acid haze public

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K-TRONIS RAVE DEAD?

THE FUTURE OF RAVE IN THE CAPTIAL; WE SPEAK TO THE BIG-GEST NAMES IN CLUBLAND AND THE NEWEST FACES IN CONTEM-

PORARY ART

THE DAZED AND CONFUSED 2012 SUPPLEMENT

ADDITION

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ID HAZEINTRODUCTION/CONTRIBUTORS

“Where were you in 92,’ where were you in 92,’ This is how we do in the RX2, The boys look fine, stereos al-pine,20/20, thunderbird at 12-0-9,Took a pill, good time all the time,” M.I.A.

The sounds of acid. Repetitive and hypnotic. Light asylums in East London warehouses. Whether you lived it or not the late 80’s and early 90’s defined the underground rave era. Unscathed by the mainstream this was a time of sincerity and intimacy. A time for the true electronic junkies to express their creativity.

But what’s this I hear? Is Lon-don about to rekindle a lost love? Strong rave references are being made through con-temporary art and fashion. The introduction to ‘Lunchtime Raves’ and ‘Neon’ trends re-placing pastels, could we be in the midst of a 2012 summer of love? We’ve talked to up and coming musicians, art-ists, events organisers and old school ravers. A peaceful movement tarnished with ‘bad drug press’ is encouraging a fresh new following. Get the glow sticks at the ready…

Hollie Corbett,Editor

SARA PISTAFashion photographer

Sara was born in Madrid and she studied a five year Bachelor in Communication Science between Madrid (Universidad Complutense) and Brussels (Vrije Univer-siteit Brussel). After finished her degree, she moved to London in 2010 where she is currently doing a Masters Degree in Fashion Photog-raphy at London College of Fashion. Sara sho the Acid Haze main photo shoot, “I had such a great day, we had an amazing shoot!”

ANOMALOUS VISUALSRave imagery

Since they met at the London College of Fashion, Sam Fisher & Antony Price conceived AV out of a pas-sion to develop and unite their contrasting audio/visual skills and aesthet-ics. Anomalous Visuals is a collective of interdiscipli-nary artists that combine photography, moving im-age, digital manipulation, graphic design, lighting, projection, installation, mu-sic and animation to create a varied set of expressive multi-media outcomes. They supplies the images for ‘Hardcore you know the score.’

ROSES OKHIPOModel

“These days’ people are so quick to dismiss you if you aren’t the right size, I know I am not a size zero nor would I like to be but then why should your weight define you? All I do know is that I’m capable, fun, pro-fessional and determined to achieve my goals of living out my dream. I have done many photo shoots for mag-azines such as Black Beauty, Continental Bride and vari-ous charity fashion shows.” Roses was the model for the main Acid Haze shoot.

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ID HAZECONTENTS

10 FASHIONHAZED AND APPROVED




14 TRENDSHAZED AND APPROVED

18 RETURN OF THE MAC

19 RETURN OF THE MAC

20 HARDCOREYOU KNOW THE SCORE




26 THE DRUG GAME

27 THE DRUG GAME

28 LONDON OLDSCHOLL RAVERS

29 LONDON OLDSCHOOL RAVERS

32 K-TRONALL YOU CAN EAT



36 SHE GLOWSFERNANDA YUMI FUJIWARA






42 WORLD RAVESTHE BEST OF...

43 WORLD RAVESHAZED AND APPROVED

44 INTERVIEWHEAVY MOSH

45 INTERVIEWRHYS COREN

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HAZED & APPROVED:YOUR INDISPENSIBLE GUIDE TO THIS MONTH’S HOTTEST NEW LOOKS,

FASHION, ACCESSORIES, MUSIC AND TREND NEWS

1/ BAGGUBAG.COM 2/ TIMEX.CO.UK 3/ TOPSHOP.COM 4/ TOPSHOP.COM 5/ TOPSHOP.COM 6/ ASOS.COM 7/ TOP-MAN.COM 8/ TOPSHOP.COM 9/ HM.COM 10/ TOPSHOP.COM 11/ KOMIKOWATARI.COM 12/ TOPMAN.COM 13/ TOP-

MAN.COM 14/ ASOS.COM 15/ TOPSHOP.COM

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LOTHO AT MIDO 2012

Paris brand Lotho reinvents classic with modern shapes and has just launched a new collection for 2012. The theme for the new shades is ‘Nerd Chic’ with oversized frames and a play on ‘hyper feline’ as they take on animal traits. They use bi-colouring in tones of acid yellow, green and orange with a blend of black brown and dark grey. They are innovative and suit the geeki-est of personas.

