New Music – Pet Shimmers | Pillow Queens | World News | Marika Hackman

New releases – Pet Shimmers, Pillow Queens, World News, Marika Hackman

Pet Shimmers – Live-In Atrocity / Snake Eats a Lady

This week brings two new tracks from Bristol collective Pet Shimmers, offering an insight into what to expect from their forthcoming album Trash Earthers. If this is anything to go by, the album will be elegantly eclectic and well worth a listen. Live-In Atrocity, the smoother of the two, mixes hazy synths and harmonies to create a Diamond Dogs-esque foreboding backdrop to reality. The pace changes significantly on Snake Eats a Lady with punchier guitars and a more frenzied delivery. Prepare to take a journey with unexpected twists and turns at every junction.

Pet Shimmers have live dates planned across the UK in March/April 2021. Trash Earthers is due for release on 2nd October via the band’s own label, PS Records – pre-order here; you can watch the video for Live-In Atrocity below.

Pet Shimmers

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Pillow Queens – In Waiting (album release date 25th September)

Following significant success in Ireland, having played shows with both Pussy Riot and IDLES and caught the ear of the 6 Music playlist, Pillow Queens look set to attract a much wider audience with their pending album release, In Waiting. Their style is hard to define, flitting smoothly from indie rock to an almost country-tipped twang, popping by to nod towards Cerys Matthews and Imelda May along the way. It makes for a very accomplished and cohesive overall feel.

The content of the album is said to address issues including ‘job insecurity, housing crises, income equality, social inequity and strength in unity, self-love, queer love, love for your city and the belief in the power of art’. That’s quite the narrative, achieved whilst maintaining positive, quirky tunes that will engage you from the start. Look out for In Waiting next week, pre-order link here, release date is 25th September. In the meantime, watch the video for latest single Holy Show below.

Pillow Queens

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World News – Job and Money (EP)

Released today, some World News that we can actually enjoy against the perplexity of the actual world news. This 5 track EP, Job and Money, charts the realities of the self-doubt and anxiety that kick in amidst a relationship breakdown, the songs vocalising conflicting emotions and the often obstructed walk back to a better place. Recent single Lend Me Your Brain is rooted in the intricacies of art-pop guitar, the whole EP having a lightly blown 80s’ feel about it. A personal favourite is opening track Give it Time, distinctly reminiscent of The Cars’ Best Friend’s Girl with its choppy riffs and vocals, a song that sticks in your head for all the right reasons.

Mixed by Speedboat, another band on the ones to watch list, Job and Money is available now, listen here.

World News

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Marika Hackman – Realiti

Ahead of her self-produced album Covers, Marika Hackman has released her scaled back version of Grimes’ Realiti. With more emphasis on the vocal than the pulsating beats of the original, it’s a respectful tribute whilst showcasing the subtlety of Marika’s tone.  Speaking of her choices for the album, she says “When it comes to covers, I like to pick songs which I have been listening to obsessively for a while. It gives me a natural understanding of the music, and lets me be more innovative with how I transform it”. With her take on artists as diverse as Alvvays, Beyonce and Radiohead, this looks to be an interesting collection of songs as you’ve never heard or anticipated them before.

Covers is set for release on 13th November via Transgressive / Sub Pop Records, pre-order here and watch the video for Realiti below.

Marika Hackman

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Words by Siobhan
Photos via One Beat PR, Practise Music, Quick Swimmers and Prescription PR
(Pet Shimmers © Gravy Manuellé, Marika Hackman © Luke Booth)

18th September 2020

Interview – The Roly Mo

The wealth of talent surging out of Glasgow continues as four-piece The Roly Mo release their debut EP, full of self-assured sashays through the Reptilia style post-punk riffs of Control Yourself to the glam kickback of Diamond Doll. We caught up with Joe and Lewis from the band to find out more…

How are you all, how’s lockdown been treating you?

We are better than ever… thriving in this environment and currently writing our best music to date.

The scene in and around Glasgow right now is producing some real quality acts, what makes it such a good base for creating music?

Glasgow’s natural chaotic vibe seems to be perfect for any upcoming bands to start themselves off… a lot of people love live music in this city.

Your recent single Control Yourself has been getting some great reviews, what’s the story behind it?

I’d like to think of it as a song that plays in your head when you have a hangover and you did something the night before that you regret more than ever! It’s just a song about people with any kind of addiction.

Tell us about your new EP TRM

It’s a 6 track record which will take you on a roller coaster of energy and emotions. We wanted it to be that way, for people to have something to really sink their teeth into and ultimately we’re all very proud of this to be our first major release.

Looking back to your earlier days, what was the first gig you played together and how did it go?

The first gig we played was at a pub in Cumbernauld and was actually for a relative’s birthday party so it wasn’t even a proper gig. We played a mix of some early tunes we wrote and a few covers.

A lot of bands don’t last longer than a year, what were the key things that happened along the way that made you think you could make it work?

This is the first band we’d all joined, so there’s something cool about that I suppose. We also have really good chemistry when playing, sometimes that’s hard to find and I think we understood that early on.

If you could pick any two other artists to play on the same bill as now, who would you choose?

Probably The Strokes & Kanye West.

Apart from The Roly Mo, who else should we be adding to our new music playlist?

Right now it would have to be Rascalton, Spyres and Pleasure Heads.

And what are your plans for the rest of the year?

Just write as much new material as possible and practice in the studio once a week so that when we go back to playing gigs normally we’ll be potent.

TRM was released on Friday via independent label 7 West Music, produced by the esteemed local pairing of Johnny Madden (Baby Strange) and Chris Marshall (Gerry Cinnamon) – listen here and watch the lyric video for Diamond Doll below

Interview by Siobhan

16th September 2020

Kraszna-Krausz Photography & Moving Image Book Award Winners

Header photo © LaToya Ruby Frazier: Grandma Ruby and Me, 2005

Yesterday, the Kraszna-Krausz Foundation announced the two winners of its annual Photography and Moving Image Book Awards, selecting from short and long lists that were revealed in July. The prizes have been awarded to two very different, both very worthy winners.

The Photography Book Award was won by Chicago-based artist LaToya Ruby Frazier for her eponymous book LaToya Ruby Frazier (Mousse Publishing & Mudam Luxembourg), which collates a series of three photographic projects commenting on racial discrimination, poverty, post-industrial decline and its human costs. The images are both reflective and poignant and provide a compelling visual documentation of sections of society today.

