left school in 1995 I went to art college in London, and at the time animation and music videos were booming - Shynola, Spike Jonze, Michel Gondry. So I followed their influence and studied animation, then went on to direct and animate music videos myself. From this I joined a small design/animation studio as creative director. It was a blast, I learnt so much and got to work on so many different things. But I never felt perfectly settled - I was always looking out for the next thing, something to move on to. All this time I’d been doing my own illustration jobs on the side. Then one day I realised THAT was where my passion was. So I completely moved away from

Ben O’Brien is a commercial illustrator/designer based in Cornwall, UK. Ben works alongside his wife, Fi, who manages their Wish You Were Here brand, producing and selling fine art prints and homeware products.

Kult Mag May 2010

animation and became Ben the Illustrator. That was 2005, I think!?! Since then I got married, and have been lucky enough to work alongside my wife, Fi. I can go beyond straight forward solo illustration commissions now as we have our own homewares brand, Wish You Were Here. We design wallpapers, fabrics and art prints, and we also work on commissioned design and illustration projects. I now feel completely settled.

Can you explain your working process to us?It’d depend on the project, but generally I get a brief from the client via my agent, Agency Rush. Then the first thing is always for Fi and I to thrash about some ideas, then sometimes just sit on it for a day or two, let things evolve in our heads. We’ve got a little dog and most of our best ideas come when we’re out walking him. Then I’ll spend some time drawing, just pencil and paper, translating our ideas into reality. Often the client will be shown these original drawings of ideas to see what direction we’re going. Then once we have concepts and ideas all set in concrete, I’ll take the drawings into Adobe Illustrator and artwork them up in colour. I use a Wacom tablet - couldn’t work without it. There’ll always be some amendments to make towards the end. Fi and I will often come back together again as we’re finishing to get a split opinion on it all - see what else could be going on, check all the colours work together. And then we’re done!

How do you find life as a full time illustrator, was it easy to get there?I love it, really do. But to be honest it wasn’t easy - you have to be your own marketing department, accountant, time-keeper... I’m blessed to have a good agent, and I’m lucky to be doing what I’m doing; but I didn’t always have an agent, and it takes a lot of hard-work to be this lucky!What is a typical day in the life of Ben? Well, since we had a baby three months ago, it’s a little different to how it was, but generally the working day starts for me after I’ve walked the dog, Doze - which in a way is part of my working day. It’s a quiet half hour when I can gather my thoughts, plan my day, and think about what needs doing. It’s a good start to the day. Fi’s not working in the studio full-time right now since she’s being a mum to little Woody,

so I’ll say hi to them after walking the dog, and then go get settled in the studio. Firstly I always go through my emails, reply to urgent things, put less urgent things off till later, say hello to the world on Twitter… And once my inbox is all tidy, I’ll get on with whatever job is at hand. I usually do the best drawing - on paper - at the end of the day or in the evenings. So the best days are the ones when I have to get on with something new in Illustrator. I break for lunch, but I usually find that a long lunch can really affect the afternoon, so I don’t stop for long. First thing after lunch is usually catching up on those emails I put off in the morning. Then back to illustrating for the bulk of the afternoon - and the evening when things are busy. I’ll often check in with my agent at some point, always a pleasure. They take care of dealing with new clients, negotiating fees,invoicing, contracts, and so on, so it’s good to

Kult Mag May 2010

Get involved!info@kultmag.co.uk

The Kult Mag Team are always on the

look out for young creatives.

We are a friendly bunch and we promise

to get back to you.

always be up-to-date with where everything is at. At the end of the day I’ll usually have one last blitz through emails and a bit of a tidy up, then I’m done and it’s back to the family. Probably two thirds of every day is illustrating, and for that I am happy to be doing this in life.

What would be your top tips for anyone who is trying to launch a career as an illustrator?You have to be confident - confident that you can succeed, confident that you have pure talent, confident that people will want to pay you to do work for them. You also need to be a pleasure to work with - trusty, focused, and an enjoyable person to contact. But I think the one thing that really makes a difference is being exciting. You have to be excited about the prospect of illustrating for a career, you have to create work that excites you and excites others - peers, potential clients etc. People have to be excited about working with you, and you have to be excited about working with them. Be exciting.

