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| | | Yinka Ilori's patterns and designs to be celebrated at London Design Museum | | by Harriet Sherwood Arts and culture correspondent Aug 31, 2022 | | Free exhibition will include some of creative’s architectural projects and draw from his west African roots The bold colours and striking patterns of Yinka Ilori’s furniture, homeware, textiles and billboard graphics are to be celebrated for the first time in a free museum exhibition. Ilori, who grew up in a Nigerian household in north London, has drawn inspiration from west African textiles in his artwork and designs. Continue reading... | | | | | Kick Out the Jams: The Story of XFM review – pioneering 90s indie radio remembered | | by Leslie Felperin Aug 31, 2022 | | Documentary charts the station’s rise from pirate outfit to Britpop champion, featuring alumni including Ricky Gervais and Steve Lamacq This account of the rise and fall of radio station XFM (by Ray Burdis and co-director Ian Jefferies) will bring rheumy tears of nostalgic wistfulness to the eyes of Gen Xers and older millennials who were living in London in the 1990s. Not that it’s especially sad: if anything it’s a classic story of cool kids who get to live the dream then either sell out to the man or be betrayed by the guys who sold out, but still end up doing all right in the end. Nobody dies, apart from poor Princess Diana who was killed the morning that XFM was starting its first day of legal broadcasting, thus rather dampening the exultant mood. Founder Sammy Jacob recalls the station’s roots in pirate radio, operating out of his mum’s flat in the east London district of Clapton around 1992. They had to discourage DJs from showing up with too many records lest that tip off fans or the authorities about where the studio was. After an early coup in persuading the Cure, or more precisely the band’s manager Chris Parry, to participate in the station launch, the station grew its audience and reach until it finally acquired a license in 1996/97. Continue reading... | | | | | 100 Gecs review – hyperpop provocateurs' electrifying UK debut | | by Shaad D'Souza Aug 31, 2022 | | Kentish Town Forum, London
Laura Les and Dylan Brady give a thrilling performance that emphasises the intricacy of their abrasive sound Pour one out for the security team at Kentish Town Forum. Watching them try to keep the fans in the balcony seated during 100 Gecs’ debut UK headline show was like watching someone battle a hydra: every time one audience member was subdued, two more sprang up in their place. By the time the band – St Louis, Missouri producers and vocalists Laura Les and Dylan Brady – ended their set, with a boisterous rendition of 800db Cloud, security had given up: in their live shows, as in their recorded music, 100 Gecs defy all logic and, especially, all rules. 100 Gecs broke out in 2019 with 1000 Gecs, an album of crushingly loud pop that combined emo and EDM with dubstep, chiptune, rap-rock and ska. The almost comical intensity of their music, as well as Les and Brady’s avant garde, extremely online sensibility, turned the album into a viral success; by the end of 2019, the pair were the poster children of hyperpop, a microgenre of eccentric, internetty electronic music that was basically willed into existence after the creation of a Spotify playlist bearing its name. Continue reading... | | | | | Static Dress review – more moshpit, less theatricality please | | by Rosie Solomon Aug 31, 2022 | | The Underworld, London
The promising post-hardcore band put on an overly conceptualised show that could easily afford to rely on their fervent rapport with fans By his own admission, Olli Appleyard is tired. “I fucked myself up this weekend,” he says – the result of their triumphant appearances at Reading and Leeds, the latter on home turf, less than 48 hours before tonight’s sold-out show. Both appearances are rights of passage for Static Dress, who are touring their self-released album Rogue Carpet Disaster and proving themselves as post-hardcore stars of tomorrow. Opener Fleahouse sets the tone: two seconds in and the moshpit has already opened. The crowd’s energy seems to be restorative for Appleyard, who asks the crowd to help him sing, something the punters are only too happy to do. Time and again it’s the community surrounding Static Dress who really make the gig a success. Tracks such as fan favourite Sweet become karaoke moments, and the steady stream of crowd surfers and stage divers points towards a confidence and sense of safety that the band inspires in its fans. Continue reading... | | | | | |
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