Photos © LaToya Ruby Frazier: Left: Sandra Gould Ford in her office in Homewood PA, 2017
Right: Mr Yerby and Mom’s Foot, 2005, gelatin silver print, Pinault Collection

Talking about her work, LaToya Ruby Frazier says, “In my photographs, I make social commentary about urgent issues I see in the communities or places I’m in. I use them as a platform to advocate for social justice and as a means to create visibility for people who are on the margins, who are deemed “unworthy”: the poor, the elderly, the working class, and anyone who doesn’t have a voice. I create depictions of their humanity that call for equity. That is what is dear to my practice and my position as an artist.”

Photo © LaToya Ruby Frazier: Ali wearing his miner’s helmet,
coal mines of Louis Lambert, Hensies, Borinage, 13 December 2016

The Moving Image Book Award has been posthumously awarded to Hannah Frank for Frame by Frame: A Materialist Aesthetics of Animated Cartoons (University of California Press), in which Frank takes a look at the enormity of detail required to produce cartoons in the pre-digital age, offering an insight into the complexities of animation and its history.

Left: Cruella de Vil in 101 Dalmatians (Disney 1951)
Right: Cinderella’s stepmother in Cinderella (Disney 1950)

Dr Andrew Moore, one of the judges said, “This is an exceptional book: original, poignant, hugely significant and full of verve, with writing that is wry, neat and seductive. Hannah Frank’s obsessive focus on the single cell in animation calls on us to change our way of perceiving culture. Her intellectual range is astonishing: Herman Melville, Emily Dickinson, André Bazin, Walter Benjamin, Sergei Eisenstein – all are invoked to get us to think about what animation is, and to forcibly remind us of the invisible factory labour that manufactured the polished, animated commodity. Hannah Frank has given us a perfectly crystalised intellectual project.”

Popeye – Moving Image Figure 3.2 Frames from Olive Oyl’s dance in Blow Me Down!
(Dave Fleischer 1933)

As restrictions on social gatherings continue, there will not be a physical awards ceremony this year, however, the Photographers’ Gallery will be hosting a free digital event on 30th September which will include a showcase of the works and artist/editor talks and is open to the public – click through on the link for more information and booking details (donations are welcome to support the gallery’s public programme).

The judges for this year’s Photography Book Award were Professor Elizabeth Edwards, visual and historical anthropologist and independent scholar; Peter Fraser, contemporary British photographer; and Shoair Mavlian, Director of Photoworks.

The judges of this year’s Moving Image Book Award were Melanie Hoyes, Industry Inclusion Executive, BFI; Geoffrey Macnab, author, and contributor to Screen International and The Independent; and Dr Andrew Moor, Reader in Cinema History, Manchester Metropolitan University.

You can find more details about the awards on the Kraszna-Krausz website.

Words by Siobhan
Images reproduced with permission via Flint Culture and copyrighted as detailed

10th September 2020

Pride Inside – Online Exhibition

Back in June, we covered the innovative Pride Inside, a huge billboard campaign that gave a voice to the LGBTQ+ community in light of the usual annual celebrations that take place across the country being quashed by social distancing. With over 120 queer photographers and contributors taking part, the digital billboards were seen in cities and busy road intersections across the UK. We’re delighted to hear that images from the campaign have now found a permanent online home as a visual exhibition on Google Arts & Culture, more details from the press release here…

PRIDE INSIDE’S CELEBRATION OF QUEER LIFE IS TO LIVE ON PERMANENTLY ON GOOGLE’S ARTS & CULTURE PORTAL

Pride Inside, the nationwide LGBTQ+ campaign which saw more than 1,000 digital billboards taken over with images of queer people celebrating Pride from their homes this summer, is to live on permanently on Google Arts & Culture.

Pride Inside is the brainchild of writer, performer and drag star Ginger Johnson, who wanted the visibility of LGBTQ+ people on the streets of the UK to continue despite Pride events being cancelled because of the Coronavirus pandemic…

It is estimated around 10 million people saw the images across the two weeks they were displayed in June, giving amazing visibility of LGBTQ+ people during Pride month. The initiative also raised awareness of the work of grassroots LGBTQ+ charities, with Pride Inside partnering with LGBT+ Consortium to collect donations to be distributed to organisations across the UK who provide vital services for the queer community.

Now following an agreement between Pride Inside and Google, the campaign will live on permanently on the Arts & Culture portal, a non-profit initiative which works with cultural institutions and artists around the world to preserve and bring the world’s art and culture online so it’s accessible to anyone, anywhere. The project has been delivered in partnership with LGBTQ+ arts charity Raze Collective, which has administered the collection on behalf of Pride Inside. It will feature more than 200 images in 20 different collections from the Pride Inside campaign, including billboard layouts, site photography and other as yet unseen images.

Ginger Johnson said: “This year the LGBTQ+ community had to shout it a little louder to spread our message of Pride and solidarity – from digital drag shows to socially-distant protests, people from all walks of queer life worked together to adapt to the challenges we have all been facing. Seeing the kind of passion and determination that fuelled projects like Pride Inside in action around the world has been truly inspiring, so we are delighted that the project has found a permanent home online, where it will live as a snapshot of our community at a unique moment in time.”

The online exhibition can be found here on Google Arts & Culture, alongside numerous other exhibits from museums and artists from around the world

Our original article can be read here and you can check out more from Pride Inside on their website

Header shot: Seana – Birmingham by Emma Jones

9th September 2020

 

Album Review – Hannah Georgas: All That Emotion

Hannah Georgas – All That Emotion

The euphonious tones of Hannah Georgas are back on her new album, All That Emotion, released today. For fans of The Beths and Say Sue Me, the Toronto singer-songwriter brings her own take on dreamy, refreshing tunes that, whilst easy on the ear, tackle tales of heartbreak and acceptance.

Track titles including Someone I Don’t Know, Same Mistakes and Cruel give you an indication of the soul searching that has gone into making this record, Pray It Away telling the story of a difficult conversation with her family about same-sex marriage, opening with the line, ‘I’ve been afraid to tell you everything going on in my head’, a feeling that will surely resonate, whatever subject matter the listener has had to navigate.

The album has been beautifully produced by The National’s Aaron Dessner, very much in the spotlight for his recent work with Taylor Swift but making it clear here that he is not restricted by genre. The combination of Georgas and Dessner results in a purity of sound that is both poignant and optimistic. All in all, this is an accomplished collection of songs that hold up individually yet flow seamlessly together.

All That Emotion is released today through Brassland Records / Arts & Crafts and is available to purchase here. Watch the lyric video for latest single Easy below.

Review by Siobhan

4th September 2020

Photo Gallery – Portraits

The art of portrait photography means many things to many people. For this gallery, we’ve included both posed and candid shots, all of which capture the essence of the subject however and wherever they were taken. As Robert Frank said, “There is one thing the photograph must contain, the humanity of the moment.” 