What do you enjoy most about your job?Just the fact that I make pictures for a living - it’s my boyhood dream. I love playing with colour, playing with shapes. I always like to push myself to create something fresher than the last project. I especially love working with advertising clients. I love the teamwork - everyone has a role, and together you all create something big.

What’s your favourite meal?Ahhhhhhh, now that’s a tricky one… I have two: Macaroni cheese and roast chicken. A few years ago on my birthday Fi cooked me a macaroni cheese with roast chicken on the side! If I had to choose one... I think I’d say roast chicken.

www.bentheillustrator.com

“People have to be excited about working with you, and you have to be excited about working with them. Be exciting.”

Kult Mag May 2010

Free Axonometric Graph Paper from http://incompetech.com/graphpaper/axonometric/

Name: Adam HaynesLocation: Bend, OR, USAInfluences: (Music) James McMurtry(Artists) Evan Hecox, Katsuhiro Otomo, Frank Miller, Josh Keyes, Mike Parillo, Kevin O’Neill (Writers) Alan Moore, David James DuncanWorking process: I usually work from photos I’ve taken whilst rambling, walk-ing the dog, traveling, road-tripping, or cruising around town. I’ll compile these into pencil sketches, then ink or paint over the top. I like the photo reference for detail, but rarely trace photographs directly. I prefer the distortion I get when I transfer and compile imagery with just my brain and a pencil. Equipment used: Canon Rebel Xti, Scanner, Imac, pencils, crow quill pen, india ink, acrylic, Copic Multiliners.

© Adam Haynes 2010www.stickfort.com

Superfly!

Free Axonometric Graph Paper from http://incompetech.com/graphpaper/axonometric/ Free Axonometric Graph Paper from http://incompetech.com/graphpaper/axonometric/

/////1. Lone Pine2. Nike 6.0 Encore Ad 3. Timber4. Rogue Wave Detail 5. Nike 6.0 Vertigo campaign - Surf detail

Kult Mag May 2010

Free Axonometric Graph Paper from http://incompetech.com/graphpaper/axonometric/

The bambino monkey was born in 1979 in a family of elegant playdough wolfes. Soon two old women taught him the ninja art of dot to dot drawing. When he was finaly able to come out to the street he befriended a monkey, a tatooed girl, a robot with a moustache, and a giant potato. From thatmoment on he drew nothing else...

www.bambinomonkey.com

Freshness!Bambino Monkey

Free Axonometric Graph Paper from http://incompetech.com/graphpaper/axonometric/ Free Axonometric Graph Paper from http://incompetech.com/graphpaper/axonometric/

Name: Paul ShihLocation: Auckland, New Zealand

Influences: (Music) Pennywise, Bad Religion, Thrice, Deftones, Anti Flag (ArtMark Ryden

Working process: Paper dioramas are hand painted, cut out every element, position in a diorama,

and photographed with DSLREquipment used: Pencil, pens, Indian inks, Tamiya scissors, Canon EOS 550d

www.paul-shih.com

Paul Shih

Kult Mag May 2010 Reminiscing on his own early experiences of NIKE, he admits that from a young age he was a yearly buyer of NIKE Cortez` but is nowadays found to be more an advocate of the ‘89 Air Pegasus. Regardless of style, Jenkins has remained a long term follower of NIKE’s both sporting and creative endeavours.

“My admiration of NIKE’s ability to push the boundaries of sport with such insightful, creative flair is something that I have aimed to continue with NIKE78 and their rich heritage of sports culture makes them an aspirational brand to work with on every level.”

As for the creatives involved, they’ve been sourced from across the globe. From designers, typographers and illustrators to screen printers, ad agencies and film makers, they all have great ideas in common.

“I sourced a lot of people whilst I was working in Berlin, looking out for yet to be discovered talents and people from all fields of the creative industry. I didn’t want to use the same type of people that occurs repetitively, but invite unique people who have that touch of conceptual brilliance. Through a rigorous process, I whittled it down to a final 78 which was by no means easy but the result is participants contributing work worldwide, located in New York, Amsterdam, Berlin, Russia, Tokyo, Australia and all over the UK.”