BEX ROX

Bex Rox is based in the heart of Lon-don’s Notting Hill and since launching in 2006, the brand has developed in-ternational recognition. Mediterranean born jewellery designer Bex Manners is inspired by indigenous creatures, mod-ern cityscapes and traditional craft techniques and after three years of travelling she works with a free spirited philosophy. Her signature flouro friend-ship bracelets are beautiful and we certainly think Bex rocks.

LANVIN AVANT GARDE

The Parisian fashion house has released a new scent designed for the Avant- Garde man. This masculine fragrance is inspired by Lanvin’s heritage, “It blends refinement and modernity”, says creator Shyamala Mai-sondieu. The bottle is a play on the tie and tuxedo and its woody aroma and sweet highlights makes for a perfect combination of dreamy temp-tation.

OUR LEGACY

The trend for spring/ summer is pattern denim. Whether you opt for the classic paisley or simple geometric designs just make sure that it’s an all over pattern. Our Legacy is keeping it sim-ple this season with garments designed to compliment any man’s wardrobe. The collec-tion is tailored and uses ‘nearly invisible’ denim patterns filling the void between youthful and formal wear.

FASHION

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TRANSPORTERSIf you want to stand out this summer, slip your feet into these colours popping trainers. If you want to be a sporting hero then make sure you find the craziest design out there. You can choose to go bold with neon col-our blocking or turn your hand to art and go for the graffiti effect with the flame shaped tongue. Either way you are guaranteed to attract a lot of attention so go out there and flaunt it.

FASHION


FASHION, ACCESSORIES AND TREND NEWS

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GLOFISHNEON FISHHave you ever wondered how to make your pet glow in the dark? Have you ever wished your fish was a shade of Starfire Red, Electric Green, Sun-burst Orange or Cosmic Blue? The answer is probably no, however don’t mock it. The American based company GloFish specialise in genetically glowing fish, “Experience the Glo! Seeing is believing with GloFish.” The neon colour starts off as a florescent gene which is added to the fish egg (natural marine protein so no horrific mutations involved.) Each fluorescent fish inherits its colour directly from its parents. It’s not just about fish vanity, they were originally bred to detect environmental issues and also to help create drug therapies. Although they have their practical uses they are more of a nov-elty pet and GloFish clearly state that the little fish are not recommended for human consumption. In the unlikelihood that you consume one of the glow- in- the- dark fish, GloFish have reassured that you will not turn fluorescent (good to know.) The best part is that it doesn’t stop here as sscientists elsewhere have genetically cloned kittens to make them glow in the dark. These cool kitties glow red under ultraviolet light. Whatever next…transparent dogs…luminous humans?

glofish.com

LUNCHTIME RAVES

It’s the lunch hour; just enough time to run to Prêt, play mind-less solitaire and quite frankly avoid everyone you work with. This is the depressing reality of the 21st century, so why not shake things up and let loose? London is experiencing a new wave of ‘Lunchtime Raves.’ It’s not your typical rave scene; sandwiches instead of Ecstasy and the shocking sight of your boss throwing some shapes will make for interest-ing office chat… This trend started in Sweden when a group of 14 friends decided to dance away their lunch hour in their office garage. The under-ground phenomenon spread and now attracts up to 600 workers each time and it’s certainly a sight to behold. A hot steamy nightclub, with pumping bass and darting strobes, full of middle aged suit types with an iPad under their arm. Alternative club organ-iser Jess Indeedy has taken over the new basement bar at King’s Cross Drink, Shop & Do. Her micro- club ‘Lunch-time Disco’ has the best un-derground DJ sets mixed with rock ’n’ roll glamour. “Don’t be afraid to dance and don’t be afraid to enjoy yourself – those are the two things I judge my events by. I was put on this earth to have fun,” says Jess. Alcohol is off the menu and work chat is strictly off limits. There’s no room for the reserved and if you go to a lunchtime rave you must abide by the number one rule, ‘You have to dance.’ Well the boss can’t deny it; this is team bonding at its best!