The images featured are in no particular order other than to be mixed by style and subject matter so please scroll all the way through and enjoy…

Header photo by Gary Catlin Photography, details in article

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Craig Gould

By Phil Drury at 2324 Photography

Website  |  Instagram

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1. Lauren Tate of Hands Off Gretel, on stage at The Great British Alternative Music Festival, Skegness
2. Duncan Reid of Duncan Reid and the Bigheads, side of stage at O2 Ritz, Manchester

By Gary Hough at allthecoolbandsphotography

Website  |  Instagram  |  Twitter

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1. Smoking – Kieron Conroy of Stone Broken, Rock City, Nottingham, 2019
2. Icon? – Absolute Bowie at The Devil’s Arse Cave, Derbyshire, 2019

By Tina Sherwood at Rock Shotz Live Music Imaging

Instagram

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1. Pete Shelley
2. Steve Diggle
Buzzcocks, backstage at Hardwick Live Festival, 2017

By Steve White

Flickr  |  Instagram

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1. RedEyeZack, West Pier, Brighton
2. Jewellery by Susan Jane Dunford

By Petra Eujane Gent

Website  |  Instagram

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1. Time Gentlemen Please, Phil
2. Time Gentlemen Please, John

By Gary Catlin Photography

Website  |  Instagram

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1. Dare You Not To
2. Galaxy Thief

By Milly McPhee

Website  |  Instagram

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1. In The Moment
2. Music and Friendship

By Jennifer Mullins Photography

Website  |  Instagram

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1. Where Has My Love Gone?
2. Passion

By Peter Hutchinson

Website  |  Instagram  |  Twitter

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Randy Blythe, 2018

By Lynnette Brink

Instagram  |  Facebook

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1. Tracey, Black Country Living Museum
2. Tracey, home studio

By Brian Smith

Instagram

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Suze DeMarchi of The Baby Animals, 2019

By Pepa at PJ Music Photography

Instagram

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1. Kawa Huni Kuin, Extinction Rebellion Manchester
2. Street Performer, Pennabilli Festival

By Ingrid Turner

Website  |  Instagram  |  Twitter  |  Facebook

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An Illustration of the Present

By Jake O’Brien

Instagram

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1. Pale Waves at Pie & Vinyl, Southsea
2. George Mitchell of Eagulls at Olby’s Soul Cafe, Margate

By Siobhan at 16 Beasley St Photography

Website  |  Instagram  |  Twitter

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As always, a heartfelt thank you to all the amazing photographers who have shared their images for inclusion. To see more of their work just click on the links shown (and while you’re there, give them a follow).

All pictures are copyrighted by the photographer credited; please do not reproduce without gaining their permission first.

1st September 2020

 

 

 

Album Review – Young Knives: Barbarians

Young Knives – Barbarians

After a seven year absence, Young Knives return with a new album that feels dark, confrontational and a world away from their early troubled meeting with the parents in She’s Attracted To, although the simplistic but heartfelt opening line on Weekends and Bleak Days of ‘Hot Summer, what a bummer’ remains a valid statement of fact in my eyes.

Back in the present day, Barbarians takes much of its inspiration from John Gray’s provocatively nihilistic Straw Dogs, a book that effectively questions the human role in humanity. Taking this standpoint with all that is happening in the world right now, it becomes easier to understand the amplified vigour and aggression of Young Knives’ new sound.

Kicking off with the appropriately named Swarm, things surge straight into a wall of electronic noise and robotic oration. Follow up track Society for Cutting up Men (SCUM) implores, ‘Explain yourself to a live studio audience’, reflecting the need for people to feel seen, heard and validated in today’s society rather than to just do what’s best. Throughout the album, the inflections of psych synths and pounding drum machines ensure that this is a piece of work you need to sit up and pay attention to. There are moments of undeniably PIL-esque rage, in fact ‘Anger is an energy’ might just be the perfect way to describe Barbarians. I get the sense though that this will not end in a butter advert.

Both the title track and recent single Sheep Tick are stand outs, unsettling but arresting in their contention. The album finishes with What I Saw, a fitting close to what, after repeated listens, sounds increasingly like a concept album for the forgotten, dystopian dance-beats for the dissidents. Take a listen and be prepared to hear Young Knives like you never heard them before. 

Barbarians is released on 4th September via Gadzook, you can pre-order the album in various formats with some limited edition options here. Watch the video for Sheep Tick below.

Review by Siobhan 

28th August 2020

 

Street Smart – Urban Art

From scrawls on walls to guerilla street art, paste-ups and commissioned coverings, there are mixed media messages all around us. Sometimes thought provoking, often temporary, even the biggest names can be cleaned away overnight so enjoy them while you can. Here are a few that caught my eye, some grander than others, all taken in Worthing and Brighton…

I don’t have details for all the artists shown, feel free to let us know if you can fill in any gaps. Some of those whose work is featured above can be found on the following Instagram links:
Mick Mowgli  |  Horace  |  Minty  |  Broken Hartist  |  The Postman

Photos © 16 Beasley St Photography

25th August 2020

New Music – Bandante | Baby Vanga

New releases – Bandante, Baby Vanga

Bandante – So This is Now (music/video)

When he’s not playing guitar with Nick Cave and the Bad Seeds, George Vjestica fires some of the many strings from his bow into his always organic project Bandante, in which he records and collaborates with other musicians, artists and film-makers. The latest offering from Bandante is So This is Now, featuring visuals from Timothy Shepard, a contemporary artist who works with film, music, paper and photo montage.

The track is a multi-layered pool of crescendo and decline, a backdrop to modern day living that could conjure up powerful imagery on its own. However, the addition of Shepard’s cut up representation of dystopian protest is equally as compelling. There is talk of further collaboration between the two in the form of a sound and vision installation; based on this piece, it feels like that would be an experience to relish.

Watch the video for So This is Now below.

Bandante

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Baby Vanga – Electric Air (single)

If your genre pick is a fusion of psychedelic jazz and Latin funk, then Baby Vanga should be right up your street. If you just want to watch a video featuring safari suits, 60’s roll-necks and flying cars, you’re also in luck. With their latest single Electric Air, the band bring you kaleidoscopic nods to 5th Dimension’s Age of Aquarius updated with subtle jazz infusions and flute runs to hypnotise your mind into forgetting your troubles. The easy flow of the track belies the combination of instruments and flawless mixing and, as they’ve done all the hard work, you can dust off your flares, sit back and relax to the Baby Vanga soundtrack. The band say, “Electric Air is a brief exploration into the endless journey of finding purpose within actions, yet being aware of the beauty in the actions themselves. Reflecting this is the insecure effect of the odd time enclosed by entwining genres, that’s contrasted by lighthearted melodies and the overall optimism the song tries to illustrate.”