The term ‘function’ has become a byword for the boring; overlooked as a formality for the fit for purpose, we surround ourselves with products that are abundant in practical properties. But take 78 creatives and one cutting edge brand and offer them the challenge of going against the rational norms of one such product, and you’ve got yourself a recipe for retaliation. Introducing NIKE78, a platform upon which 78 pairs of NIKE trainers have been distributed to 78 creatives from multi- disciplined backgrounds. They’ve each been broadly briefed to challenge the function of their pair and Wieden+Kennedy London, Justus Oehler of Pentagram Berlin, eBoy and KesselsKramer Amsterdam are just a handful of names of those involved.

Using sport as inspiration, it’s a unique project named after the year in which NIKE was born as the brand that we know it to be today. Created by Paul Jenkins, a London- based graphic designer, he acquired enough Air Max 97’s in 2008 to fill a Size? stockroom. Sat since in his hallway awaiting their transformation, Jenkins explains how he came to obtain so many sought after trainers. “When a project was being organised between NIKE and University of the Arts London, I was personally recommended to run the project and the original idea was to create something that was insightful whilst at the same time functional, not just another trainer tagging idea.”

Taking part in this year’s London Design Festival, renowned for its nine day annual celebration of the city’s most diverse design talent, it’s a fitting debut for such an innovative London-born project. “LDF is a great showcase of how good a creative city London is and the team are passionate and enthusiastic people, exactly the type I love to collaborate with.”

With promises of ‘GalvaNIKEs’, ‘Impressions in the Air’ and a ‘NIKE Cup’, participants of the project have each broadly interpreted the brief to go where no creative has gone before with them; and when functionality is this fun, who cares whether they’re fit for purpose?

NIKE78by Rachel Edwards

Reminiscing on his own early experiences of NIKE, he admits that from a young age he was a yearly buyer of NIKE Cortez` but is nowadays found to be more an advocate of the ‘89 Air Pegasus. Regardless of style, Jenkins has remained a long term follower of NIKE’s both sporting and creative endeavours.

“My admiration of NIKE’s ability to push the boundaries of sport with such insightful, creative flair is something that I have aimed to continue with NIKE78 and their rich heritage of sports culture makes them an aspirational brand to work with on every level.”

As for the creatives involved, they’ve been sourced from across the globe. From designers, typographers and illustrators to screen printers, ad agencies and film makers, they all have great ideas in common.

“I sourced a lot of people whilst I was working in Berlin, looking out for yet to be discovered talents and people from all fields of the creative industry. I didn’t want to use the same type of people that occurs repetitively, but invite unique people who have that touch of conceptual brilliance. Through a rigorous process, I whittled it down to a final 78 which was by no means easy but the result is participants contributing work worldwide, located in New York, Amsterdam, Berlin, Russia, Tokyo, Australia and all over the UK.”

The term ‘function’ has become a byword for the boring; overlooked as a formality for the fit for purpose, we surround ourselves with products that are abundant in practical properties. But take 78 creatives and one cutting edge brand and offer them the challenge of going against the rational norms of one such product, and you’ve got yourself a recipe for retaliation. Introducing NIKE78, a platform upon which 78 pairs of NIKE trainers have been distributed to 78 creatives from multi- disciplined backgrounds. They’ve each been broadly briefed to challenge the function of their pair and Wieden+Kennedy London, Justus Oehler of Pentagram Berlin, eBoy and KesselsKramer Amsterdam are just a handful of names of those involved.

Using sport as inspiration, it’s a unique project named after the year in which NIKE was born as the brand that we know it to be today. Created by Paul Jenkins, a London- based graphic designer, he acquired enough Air Max 97’s in 2008 to fill a Size? stockroom. Sat since in his hallway awaiting their transformation, Jenkins explains how he came to obtain so many sought after trainers. “When a project was being organised between NIKE and University of the Arts London, I was personally recommended to run the project and the original idea was to create something that was insightful whilst at the same time functional, not just another trainer tagging idea.”