jessindeedy.com


FASHION, ACCESSORIES AND TREND NEWS

TRENDS

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This trend nods to the fly girl and the era of ‘Nu Rave.’ Back then the fluorescent jacket was the hottest thing to hit the dance floor, providing it was accessorised with a whistle and a glow stick. Think acid brights and that shameless sportswear trend of the late eighties. Sporting a shell suit, in all its tasteless glory was the only way to boost your street cred. However, leave the track suit alone. This is a revival and it’s the cream of sportswear practicality combined with high end style. Forget about the pastel blazer or the splurge of floral vomit. It’s about the Mac; strong and robust and comes in the fruitiest of neon’s. It’s all about coating and providing another dimension. Kiwi green, hot pink and cobalt blue

dominate as colour blocking continues into au-tumn/ winter. If a fluorescent yellow coat is perhaps a bold statement too far, may we suggest an un-derstated neon trim? Burberry certainly knows how make a mean Mac and with actual torrents of rain showering their autumn/ winter show they are bang on the money. Using Burberry’s signature Mac fabric the collec-tion was an array of bottle green, cherry plum and auburn hue coats. Dripping in gold hardware they were neatly fitted at the waist or cropped into a chic bomber. In sumptuous colours the Mac has never been to sophisticated. Designer Christopher Raeburn’s spring/summer collection is also an infusion of bright, fun, colourful Macs. Described by Vogue.com as “one of the most innovative,” the collection has a major urban and sportswear influence. He cleverly uses parachute straps and unusual fabrics such as the

It’s hot when it’s raining. It’s sunny when it’s cold. What on earth do you wear in England these days? It’s transparent and fluorescent and the epitome of cool. That’s right the Mac is back.

RETURN OF THE MAC

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parachute itself. “I grew up active and still enjoy cycling and mountain climbing. I think our take on sportswear tries to offer a bit more of a non tradi-tional idea of performance” says Raeburn for InStyle magazine.

Stella McCartney is an old hand at sportswear. She is back in the running as the first ever Adidas by Stel-la McCartney store is set to open in London’s South Kensington area. Acting as the creative director of Adidas’ Team GB collection, Stella McCartney has the perfect balance between smart and sporty. With oversized jackets in eccentric colours the collection is a mixture of geometric design which highlights style and performance. The Olympics (of course) is the main per-petrator behind this trend. The Mac is covering all areas of the sporting arena. Tennis players are smashing colour blocking with electric lime jackets

in the first of 2012’s grand slam tournaments in Mel-bourne. Cyclists are on the right track as their signa-ture fluorescent jackets are given a revamp. Even beyond the realms of the Olympic stadium, DC snowboards’ Iikka Backstrom showcases his 2012 DC Afton jacket in lime green with neon zippers. The Olympic sportswear trend was inevi-table. However the Mac mirrors the 80’s transition from casual wear to sportswear. With eye-popping brights and colour blocking it’s fresh from the over worked pastel brigade. “Fluoro colour has tradition-ally been associated with street fashion and the youth market. But this season fluoro grew up,” says Lucinda Chambers, Vogue fashion director. For spring/ summer 2013 the grown up look continues, replacing all over blocking with high-lighted trims. Make sure your Mac is a shade of verdant green or cyclamen pink and you’re in gold position for the next two seasons.

left page: hm.comright page:christopher-raeburn.co.uk

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HARDCORE YOU KNOW THESCORE

Ibiza lifestyle quickly caught on and shaped the next seven years of music culture. The path in music had been shaped; however rave became a culture in itself. It started with Acid House (yes that is a blatant drug reference) when the typical West End clubs were being shadowed by a new wave of rave clubs. It wasn’t about ‘pulling the girl’ or looking ‘hot,’ it was about dancing and ‘losing it.’ “On E, it all made sense,” says DJ Nick Holloway, for the Observer. “Half an hour or so after you necked a pill you would sud-denly feel this euphoric wave