Strap yourselves in and watch the video for Electric Air below.

Baby Vanga

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Both tracks have been added to our Now Listening playlist

Words by Siobhan
Bandante photo © Michael Dent

19th August 2020

Interview – Annie Taylor

Ahead of the release of their debut album Sweet Mortality next month, we had a chat with grunge-psych-pop quartet Annie Taylor. Named after the first person to survive going over Niagara Falls in a barrel, the band are fast making a name of their own with their energy filled tunes and performances; get to know them better here…

Introduce us to Annie Taylor, who’s involved in the band?

We are a four-piece band from Zurich, Switzerland. There is Tobi on the guitar, Michael on the bass, Jan on the drums and I (Gini) am singing and playing guitar.

How are things with you, is lockdown still easing in Zurich?

Currently, it seems like people are getting aware again, that we are still in the middle of an ongoing pandemic. I guess everyone is longing to get back to their usual nightlife habits, but at the moment it looks like there will be no big events taking place anytime soon. But who knows? Could all be different by tomorrow…

And musically how have you managed to keep things going this year?

It was like being on a rollercoaster! We had so many plans in the beginning of 2020 that we were looking forward to: US tour, shows in the UK and festivals in Switzerland. Having the whole US tour and basically all festivals cancelled was a real bummer. And on top of that we also had to reschedule the release of our first album, which was not an easy decision… But on the other hand we suddenly had so much time again to spend with loved ones, writing music or just hanging around. It was a pretty busy time for us in the past year, so this ‘just hanging around’ phase was actually also pretty cool.

Your album Sweet Mortality is due for release in September – tell us about it, what have been the highlights of making the LP?

This was the first time that we actually recorded in a proper studio, where the sole focus was the making of this album. In the beginning of the band it was hard to pay for a studio, so on the previous recordings we got lucky to work with sound-engineering students, that needed some projects to work on in order to improve their skill set. This time, it was completely different. We recorded with engineer and producer David Langhard the first single of the album (17 Days) and it just instantly clicked. Spending time with him and recording at Dala Studios was a blast and I can’t wait to return! The whole production of the album recordings, artwork, music video and so on was really exciting and we also had a lot of support from very talented friends who helped us out wherever they could.

You have a vinyl option for the album, why do you think vinyl’s so popular again?

In our digital world, we are able to listen to whatever we want at any time. But I think it rocks when you go to a concert and buy a vinyl so you can actually hold the music in your hands. I guess it’s also a reminder of the good old times – vinyl forever!

Which other artists have been on your lockdown playlist?

We actually made a lockdown playlist and it turned out as a wild mix of everything! There’s songs of our favourite artists like Wolf Alice, Bleached or Amyl and the Sniffers on it, but also we discovered a lot of unknown artists during the lockdown, which made it on the playlist (I am very happy about getting introduced to Jessica Lea Mayfield!). You can listen to the playlist here:


And what’s your local music scene like, where have you rehearsed and played since the band started and who’s helped you along the way?

There are a lot of really nice venues in Zurich which are hosting a lot of amazing artists. So we are actually very spoiled, when it comes to listening to live music. A lot of touring bands make a quick stop in Zurich, which is awesome! We were lucky to open for bands that we are looking up to, like Sugar Candy Mountain or Sunflower Bean.

Thanks to the lockdown we finally cleaned out our rehearsal space, where we are practicing A LOT. It’s a shelter without windows, in an industrial basement. It’s not the nicest place to hang out, but it’s comfy. Sometimes we also have friends over and every once in a while our label daddy Piet (Taxi Gauche Records) or our booking and MGMT team from Young and Aspiring are popping round with some refreshments, i.e. cold beers.

Any album, any film and any book – what do you choose?

Jan’s pick: The movie Hidden Figures – it’s a very powerful movie about kick ass women and black community power.

Michael’s pick: Motörhead –1916, favorite album ever.

Tobi’s pick: The Ozzy Book. Why? I think this is the only book he ever read, lol.

Gini’s pick: I am hooked on the crime podcasts by GEO Epoche – it’s about historical crimes from the past.

Lastly, what are your hopes and plans for Annie Taylor over the coming year?

Right now, all we are hoping for is that the venues are surviving the pandemic and we can go play shows again.

You can pre-order Sweet Mortality prior to its release on 4th September via Taxi Gauche Records. Catch up with Annie Taylor here and check out latest release Where the Grass is Greener below.

Interview by Siobhan
Band photo © Piet Alder

13th August 2020

A Song for the Times – i refuse to die

Sydney Sprague, a Phoenix, Arizona singer-songwriter, has just released i refuse to die from her upcoming album Maybe I’ll See You at The End of The World. The title is a line from the song End of the World, written two years ago. All this music was written and recorded prior to the pandemic so it seems even more significant for the times we are living in.

Sydney started playing guitar at 11, appearing at coffee shops and malls with the support of her parents. Her dad was often her roadie as well. She moved to Austin, Texas at 18 for a short while before returning to continue writing and performing in Phoenix for the last 10 years. She has released 3 EPs since 2015. I’ve been fortunate to see her many times at Phoenix venues before everything shut down. It’s been fun to watch her grow musically and get to know her.

In January of this year Sydney headed up to Seattle, Washington for a month to work with producer/engineer Sam Rosson to record the album. She was joined by Chuck Morriss III, on bass and synth, and Josh Morin, on drums, both musicians from Jared and The Mill, a band out of Phoenix. Once the project was done, it was mixed by Mike Lepe and now is just waiting for release.

Sydney wrote i refuse to die in December prior to recording, to force herself to remain positive and not wait for the other shoe to drop. The song starts softly, switches to uptempo, then returns to the beginning tempo. She explores what is necessary to keep moving forward.

Because of the limitation placed on being safely in one place, Sydney created a video for the song by using a green screen, using her phone and spending two weeks learning how to use the software to create the video with Rachael (Ray Squared Productions) Smith helping with the news ticker. Set up as a news broadcast, Sydney and Chuck are the newscasters. It is a fun visual interpretation of the song that brings some lightness into these dark times we are living in. The song is on all streaming platforms; you can watch the video below and find more from Sydney Sprague here.