Taking part in this year’s London Design Festival, renowned for its nine day annual celebration of the city’s most diverse design talent, it’s a fitting debut for such an innovative London-born project. “LDF is a great showcase of how good a creative city London is and the team are passionate and enthusiastic people, exactly the type I love to collaborate with.”

With promises of ‘GalvaNIKEs’, ‘Impressions in the Air’ and a ‘NIKE Cup’, participants of the project have each broadly interpreted the brief to go where no creative has gone before with them; and when functionality is this fun, who cares whether they’re fit for purpose?

NIKE78by Rachel Edwards

Kult Mag May 2010

Pimp My Pumps

NIKE AIR 180 (RE-ISSUE)First released back in ’91, the Air Max 180 was a running marvel with 50% more Air than in any previous Nike Air shoe. For the first time ever, Nike had made the air unit visible from a full 180º, with the air unit visible from under the shoe as well as the sides.The Air 180 is an iconic shoe that disappeared off the sneaker scene pretty soon after it arrived ... a year to be precise. I guess people weren’t ready for it. Brought back this year in two OG colour-ways, the 180 has made a strong and much deserved return.As far as comfort goes, this shoe takes a lot of design direction from its Huarache predecessors, using a ‘sock’ system that attaches the tongue to the inside of the shoe. If you’ve never worn a shoe like this before, go and try on a pair of 180s - it’s like putting on a pair of gloves for your feet.

By Alex Synamatix

NIKE LUNAR REJUVEN8 MID+:This shoe may look rather understated due to it’s minimal appearance and clean colour-way, but this is the kind of shoe that sneaker nerds drool over. Using Lunar technology on the sole, Torch material on the upper, the silhouette of an Air Footscape Woven Chukka combined with the Rejuven8 AND Nike+ technology ... Nike have gone in all guns blazing and absolutely killed it! This shoe might as well be the definition of comfort.Ready for the Summer, the Lunar Rejuven8 Mid+ is mad light thanks to all the technology chucked into it. Plus, it’s very breathable, so less sweaty feet. Paired up with a pair of chino shorts (no socks obviously), these will demand attention and praise.These kicks have been created to commemorate the World Cup, designed in association with UK artist James Jarvis as a way of repping the England team. Hence the England colour-way and custom Ye Olde English style Nike logo on the tongue.Too fresh.

ASICS GTII X HANON ‘NORTHERN LIITES’Scottish sneaker specialists Hanon have teamed up with Asics to create this heavily themed GTII to celebrate their 20th anniversary.The Northern Lights theme runs deep into the shoe. The upper is made of dark greyscale premium suede, full grain leather and air flow mesh to represent the night sky, whilst the tiger stripes use bright colours and Scotchlite overlay to represent the ribbons of colour that the Northern Lights are famous for, as seen on the insoles. Take a closer look at the heel of the sole and you’ll notice a translucent panel that shows you the night sky. Killer!If this theme wasn’t strong enough already, Hanon have gone one bit further and referenced the‘Northern Soul’ theme that they developed a few years ago as well. To resemble their 20 years in the game, they have created a special “Keep on burning” emblem that sits on the woven tongue tab, inspired by the imagery and slogans of the late 60’s UK musical movement ‘Northern Soul’.All in all, this shoe has one of the strongest concepts behind it that I have seen in my years as a collector. It’s also just a damn nice looking shoe! The inclusion of 3 pairs of laces is a huge look … something that more sneaker companies need to be doing on a regular.