“Get right on it,” and “let’s go fucking mental!” These were the war cries of the cultural rebellion. Disused warehouses came alive with pumping bass whilst the rural countryside was dominated by sound systems. With glow sticks ablaze and E on tab, these ravers were seeking one thing…total euphoria. The early eighties and the late nineties saw the rave scene boom. The buzzing party life in Ibiza was brought to London by DJ Paul Oakenfold in 1987. “It was so overwhelming, we were infatuated with it,” says Oak-enfold for the Observer Music Monthly. “Sometimes in life, it’s just right place, right time.” Opening up the narrow minds of the British, the fast tempo sounds of house and techno spread throughout London. Fuelled by drugs and raves, the

go through you. Suddenly you felt that everything in the world was all right,” The press seemed to be unaware of the link between drugs and raving but twelve hours of hardcore danc-ing wasn’t the result of a bot-tle of Lucoz-ade. The nightclub Shoom was one of the first and most famous rave clubs in Lon-don. The club opened with the ethos, ‘love and peace and unity’ and inside was a fusion of coloured smoke and strobe lights. “It’s the fog that both connects and separates,” says journalist Louise Gray for En-ergy Flash. “You’d have faces looming at you out of the fog. It was like a sea of connection alienation.” With statements like this, it was hard to believe the naivety towards club drugs. For a start Shoom was slang for the ‘coming up’ on ecstasy and the flyers were completely covered in smiley faced pills.

“Half an hour or so after you necked a pill you would sud-denly feel this euphoric wave go through you.”

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“Let’s go mental, let’s get fatal.” In true rebellion style, the negative press encour-aged the ravers. Through over exposure, the nightclubs had become commercial and music promoters went on the hunt for alternative venues. Disused ware-houses or aircraft hangars were the perfect so-lution and organi-sations such as Labrynth pulled off around 120 illegal ware-house events. By 1989 ware-house par-ties were massive. Topping them all was the ‘Midnight’s Summer Dream’ event organised by Sun-rise where a staggering 11,000 crazed ravers attended. Of course something that sounds this exciting had to be stopped and the authori-ties stepped in and quashed every ounce of fun. The organis-ers were soon faced with the prospect of £20,000 fines and six month prison sentences. The warehouse parties were exposed in the press and the whole rave scene began to loose its exclusivity. It no longer had the essence of the under-ground and as it became more commercial there were fewer parties. “Clubs were empty in early 1990,” says DJ Gavin Hill, for energy Flash. As a result, drugs were on the decline and party time was over…for now at least.

Partying through the night and sleeping through the day became routine for the bass follower. How do you avoid a comedown? The an-swer was simple, go to another party and get back on it. By au-tumn 1988 there was a different rave every day of the week at clubs such as Shoom, The Trip, Pyramid at Heaven and Paul Oakenfold’s club Spectrum. “At Spectrum everyone looked like they were from fucking Mars,” says Spectrum goer Nick Philip. Drenched in sweat, wearing baggy shit, and all just looking at the DJ with their hands in the air, like it was some really weird religious ceremony.” One thing was sure; there wasn’t a drop of alcohol in sight, it was all about the E. Whether it was frowned upon or embraced, Ecstasy was a main player in the club scene. The drug even spurred on the belief that rave culture was a spiritual revolution. “Ecstasy in-duces a state of soul, over flow-ing with trust and goodwill to all men,” says Simon Reynolds, on the comparison to the Christian ideals. This may have been the opinion of someone who was as high as a kite, but none the less this coincided with the ‘Second Summer of Love’ vibe. It gave the feeling of being loved up and the desire to touch and cuddle everyone.

Club photography from Anomalous Visuals

The ‘love’ for ecstasy united ravers and complete strangers often became ‘best friends’ within five minutes of meeting each other. Yet the sight of drugged up youths roaming the streets of London in the early hours, whilst the rest of civilisation were going to work, was a cause for concern. Can you imagine the confusion when the two met? As raves began to receive bad press, the good old British decided to crack down (excuse the pun) and tightened licensing laws. The Sun released headlines such as ‘Acid House Horror,’ which were a contrast to their earlier articles which described the scene as ‘cool.’