Words and photos (taken prior to lockdown) © Jennifer Mullins

10th August 2020

New Music – Hallan | Medium Love | Susan

New releases – Hallan, Medium Love, Susan

Hallan – Modern England (single)

Released today, Hallan’s latest single Modern England takes an askance look at the paradox of the nation, questioning what’s important as people stumble through life changing events whilst clinging on to social media trends and likes. The band describe the track thus, “With so many strange and vapid trends gripping the nation sometimes you have to take it all in and find some humour beneath the surface. Pugs and face changing apps. What’s that all about? And how could we forget Brexit? It’s a good job we all have our red passports. But then again does anyone in the country have a clue what’s ever going on? Maybe it’ll all blow over if I stick to my microwave dinner and keep my eyes on the screen.” Hallan sit alongside contemporaries like Squid and Shame, both in terms of musical style and observational lyrical content. It’s a real pity that there’s no opportunity to see these new tracks live right now, but don’t let this band pass you by as they seem to be producing consistently quality songs.

 

Hallan

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Medium Love – Overcoming Shyness (EP)

Releasing their debut EP today, Medium Love proffer four tracks filled with sun-kissed guitar riffs and hazy indie-pop that would ironically be perfect for a sunny day at a festival – alas, we can still only dream. Born from the break up of trippy songsters Big Deal, there are unsurprisingly some similarities in the harmonies but the overall sound feels clearer and more absorbent. With a hint of nostalgia and changes in pace between each of the tracks, Overcoming Shyness is a solid introduction to the band, displaying their ability to capture different moods and emotions in the blink of an eye. Vocalist Kacey Underwood says, “Most of my songs come to me in dreams – they are the soundtrack, sometimes I write about what happened in the dream or how it made me feel, I keep a phone by my bed to spit in all out before it evaporates into dream dust”. Take a listen to some captured dream dust here.

 

Medium Love

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Susan – Rose (single)

Hypnotic track Rose is the fourth in a series of monthly releases from Susan, an experimental pop artist who is creating an innovative mix of haunting melodies entangled with an ominous electro/guitar cacophony of sound. That may suggest something a bit disturbing but the result is really quite beautiful. Each monthly release will be backed with a visual created by different artists and videographers; this looks like a project that is definitely worth taking some time out to discover and embrace in all its other-worldly charms. Susan says, Rose is a track written about finding yourself within spaces where self love isn’t acceptable; Eventually pushing you to a place where you experience a higher knowledge of self. It’s about realising your worth through self doubt and depreciation… It needed to invoke the unsettling feeling of not understanding deeply who you are.”

 

Susan

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Words by Siobhan

7th August 2020

 

Exhibition – David Goldblatt | Johannesburg 1948 – 2018 (Goodman Gallery)

Exhibition, Goodman Gallery, London, until 25th August 2020 
David Goldblatt | Johannesburg 1948 – 2018

Header image: Margaret Mcingana, who later became famous as the singer Margaret Singana, at home, Sunday afternoon, Zola, Soweto, October 1970

Born in 1930 in Randfontein, David Goldblatt’s photography captured a reality of living through South African apartheid that was never shown on the news, his images conveying a very real picture of life and the people in his homeland; he is famously quoted as saying, “I was drawn not to the events of the time but to the quiet and commonplace where nothing ‘happened’ and yet all was contained and imminent”.

Domestic worker on Abel Road, Hillbrow, March 1973

His interest in taking photographs started at a young age, but running the family business sidelined his pursuits behind the camera until 1963, when he sold the company to focus solely on a career in photography. Having become a part of numerous artistic circles in Johannesburg, he was able to integrate with a wide range of groups in the community which, in turn, allowed him access to shoot in situations and capture portraits where others couldn’t. As his love for photography grew, Goldblatt founded the Market Photography Workshop to allow for visual literacy and photographic skills to be taught to the younger generation. He went on to receive numerous awards and honorary doctorates and to have his work exhibited worldwide.

Baby with child-minders and dogs in the Alexandra Street Park, Hillrow, 1972

This latest exhibition captures his view of Johannesburg from 1948 until his death in 2018; the shots included will provide an important social document for many years to come. Excerpts from the press release below:

Left: An office worker from Tsmeb on holiday,
in a rooming house on Abel Road, Hillbrow, March 1973
Right: Rochelle and Samantha Adkins, Hillbrow, 1972

‘Goodman Gallery presents Johannesburg 1948 – 2018, the acclaimed South African photographer David Goldblatt’s first major solo exhibition in London since 1986. Renowned for a lifetime of photography exploring his home country, Goldblatt produced an unparalleled body of work within the city of Johannesburg, where he lived for 70 years. At age 17, Goldblatt would hitchhike from Randfontein, the small mining town where he was born, into Johannesburg. He walked around the city until the next morning, talking to night watchmen and following his intuition: “People would ask me what I was doing, and I would say, ‘I’m poeging. I’m walking around the city; I’m learning the city, and trying to take photographs.” This process became the foundation of his practice.

Coronation Restaurant in the Diagonal St Fruit Market, January 1962

The exhibition maps Goldblatt’s evolution of work in a city divided by structural racism and subject to waves of trauma and resistance. Goldblatt was engaged in the conditions of society – the values by which people lived – rather than the climactic outcomes of those conditions. He intended to discover and probe these values through the medium of photography…

Schoolboy, Hillbrow, June 1972

David Goldblatt died at his home in Johannesburg in June 2018. Working until shortly before his death, he remained, to the last, “a self-appointed observer and critic of the society into which I was born”. In 2011, art critic and social commentator Mark Gevisser described Goldblatt as “the doyen of South African photography” who cast “so clear an eye over the South African landscape […] that he has become the country’s visual conscience”.’

Portrait photographer and client, Braamfontein, 1955

David Goldblatt | Johannesburg 1948 – 2018 is on now at Goodman Gallery until 25th August 2020

Goodman Gallery, 26 Cork Street, London W1S 3ND
Opening times Mon – Fri 11am – 5pm
As with all public spaces, if you’re feeling unwell please stay at home to keep everyone safe

All images and exhibition details are reproduced with permission from Goodman Gallery; photos are © David Goldblatt, please do not reproduce without agreement

Intro by Siobhan

6th August 2020

Exhibition – Bill Brandt | Henry Moore (The Hepworth Wakefield)

Exhibition, The Hepworth Wakefield, 1st August – 1st November 2020
Bill Brandt | Henry Moore

Header image: Bill Brandt, Henry Moore, 1948, gelatine silver print, Hyman Collection London © Bill Brandt / Bill Brandt Archive Ltd – reproduced by permission of The Henry Moore Foundation

Photographer Bill Brandt (1904-1983) and sculptor Henry Moore (1898-1986) first met during the Second World War, when they were commissioned by the UK government to create images of civilians sheltering from the bombings of Blitz in the London Underground. Over 50 years later, this initial link forms the basis of an exhibition currently housed at The Hepworth Wakefield, newly reopened since the weekend.