Kult Mag May 2010

Retro ChavsWhat Paint Shit

Photo: Sam Greenup

Kult Mag May 2010

BACK IN THE DAY, WHERE DID YOUR INSPI-RATION TO DRAW FIRST COME FROM, AND HOW DID IT GROW? I was really inspired by the books ‘Sub Way Art’ and ‘Spray Can Art’ - my mum brought me that book and it was like a match to a fuse. A few of the older kids at school were also into graffiti, and skateboarded as well, so I used to get hand down Thrasher maga-zines from about ‘85 onwards. It was those early Thrasher mags that really changed my life: the layout of the mag, the bands they featured, and most importantly the adverts featuring skate graphics, particularly Santa Cruz - they really poked me in the eye! It was these graphics in particular; and I later discov-ered the artwork of Jim Philips, Vernon Johnson and

d*face

Kult Mag catches up with D*Face, a London based street artist whose work is as comfortable hanging in galleries and skate parks, as it is framed against the backdrop of the street.D*Face has been busy spending time opening up his own street art gallery, the Outside Institute in London, as well as working on his own creative projects and collaborations.

the album artwork by Winston Smith and Raymond Pettibon, which were all huge influences. I failed all my school education because of my ‘extracurricular’ activities, but managed to get myself onto a course studying animation and illustration. It was this course that connected all the things I’d been into, and showed me that a career as an artist or illustrator was a possibility for me.

SKATE CULTURE IS AN INTRINSIC PART OF YOUR WORK. HOW DID YOU FIRST GET INVOLVED WITH IT, AND HOW DID YOU CONNECT IT WITH YOUR ART? My first introduction to skateboarding was my father buying me a plastic moulded board when I was about seven. I’d roll around on it, mainly seated, and

Interview: Ella Dickenson

Kult Mag May 2010

paddle down the garden path. Nothing more to it than that! Not until I watched ‘Back to the Future’ in ‘83 did I suddenly realise what I was missing: seeing Michel J Fox ride his wide board through town being towed by a car was the BOMB! I nagged my mum to buy me my first board for my birthday - which, after much harassment, she finally gave into!! It was my first visit to a proper skate shop, one of only a handful that existed. Walking into that shop was life changing. The boards hung on the wall, the wheels and stick-ers in the glass counter, the smell of UV coated screen printed graphics - mmm mmm. My parents were hard up, so could only afford a Variflex setup on a blank board, which was kind of cool as it en-couraged me to paint my own graphics. So from that first board on, that was my introduction and connection. The first board I saw on the wall

of that skate shop was a Santa Cruz Ray Meyers freestyle board. I wanted it so bad it hurt. Only last year, I finally managed to track down a NOS board. It hangs proudly on my studio wall with my collection of decks.

DO THE CREATIVE IMAGES YOU’VE GOT IN YOUR HEAD ALWAYS TRANSLATE INTO REALITY AS YOU ENVISIONED THEM? Not always. In truth, I’ve always struggled with that since I was a kid. I’d get incredibly frustrated with the image I had in my head and the one I was trying to render. As I’ve grown older, and the more techniques I’ve learnt and practiced, the happier with the final visual outcome I’ve become. I’m incredibly critical of my work and I’m always striv-ing to refine my working process in order to translate my ideas as best I can, for both my sake and the public’s!!

YOUR WORK IS CURRENTLY ENJOYING INTERNATIONAL ATTENTION. WAS THERE A PARTICULAR BREAKTHROUGH MOMENT FOR YOU? It is? Cool. Glad to hear that. I’m not sure about there being a breakthrough moment. I always seem to be hustling, and plugging away, just doing me. But I guess having a 12 page feature in Juxtapoz and a NY solo show helped wise people up to what I do.

DO YOU FIND POPULARISATION OF YOUR WORK HAS MOVED YOU FURTHER AWAY FROM THE FUNDAMENTALLY RAW NATURE OF STREET ART? Quite the opposite: I always wanted more people to see my work. When you put work in the street, for the most part you pick spots that get seen and have high foot fall. The more visible it is and the more people see it, the better. I also enjoy working in the street more than anything. So as long as my vision, ideas and integrity aren’t being compromised, then there’s no reason why my work should lose its rawness - whether in the street or otherwise.