“At Spectrum everyone looked like they were from fuck-ing Mars. Drenched in sweat, wear-ing baggy shit, and all just looking at the DJ with their hands in the air, like it was some really weird religious ceremony.”

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The rave scene may have peaked and the mu-sic paused however do not be disheartened. The dance scene lived on and throughout the rest of the nineties; dance music was very much alive. Fat Boy Slim and Paul Van Dyk were topping the charts and Madonna released Ray of Light in 1988 which paid homage to trance. Rave culture was so unique it lived on through films such as Human Traffic and Douglas Rushkoff released the book, ‘Ecstasy Club’ in 1997. It was an era of total madness but what goes around comes back around, right? Can a time of euphoria and a feeling of true ecstasy really be dead in the past? Watch this space…

Cue the summer of 1990 when the rave scene came back with a vengeance. The li-

censing laws were relaxed and hard-core Britain was born; ‘Hardcore you know the score.’ A culture of mad-ness could only stay in the shad-ows for so

long and returned with a fresh underground sound. ‘Hardcore’ music had that ‘do- it- yourself’ vibe which was often produced with synthesizers combining hardcore jungle and hip house. The music was more of a track than a song with strange tech-no voice over’s. The sound was completely alien and in true rave style there were blatant reference to drugs.

“It’s stronger, it’s darker, it’s scarier,” says Rising High boss, Casper Pound for Energy Flash. “I don’t like going into a club and seeing 600 people waving their arms around with smiley faces. I like to see 600 people in a dark, hot place; it isn’t about happi-ness, it’s more aggressive, more intense.” Between 1990 and 1992 the mega rave was created. For-get the warehouse parties of the late eighties; these parties took rave to the extreme. Events such as Helter Skelter and Amnesia saw 25,000 hardcore fanatics danc-ing to the likes of the Prodigy and Grooverider. It was essentially a time to get ‘off your face.’ Once again the com-mercial fiend strikes and as raves became large events, it started to become a money hungry business. Nobody wanted to be ripped off at large scale events so they decided to jump on the hippy band-wagon and free load on the festival circuit. The urbanites joined forces with the travel-lers throwing sound systems into the countryside with mass freak outs! It was a summer of bedlam with horse and carts and ecstasy heads. A chill out vibe followed this particular summer of raving which could have been the hippy influence or per-haps it was the drug induced come down. Maybe go-ing ‘hardcore’ was a step too far. It was a step too far in-deed and by the end of 1992, the chill out vibe had taken a walk over to the dark side. Years of intense drug abuse produced a feeling of depression which was mirrored in the music. With track titles such as ‘Hello Darkness’ and ‘Mindwreck,’ the buzzing mental-ity of the rave scene had evapo-rated. Yet drum and bass was still popular and opened up a space for weird, disorientating music experimentation.

“Ecstasy induces a state of soul, over flow-ing with trust and good-will to all men,”

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THE DRUG GAMEThis is the raw game of life or death where players dice with destiny.

There’s a chance you my draw the short hand and face your fears or you may come up trumps and experience the legend of euphoria. It’s a game of risk and one to be played with cau-tion. Enter a new realm and face your demons and mingle within your wild-est fantasies.

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GHBTYPE: Dark ABILITIES: Deceive and lure GENDER: Male and FemaleWEAKNESSESS: Memory loss and sex

The GHB (aka Gamma hydroxy-butyrate) uses hypnosis to puzzle people. Its controlling powers become active at night where it disguises itself in order to seek its prey. In disguise, it often protects itself by inflicting nightmares of sexual exploitation to those around. By scattering its toxic powder it is able to stun the op-ponent into a state of overdose or unconsciousness. It can ma-nipulate an opponent’s memory with its strong psychic power leaving no trace of its existence. It’s clever and cunning and it can pump the muscles of the image conscious man with long term repercussions.