The Hepworth Wakefield © Hufton & Crow

Bill Brandt is recognised as one of the masters of 20th century photography, his work ranging from social documentary to surrealism. His role as staff photographer for the Home Office brought him to the wartime role – he had already been capturing life in the capital for some years, contributing to magazines and publishing two books, The English at Home (1936) and A Night in London (1938). His later work included distorted nudes, portraits and landscapes.

Bill Brandt, Nude, East Sussex Coast, gelatine silver print, 1960,
Bill Brandt Archive London © Bill Brandt / Bill Brandt Archive Ltd

In the 1940s, Henry Moore was commissioned by the War Artists’ Advisory Committee to produce illustrations  of the work being carried out in collieries where the ‘Bevin Boys’ were conscripted to mine for the coal used to fuel armaments factories. The style of these drawings and those that he made of the mass air raid shelters are very similar, using wax crayon, watercolour, pen and ink. Better known for his monumental brass sculpted forms, Moore went on to become one of the best known names in sculpture, his influence still strong amongst many successors.

Henry Moore, Two Piece Reclining Figure No 4, 1961, bronze
The Hepworth Wakefield (Wakefield Permanent Art Collection)
Photo © Jonte Wilde

The exhibition charts the journey of both artists as their paths continued to cross over the years. Further details from the press release below:

‘Organised in partnership with the Yale Center for British Art, the exhibition will bring together over 200 works including major sculptures, iconic photographs, drawings, little-known photo collages, unprinted negatives and rare original colour transparencies. Bill Brandt | Henry Moore will reveal the interdisciplinary range of these two artists, exploring how they both responded creatively to the British landscape and communities during the turbulent times in which they lived.

The exhibition will open with the moment the artists met in 1942 when Brandt photographed Moore in his studio to accompany a 10-page spread in Lilliput magazine juxtaposing the two artists’ shelter pictures. Brandt was a regular contributor as a photojournalist to Lilliput, a magazine known for its innovative photographic features, and this issue was the first time the two artists’ work was shown side-by-side.

Both artists were often drawn to similar subjects – leading up to and during the Second World War, there was a focus on ordinary people, the home and labour. Brandt’s bleakly evocative photographs of impoverished mining communities and families in the North of England taken in the late 1930s reflect social deprivation. Moore’s later sketches documenting the civilian war effort at his father’s colliery in his home-town of Castleford, although similar in theme, present a more optimistic view…

Henry Moore, Pit Boys at Pit Head, 1942,
pencil, pen, ink, wax coloured crayon & watercolour wash
The Hepworth Wakefield (Wakefield Permanent Art Collection)

The exhibition will reveal the important relationship for both artists between 2D images and 3D objects. Moore will be presented as a sculptor and draftsman who made a serious commitment to photography both as a creative medium and a means of presenting his work. On display will be little-known photographs of his sculptures, drawn on and collaged together to develop new ideas for future sculpture. Brandt will be revealed as a photographer who looked to sculpture as a subject and as a way of considering nature, landscape, and the human body, as exemplified by a series of rare colour transparencies of sculptural rock formations on the beach.

Bill Brandt |Henry Moore will also examine the complicated relationship between pictures and objects, between ‘primary’ works of art and ‘secondary’ published images used as an important means of disseminating their work to a wide public, and the material nature of the printed photograph.’

Bill Brandt | Henry Moore runs at The Hepworth Wakefield from 1st August – 1st November 2020, after which it will move to Sainsbury Centre, Norwich from 21st November 2020 – 28th February 2021. The exhibition is supported by The Henry Moore Foundation, Hiscox and The Hepworth Wakefield Contemporary Circle.

Social distancing means that numbers in the gallery at any one time will be limited and this may result in short waits during busy times. No cash payments are currently being accepted and booking is advisable; please check the website for updates before visiting and if you are feeling unwell please stay at home.

The Hepworth Wakefield, Gallery Walk, Wakefield, West Yorkshire WF1 5AW 
Opening times are currently restricted to Wed – Sun 10am – 5pm
Tickets £7.50 / £5 / free for Members, Wakefield residents and under 16s; various permanent exhibitions and the gallery gardens are open free of charge

Sir Michael Craig- Martin, Pitchfork (Yellow), 2013
on display in The Hepworth Wakefield Garden
Photo © Nick Singleton

All images and exhibition details are reproduced with permission from The Hepworth Wakefield and are copyrighted / owned as credited

Intro by Siobhan

4th August 2020

Album Review – The Psychedelic Furs: Made of Rain

The Psychedelic Furs – Made of Rain

Way back amongst a plethora of snarling punk and poppier new wave outfits, The Psychedelic Furs immediately stood out; so much more than the three chord backdrop of the era and Richard Butler’s gravelly vocal bringing a rich, haunting hook, his brother Tim adding deep bass-tones. The dark undertone of tracks like Sister Europe and President Gas stands up all these years later, the haze of Love My Way embedded as a time stamp of the early 80s.

Several decades later then it seems somehow unlikely that they could be producing an album that can still make the hairs on the back of your neck stand up, but here we are with Made of Rain, a collection of songs that sound every bit as valid against today’s oddly dystopian background.

Opening track The Boy who Invented Rock and Roll is a strong starter awash with jagged synths, fading into the gritty couplets of Don’t Believe, an updated version of a sound that is unmistakably The Psychedelic Furs. There’s a lot to take in as the album progresses and its mood swings from the upbeat Come All Ye Faithful to the more anthemic Turn Your Back on Me, that would surely provoke a lighters in the air moment live if only people didn’t just use the flashlight on their phones these days.

All in all, Made of Rain is a very welcome return from a band that could easily have chosen to eat out on past triumphs but instead have put together a whole new dining experience for fans past and present. In many cases a long absence is best left to continue, but kudos to the Butler brothers and their new ensemble, this is a happy reunion and adds some fresh content to the songbook without taking anything away from its beautiful past.

Made Of Rain is released tomorrow, 31st July, on Cooking Vinyl. The album will be available on gatefold double 12” vinyl, CD, cassette and digital download with exclusive and signed items available from the band’s Official Store. Link to pre-order and pending tour dates here; watch the video for Come All Ye Faithful below.