DO YOU THINK THAT STREET ART IS A BAROMETER OF CONTEMPORARY SOCIETY AND CULTURE, OR A MORE RANDOM MICROCOSM OF ARTISTS’ THOUGHT PROCESSES?Interesting question: I don’t think it can be seen as a barometer of contemporary society and culture, because if you look at it historically, it’s been part of our social dialogue for centuries, in one form or another. But I do always think of it as an art form that appears in the public domain - be that in the form of a poster, sticker, stencil or chalk drawing. When I compose a piece of work, I almost always think of how that piece will appear in the public domain. Whether it ends up being a street piece or a piece for a gallery show, I always imagine how it will look in the street, and what mediums I would use to produce it. So based upon my own thinking, I can only say that it’s a microcosm of the artist thought process.

WHAT CAN WE EXPECT FROM YOU IN 2010? More of the same times ten! I’m working on a couple of projects: a few musical collabo-rations and a street project that’s been cooking for a few months now! I’m also working on a few show concepts, here in the UK, and also in Tokyo and LA. I’m just figuring out what, when and where.

www.dface.co.uk

Kult Mag May 2010

Kult Mag May 2010

Fatimaatima has been making waves with her E.P Mind Travellin’, work with Dam Funk, and as the go to vocalist for the Eglo Records

crew and the Floating Points Ensemble. I caught Fatima on the hop between chasing “unprofessional” letting agents, and she is remarkably chilled for someone who has just been flooded out of her previous flat. Sitting in the park on a warm spring evening I worry that she’ll think me “unprofessional” too as my dictaphone runs out of juice and I scrabble for pen and paper. But she’s very understanding and patiently goes slowly so I can keep up.

Growing up in Stockholm in the 90’s on a diet of U.S R&B and Hip Hop Fatima, traces her love of singing live to drama class at school. “What I liked most was the improvisation stuff. It’s the same with the freestyle aspect of singing live. I love the unpredictability of it, even if sometimes it can be so shit!” There’s music in her family too with her Dad and Grandad both playing instru-

Written by: Trol23 Photo: Theo Martindale

Kult Mag May 2010

ments. But growing up with her mum is what gave her the most inspiration. “My Mum used to run this shop called ‘Boutique Afrique’, selling all sorts of African stuff but also instruments, drums, I used to go with her to Gambia and Senegal when she went to buy Djembes and stuff, you can’t go there without being surrounded by music.”

What is immediately striking about Fatima is how down to earth she is. Talking about working with people is always primarily talked about in terms of friendship. She met Floating Points at Plastic People’s CDR night and they hit it off straight away and started to hang out, “Alex (Nut) and Funkineven I met at various nights around town, when Alex and Sam decided to start Eglo, I jumped on board star ship Eglo and off we went.” “I never had a specific plan, I just kept doing my thing.” It’s maybe part of what makes Eglo Records such a likeable outfit. They’re clearly a bunch of mates hav-ing fun with music, and it’s infectious.

In Funkineven she seems to have found an ideal musical partner. She sings with an assured and rich, soul drenched, voice that sounds instantly classic and lends itself perfectly to Funkineven’s retro stylings. Listening to the E.P puts you in mind of so many

classic funk and soul joints but it isn’t just recycled funk. Sonically it has more in com-mon with SaRa than George Clinton. It’s a beautiful fusion of old and new sounds and styles, partly as a result of a meeting of old and new equipment, that creates a shiny new whole. As Fatima puts it “It’s soulful with a funky feeling; funk and hip hop with twisted vibes”In terms of the future, Fatima is “working on a live set” of her tunes, and “finishing off a new E.P.” The world really seems to be her oyster and when I ask her who she’d like to work with she aims high, “Timbaland, when he was doing the Missy Elliot stuff, or someone like the Neptunes.” She giggles, “you know...the big dogs!” And why not, she has the talent, and as importantly she has a lovely outlook. Closing the interview she sends her thanks “to all my friends and fam-ily in Sweden, and to all the people, world-wide, who come out and dance with me and the Eglo crew, without the support we couldn’t survive, I’m truly grateful.