SPEEDTYPE: Fire and PsychicABILITIES: Energy and psycho powerGENDER: Male and FemaleWEAKNESSESS: Insanity and psycho-sis

The Speed (aka amphetamines) produces a cloud of energy and spins around like a whirlwind. It fills the opponent with adrena-line until they are completely wired or tweeked. It stimulates people and dances continu-ously to gain control over the enemy. Its psycho power is comparable to too much light and the opponent will see noth-ing as they are put into a dance trance. It overflows with joy and shocks the opponent into feeling wide awake, excited and an inability to stop chatting. Its dark side eventually shadows the overactive opposition and ena-bles the agitated and acutely psychotic curse.

ECSTASYTYPE: Poison and PsychicABILITIES: Dance and hallucinate GENDER: Male and FemaleWEAKNESSESS: Reality and de-pression

The E (aka MDMA) uses an up-tempo song to show people the way of enlightenment. It can stun the opponent into clouded consciousness decreasing their sexual aggression. When it rolls its big round eyes it enhances the opponent’s empathy char-acteristics putting them into a trance of spiritual happiness. It can transform itself into Doves, Apples, Pink Flamingos, Kinder Eggs and rhubarb and custards. It casts a hallucinogenic spell on its opponent making them stroke and cuddle others. Its mythologi-cal properties mean it can dance all night showering the opponent with a loved up sensation.

KETAMINETYPE: FlyingABILITIES: Hypnotise and relax GENDER: Male and FemaleWEAKNESSESS: Come down and anxiety

The Ketamine (aka Special K) absorbs people’s spirits and puts its foes into a hypnotic trance. It makes its opponent loose all concepts of time encouraging half realised thoughts and discon-nected ideas. It casts euphoria on its opponent when it uses spir-itual power through meditation. It comes across as strange at first however when it induces a dis-sociative state in which the body and mind feel unconnected it seems to make complete sense. Its psychedelic properties mean it loves to chill out and dream by sniffing with its nose. It mimics the expressions and motions of those it sees.

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RISING SONIS RAVE DEAD?As a music genre yes, but as a culture it has evolved.

SUM UP RAVE?I’m Old Skool so i was there when it all started. Three things that sum up “Rave” for me are; Hardcore music, White gloves, neon facepaint, UV lights and Ecstasy!

WEIRDEST RAVE MOMENT?We were all E-ing off our tits so everything was weird and wonderful!

FAVOURITE RAVE TRACK?Prodigy - Charly

DUBTEKTIS RAVE DEAD?Rave is not dead no. very much alive and growing every day!

SUM UP RAVE?Well that is simple, The music, good people and passion !

WEIRDEST RAVE MOMENT?Back when i did take drugs( i dont anymore) I took shrooms and put on my girlfriend at the times bakini( i remember none of this) wondered around glastonbury to various rave parts and for months after picturs kept popping up on fb twitter ect. the best was 2 grown men wearing massive penguin outfits cupping my balls, mind it was swelteringly hot that day haha

FAVOURITE RAVE TRACK?Calyx & teebee - make your choice.

LONDON OLD SCHOOL RAVERS

THE RAVE CONISUERS WHO LIVE MUSIC AND LAP UP THE CREAM OF OLD SCHOOL RAVE

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NICKY BLACKMAR-KETIS RAVE DEAD?No, definitely not. Rave has never died it has just progressed.

SUM UP RAVE?Dancing, good vibes and escapism for the masses.

WEIRDEST RAVE MOMENT?Lots lol toooooooooooo many.

FAVOURITE RAVE TRACK?Anything by the late Stevie Hyper D.

DJ EDINIS RAVE DEAD?Dance Music culture has never been dead as such, there will always be an underground scene of some form. The current wave of warehouse parties and secret location partis have certainly been on the increase over the past year in London.

SUM UP RAVE?Music, Love, Dancing.

WEIRDEST RAVE MOMENT?I was DJing last year in Edinburgh, my set was can-celled when I got to the club as the room closed. I then decided to go wild and took too much of a par-ticular substance (ket). I was then put on in the main room. When I went up to the decks I thought I was in a village, playing music to dinosaurs playing chess on the dancefloor. I got kicked off after 2 tunes.