Review by Siobhan
Photo © Matthew Reeves

30th July 2020

Photography – Days Gone By: Porches of Phoenix

Days Gone By: Porches of Phoenix
by Jennifer Mullins

Phoenix, AZ, is a city that spreads out into the suburbs instead of up, partly because the airport is adjacent to downtown. With all the music venues closed due to Covid-19, I decided to explore the historic neighborhoods in downtown Phoenix. Each neighborhood has a unique name, such as Roosevelt Historic Neighborhood and F.Q. (Francis Quarles) Neighborhood, to name a couple. Unlike the suburbs, the architecture of each house is unique.


The houses are late 19th / early 20th century in the style of bungalows and craftsman. The more houses that I photographed on these empty quarantined streets, the more I realized that I began to focus on the porches. Most cookie-cutter suburban houses do not have porches. These porches were decorated in a way that looked so inviting. I could see myself sitting there daily, enjoying talking to neighbors, or watching the world go by. On one walk, there was a socially distanced concert, before the summer heat descended, where La Luz de la Luna performed in front of their house and the neighbors sat on curbs and porches to enjoy the show.

Downtown Phoenix, with its historic areas, music and arts venues truly is a gem in the desert.

Words and photos © Jennifer Mullins
Links to other content by Jennifer here

29th July 2020

Album Review – Fontaines DC: A Hero’s Death

Fontaines DC – A Hero’s Death

As a debut album Dogrel more than did its job, a loud, unrepentant punch into the world full of bravado and disquiet, plunging Fontaines DC into mass market idolatry with extensive touring and a saturated fanbase. There are still people shouting about the fact that it hasn’t made this year’s Mercury list despite being on last year’s; a fan favourite for sure.

But make no mistake, Fontaines DC are not here to play puppets to anyone’s expectations, it’s surely no coincidence that the lead track on new album A Hero’s Death contains the repeated refrain ‘I don’t belong to anyone’ and it’s clear from the outset that this album has a whole different sound.

Still the familiarity of the Mark E Smith-esque swagger shines through on recent single Televised Mind and Living in America, but delve into the other songs and you’ll find unexpected hints of Wire, Leonard Cohen and Throbbing Gristle. The angst is still there but it manifests itself through controlled balladry and contemplation, notably mid-album on side by side tracks You Said and Oh Such a Spring.

When you’ve found a winning formula, it’s a bold move to leave it to one side, but the world is a very different place to what it was a year ago and A Hero’s Death feels like a much better fit right now. It’s only a tricky second album if you try to replicate the first one and there’s no danger of that here. Throw your presumptions aside and enjoy the new incarnation.

UK tour dates are planned for May 2021 and the band have just announced outstore performances for Resident in Brighton and Banquet Records in Kingston in November, updated regulations allowing.

A Hero’s Death is out via Partisan Records this Friday 31st July – preorder link here. You can watch its first performance streamed in A Night at Montrose, Dublin on Monday 3rd August; all album purchases from the Fontaines DC store by 9pm on 2nd will receive an access code beforehand. Watch the video for Televised Mind below.

Review by Siobhan

28th July 2020

 

Exhibitions – Tate Reopening

Header image: Tate Modern
The Blavatnik Building Stairwell 3 © Iwan Baan

Exciting news for art lovers as Tate Britain, Tate Liverpool, Tate Modern and Tate St Ives all open their doors to the public again today, having had no option than to close over the past few months to meet quarantine regulations.

Visitors will finally be able to access the galleries and collections, including some exhibitions that have been given specially extended run dates and others that will be starting at a new later date to allow more viewings. This offers a very welcome return to accessing the arts and seeing some outstanding pieces of work up close.

Current and upcoming exhibitions are listed below; there’s sure to be something in amongst this selection to tempt you…

Tate Britain (London)

© Tate Photography

Aubrey Beardsley – until 20th September 2020

Steve McQueen Year 3 – until 31st January 2021

Turner’s Modern World – 28th October 2020 – 7th March 2021

Lynette Yiadom-Boakye – 18th November 2020 – 9th May 2021

Installation view – Steve McQueen Year 3 at Tate Britain © Tate
(part of a huge project to photograph Year 3 pupils across London)

Tate Liverpool

© Rachel Ryan Photography

Mikhail Karikis – 27th July 2020 – 22nd November 2020

Don McCullin – 16th September 2020 – 9th May 2021

Don McCullin, Liverpool c. 1970
© Don McCullin

Tate Modern (London)

The Blavatnik Building © Iwan Baan

Hyundai Commission: Kara Walker Fons Americanus – until 8th November 2020

Andy Warhol – until 15th November 2020

Bruce Nauman – 7th October 2020 – 21st February 2021

Zanele Muholi – 5th November 2020 – 7th March 2021

Bruce Nauman, VIOLINS VIOLENCE SILENCE 1981–2
ARTIST ROOMS Tate and National Galleries of Scotland
© ARS, NY and DACS, London 2019

Tate St Ives

© Dennis Gilbert

Naum Gabo – until 27th September 2020

Haegue Yang – 24th October 2020 – 3rd May 2021

Haegue Yang – Installation view of The Great Acceleration,
Taipei Biennial 2014, Taiwan, 2014
Photo: Taipei Fine Arts Museum

Maria Balshaw, Director, Tate said: “I’m thrilled to be reopening our galleries and can’t wait to welcome visitors back. While you’ve been away, we have worked hard to ensure our spaces are safe and accessible for everybody. We have also extended many major exhibitions and commissions, all of which feel as powerful and relevant today as they did when they first opened.”

Additional safety measures require timed tickets to be purchased in advance (for paid and free exhibitions) and card or contactless payments to be used for any purchases inside the galleries. One way routes and hand sanitiser will be in place and visitors are recommended to wear a face covering (mandatory in shop sections which may be on your route so best to have one with you). Bear in mind that while toilets are open, cloakrooms and lockers are still closed. Full details, along with opening times and links to buy tickets are on their website – please check all information before visiting any of the sites and if you’re feeling unwell, please stay safe and stay home.

Tate Britain, Millbank, London SW1P 4RG

Tate Liverpool, Royal Albert Dock, Liverpool L3 4BB

Tate Modern, Bankside, London SE1 9TG

Tate St Ives, Porthmeor Beach, St Ives, Cornwall TR26 1TG

Tate Website (all galleries)

Words by Siobhan
Photos and details reproduced with permission from Tate – all images are copyrighted as detailed above

27th July 2020

HENGE – New Single & Bluedot Festival Livestream

HENGE – Exo single launch & livestream from Bluedot Festival

Today, inter-galactic rock troupe Henge release their latest single Exo, the lead track from their pending new album ExoKosm, cited as ‘another exploration into the band’s unique interplanetary sound known as Cosmic Dross’. Incorporating the talents of their audience, the animated music video for Exo has been created with art made by their loyal human fanbase, who had the opportunity to submit illustrations in return for a special edition HENGE comic book.