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Kult Mag May 2010btglondon.com

– bridging the gap –

Pearson Sound is one of the more recent alias

of Hessle Audio label head David Kennedy

aka Ramadanman. Along with the likes of

Ben UFO, Pangaea and Untold, Hessle Audio

are pioneering the way for the new dubstep

sound, using house and techno as a more

direct influence. The Pearson Sound project

seems to take a more minimal approach

focusing on progressive percussion patterns

that seem to be constantly pitched up and

down. This effect is then met by some seri-

ously oldskool sounding synths somewhat

reminiscent of the late 80s acid house days

spent chewing someones ear off at the Haci-

enda till the early hours. WAD, while staying in

the same vein, gives of a completely different

atmosphere. It takes on more of a techy

samba party vibe, extremely difficult to stand

still to when dropped in a club. Pinoneering

lebels like Hessel Audio, Blunted Robots, Hy-

perdub and Tectonic are sculpting the future

landscape of a more interesting a sophisti-

cated dubstep sound. Get involved!

Mulatu is back!! Mulatu Steps Ahead is his

first solo studio album in over 2 decades.

From the word go this album keeps you

guessing. It’s clear that over the years he

has picked up styles and inspiration from

around the globe. The track ‘Motherland’

initially transports you to some dusty Eritrean

backstreet cafe in northern Africa before

fusing into a more traditional jazz sound that

could be found at the likes of Ronnie Scotts

or the Cotton Club. Again, refusing to bound

by genre or style, I Faram Gami I Faram starts

with a distinct Latin flavor, only to be layered

with the heaviest afro beat horns you could

ever wish to hear, all topped by what can

only be described at Muslim prayer chanting.

Mulatu seems to defy age while continuing

to be relevant in todays mish mash of cross

genre music.

By Fat C

Pearson SoundPLSN / WAD EP

Mulatu EstatqeMulatu Steps Ahead

Kult Mag May 2010

Who WhaT

WhErE WhEN

The exhibition will feature a kaleidoscopic range of artistic styles from the likes of established surrealists Allison Sommers and Yosuke Ueno, emerging realists Linnea Strid and Pakayla Rae Biehn, prolific street artist Gaia, and up and coming figurative painter/illustrators Audrey Kawasaki, Amy Sol, and Stella Im Hultberg.

London Miles GalleryWestbourne Studios242 Acklam Road, Studio 303W10 5JJ. U.K(44) 020 317 08618

June 12th to July 4th, 2010Monday - Friday / 10am – 9pmFree Entry

A group exhibition featuring a bold selection of international artists from the burgeoning New Contemporary Art movement. Produced in collaboration with Los Angeles’ Thinkspace Gallery, and showcasing a comprehensive selection of 45 of the most exciting and talented individuals working within this movement, ‘The Next Generation’ brings the best new international talent right to the doorstep of London’s Contemporary art community.

Exhibitions

Who WhaT

WhErE WhEN

East London’s Black Rat Projects will be hosting an exhibition featuring works by artists including Jean-Michel Basquiat, Keith Haring, Shepard Fairey, Swoon, Banksy, Barry McGee, Faile and Os Gemeos. ‘Now’s the Time’ - named after a Basquiat painting of the same title -and brings together the most important and influential street artists of the past four decades.

Thru Cargo GardenArch 461Kingsland Viaduct83 Rivington StreetLondon EC2A 3AY. Nearest tube – Liverpool St / Old St(44) 020 7613 7200

22nd April to 20th May, 2010Tuesday to Friday / 10am – 6pm Saturday / 11am – 4pmFree Entry

Street art is not a new phenomenon - for at least four decades artists have chosen the streets as a primary place to exhibit works. Most of these artists were initially shunned by the establishment but a select few gradually gained acceptance from a slow moving and conservative art world. Artists such as Jean-Michel Basquiat and Keith Haring were amongst the early practitioners of what has become known as ‘street art’ and it is the descendants of their work and ethos who are among the best known artists working on the streets today.

Kult Mag May 2010vna 81

www.secretwars.co.ukLondon • Birmingham • Southampton • Brighton • Cardiff • Dresden • Malmo • Copenhagen • New York

Glasgow • Dublin • Bristol • Oslo • Helsinki • Stockholm • Melbourne • Berlin • Zurich • Beijing • Tokyo • Los Angeles

Photo by Phiilip Gabriel www. phiga.de

Hicks, London Series 3 Champion