FAVOURITE RAVE TRACK?Dextro - Do you need help? (The MFA remix)

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K-TRONALL YOU CAN EAT

Drawing upon the bizarre and creative subcultures, K-tron is the definition of a wild child. She is the co founder of one of the most influen-tial parties in London; All You Can Eat. It was a hedonistic blast of na-ked party animals, paint explosions and phallic symbols with the vibran-cy of the most elabo-rate of rave nights. Here she talks about her crazy parties and the future for K-tron. K-tron, who is otherwise known as Fayaan Smith, is a woman of many talents. Besides promoting one of the biggest nights of the noughties, she is a resident DJ at Ministry of Sound, Ghetto and Movida. She has rocked Glastonbury twice, per-forming on the same bill as the Libertines and the

abandon her ‘messy council estate’ in Leicester and unleash her eccentricities on the city of London. “Lon-don is a combination of a pretty psychiatric hospital and a business school,” says K-tron. “You get businessmen that go to work and rinse it. Then you get people like me with a half baked philosophy who try and use crea-tive ideas to profligate something spiritual or political. That would be the parodying shift from Leicester to London mentality.” She certainly isn’t your run of the mill nine to five type girl. “I don’t think anywhere would take me,” she jokes. “I think the cul-ture clash would be too severe. I am my own entity and I don’t take directions very well. I certainly couldn’t work

the Noisettes. “Glaston-bury was fantastic. It was a crazy ride and prob-ably one of the best gigs I’ve done.” She is also an artist with fine art in the permanent collection at MOMA and an avid writ-er. Her work has featured in US/Japanese/Swed-ish Vogue, The Sunday Times, Nylon Japan, The Observer Music Monthly, Grazia, BBC Television, Time-Out London, Pop Magazine and i-D. She is a true force to be reckoned with and despite being dubbed one of the biggest names in clubland she remains modest. “It’s kind of meaningless. It is a great thing to achieve but life goes on. I’m cyni-cal and I’m always look-ing to find new things.” It was this ambi-tious attitude that en-couraged K-tron to

All You Can Eat press releasektronprojects.com

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in the offices at Dorothy Perkins.” It’s therefore a blessing that she quick-ly found her niche in the underground party scene. “It was just non stop, adrenaline fun with a lot of places to go and people to see,” recalls K-tron. “My biggest highlight was bringing together so many people from so many different places. Its weird being in the centre but watching other people have fun is fantastic.” All You Can Eat was an incredible club night. “There were a lot of naked people covered in paint and paint-ing each other,” says K-tron. “There were people rolling on the floor, models covered in chocolate and a lot of people covered in goo. It was just a bizarre and incandescent combination of brilliant moments.”

All You Can Eat was a mash up of art and technology and a wonderful infusion of eccentric personalities. It was “a reaction against boredom, dead eyed yuppie con-sumerism and stagnant identity politics,” says K-tron. “We wanted to create sexy fric-tion that could ignite some creative fire.” That was certainly achieved as the night consisted of people dressed as cartoon characters, in kinky prolific get ups or head to toe in neon accessories. It bought rave back to the forefront of alternative nightlife in London and was labeled Nu Rave.

The label of Nu Rave didn’t go down too well with K-tron. It wasn’t that she disliked the underground party ethic of the original rave movement but did hate what it had become in the media. “There was a big backlash against the scene I was involved in [Nu Rave.] It became quite a negative thing and quite corny,” recalls K-tron. “I con-sider the term Nu Rave as a simplification of something that was far more interesting then a buzz word. It was almost used in the same way that hipster is used as a majority term. However I do appreciate the ethos and there were brilliant minds and energies that were a part of that scene.”

All You Can Eat nightktronprojects.com

All You Can Eat press releasektronprojects.com

Fayann Smith aka K-tronktronprojects.com

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is dead and that’s probably a good thing, I want a new wardrobe you know. If it’s ever been relevant then it will still be relevant at some point in time. If you have big ideas they don’t change over night. Or at least I hope they don’t because it should have been mentioned when it was said the first time.” It’s refreshing to hear that the rave kid within is still alive, but the main question is; what can K-tron fans expect in the future? “When you organise parties you kind of get addicted to it because it’s so much fun. I’m working on music at the moment and planning a music project. I’m going to connect the music project with a club project, hopefully,” says K-tron. “All You Can Eat was a once in a lifetime high point for me. It did something original and you can’t come back and do the same thing again. If I do anything else it has to be so different, so special, that it makes itself worth while. It’s great that people are still interested in it though, it makes me feel like I exist.”