While tour dates are being rescheduled, you can dip into the cosmic world of HENGE tomorrow, 25th July, as they take part in Bluedot Festival’s A Weekend in Outer Space online extravaganza; be sure to park your virtual spaceships in an orderly line.

Photographer Ingrid Turner’s images from previous shows will give you an inkling that this is likely to be no run of the mill Saturday morning…

Video for Exo below

Catch up with HENGE here and check out the full details of Bluedot’s weekender

Photos by Ingrid Turner

24th July 2020

Kraszna-Krausz Photography & Moving Image Book Awards

Kraszna-Krausz Book Awards announce Long and Shortlists

Header image: Swimming Pool in Wiesbaden’ (1934) © Dr Paul Wolff and Alfred Tritschler. From ​Dr. Paul Wolff & Tritschler, Light and Shadow – Photographs 1920 bis 1950 ​ edited by Hans Michael Koetzle (Kehrer, 2019)

Established since 1985, The Kraszna-Krausz Book Awards provides a platform that highlights a beautifully diverse range of Moving Image and Photography books. The awards are open to books that have been published in the previous year and are available in the UK. This year saw over 200 entries, from which short and longlists have now been drawn up and were announced yesterday.

In a year that has seen galleries closed and exhibitions cancelled, it seems timely to appreciate another medium through which to view the art involved in image making and some stunning end results.

The 35th edition of the prize sees some stiff competition and judging will surely not be easy.

Quil Lemons, “Purple” South Philadelphia, 2018, from​ ​
The New Black Vanguard: Photography Between Art and Fashion​
by Antwaun Sargent (Aperture, 2019) © Quil Lemons

Winners will be announced in September prior to a livestream event featuring conversations about the two winning titles, hosted by and
in partnership with The Photographers’ Gallery. This takes the place of the usual awards ceremony, allowing celebrations to take place safely.

You can find more information about the work of the Kraszna-Krausz Foundation and about the selected books on their website.

Left: Jonas Mekas, ‘At the Film-Makers Cooperative’, 1962.
From ​I Seem to Live. The New York Diaries. Vol. I 1950-1969​
by Jonas Mekas (Spector Books, 2019)

Right: Two Archivist (gloves on), Photographic Collections,
National Museum Wales, Nantgarw, Cardiff, 2016 © Sophy Rickett.
From ​The Curious Moaning of Kenfig Burrows​ by Sophy Rickett
(GOST Books, 2019)

From the press release:

‘The books in the running for the 2020 Photography Book Award and Moving Image Book Award address diverse global issues related to race, justice, identity, and the construction of truth, history and memory.

Ranging from illuminating artist monographs and anthologies to in-depth critiques of photography or filmmaking, to photobooks reconstructing hidden stories, and much more, the lists reflect the Foundation’s enduring recognition of rigorous and original books that will likely have a lasting impact on their field.’

Still from Revisiting Genesis, by Oreet Ashery. 2016.
Web series, 93 mins. (Courtesy the artist).
Erika Paul Mellon, Lucy Reynolds & Sarah Perks (eds),
Artists’ Moving Image in Britain Since 1989​
(Centre for Studies in British Art, 2019)

2020 Photography Book Award Shortlist

LaToya Ruby Frazier (Mousse Publishing & Mudam Luxembourg)

Photography, Truth and Reconciliation by Melissa Miles (Routledge)

The Curious Moaning of Kenfig Burrows by Sopy Rickett (GOST Books)

Moving Image Book Award Shortlist

Screening Race in American Nontheatrical Film by Allyson Nadia Field, Marsha Gordon eds (Duke University Press)

Frame by Frame: A Materialistic Aesthetics of Animated Cartoons by Hannah Frank (University of California Press)

This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia by Joan Neuberger (Cornell University Press)

2020 Photography Book Award Longlist

The Canary and the Hammer by Lisa Barnard (MACK)

Women War Photographers: From Lee Miller to Anja Niedringhaus by Anne-Marie Beckmann & Felicity Kom, eds (Prestel)

Seeing the Unseen by Harold Edgerton (Steidl co-published with the MIT Museum, Cambridge, Massachusetts)

LaToya Ruby Frazier (Mousse Publishing / Mudam Luxembourg)

Signs and Wonders: The Photographs of John Beasley Greene by Corey Keller (Prestel)

The New Black Vanguard: Photography Between Art & Fashion by Antwaun Sargent (Aperture)

Dr Paul Wolff & Tritschler: Light and Shadow – Photographs 1920 bis 1950 by Hans-Michael Koetzle (Kehrer Verlag)

Photography, Truth and Reconciliation by Melissa Miles (Routledge)

The Curious Moaning of Kenfig Burrows by Sophie Rickett (GOST Books)

Where We Find Ourselves: The Photographs of Hugh Mangum, 1897 – 1922 by Margaret Sartor & Alex Harris, eds (University of North Carolina Press)

Jamal Nxedlana, Johannesburg, 2019, from​
​The New Black Vanguard: Photography Between Art and Fashion ​
by Antwaun Sargent (Aperture, 2019) © Jamal Nxedlana

Moving Image Book Award Longlist

Artists’ Moving Image in Britain since 1989 ​by Erika Balsom, Lucy Reynolds & Sarah Perks (eds) (Paul Mellon Centre)

Screening Race in American Nontheatrical Film ​by Allyson Nadia Field, Marsha Gordon, eds (Duke University Press)

Frame by Frame: A Materialist Aesthetics of Animated Cartoons ​by Hannah Frank (University of California Press)

The Brighton School and the Birth of British Film ​by Frank Gray (Palgrave Macmillan)

Film, Music, Memory ​by Berthold Hoeckner (University of Chicago Press)

The Lost World of DeMille ​by John Kobal (University Press of Mississippi)

I Seem to Live. The New York Diaries. Vol. I 1950-1969 ​by Jonas Mekas (Spector Books)

This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia ​by Joan Neuberger (Cornell University Press)

The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics ​by Sydney Ladensohn Stern (University Press of Mississippi)

Silent Cinema: A Guide to Study, Research and Curatorship​ by Paolo Cherchi Usai (Bloomsbury)

Aggressive Assimilation, by Adrian Stimson. 2013.
Adrian Jr./Old Sun Residential School/Adrian Sr.).
Photographic triptych, 50.8 by 162.56 cm. Courtesy Adrian Stimson.
From ​Photography, Truth and Reconciliation ​by Melissa Miles​ (Routledge, 2019)

Intro by Siobhan
Details and photos via Flint Culture – copyright as detailed; please do not reproduce images without permission

23rd July 2020