It was the ethos that ran within her blood and she feels compassion towards the ‘summer of love’ UK rave scene. “The reason I don’t mind the rave association is because rave in its origi-nal from was about unity, bringing together youth cultures and having fun,” says K-tron. “We played rave tracks at the time because we liked the tracks however we weren’t trying to reinvent it or to rehash it. We tried to create something entirely new in a space that’s com-fortable and creative and that’s something we share definitely with the rave culture.” Of course as with every industry you get the inevitable cynics. In the past, bad press has

been linked to rave culture and if the philoso-phy behind it is misunderstood then it can be seen as being something superficial. K-tron stumbled upon cynics throughout her career and one interview that stands out was with Vice magazine. “It was horrible and it felt like the blood was being stomped out of me,” K-tron jokes. “People just absolutely rinsed me saying that I had auditioned for ‘The Only Way is Dal-ston.’ Everybody shit on me in the article. I didn’t get asked about the philosophy behind it.” It’s that very philosophy that lives on and although All You Can Eat nights are a thing of the noughties; rave lives on. “How can that be dead?” says K-tron. “Rave is ultimately about having fun in a peaceful way. Maybe wearing bright clothes

All You Can Eat flyerktronprojects.com

All You Can Eat flyerktronprojects.com

Fayann Smith aka K-tronktronprojects.com

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LONDON

SHE GLOWS

FROM DEN-IM SHIRTS TO TASSLED NECKLACES, DESIGNER FERNANDA YUMI FUJI-WARA’S DE-LIVERS HER COLLECTION IN THE BEST LIGHT BEFORE THE THE LENS OF PHOTOG-RAPHER SARA PISTA

PHOTOGRAPHYSARA PISTA

STYLINGHOLLIE CORBETT

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ZE[this page] model Roses Okhipo wears Fern-anda Yumi Fujiwara’s denim cropped shirt and neck-lace

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ZE[opposite page] model Roses Okhipo wears Fern-anda Yumi Fujiwara’s denim shirt-dress, trousers, waistcoat and belt. Shoes from Topshop

[this page] model Roses Okhipo wears Fernanda Yumi Fuji-wara’s denim cropped shirt and quilted jacket

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[opposite page] model Roses Okhipo wears Fern-anda Yumi Fu-jiwara’s white cotton t-shirt, denim water-fall jacket and trousers

[this page] model Roses Okhipo wears Fernanda Yumi Fuji-wara’s denim cropped shirt, quilted jacket and trousers

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WORLD RAVESTHE BEST OF...

Rio de Janei-

ro notoriously hosts one of the largest New Years

Eve parties in the world and this year is no

exception. Reportedly costing 17.2 million pounds,

the Brazilians are expecting two million people to descend on

Copacabana Beach on December the 31st. With four main stages and

international stars such as DJ David Ghetta and Beth Carvalho its set

to be a party to remember. Lighting up the 4km of Copacabana

Beach, there will be a light and laser show five minutes be-

fore midnight which will be topped off with one of the

largest firework shows in the world. Most will at-

tend dressed in white which is considered

to bring luck and prosperity for the

New Year. If you’re feeling par-

ticularly ‘lucky’ wear red to attract romance.

On the

eve of every full

moon, the crescent

shaped beach of Haad

Rin witnesses the “ultimate

party experience.” Situated on the

island of Ko Pha Ngan in Thailand, the

legendary Full Moon Party attracts crowds

of around 20,000 to 30,000 people. Started by a

handful of travelers in 1985, this all night beach party

is an infusion of mind blowing sound systems, fire skipping

ropes and all the drink and drugs you can handle. The beach

is a sea of beautiful people dancing to the sounds of R&B, drum

and bass, house, dance and reggae. The Full Moon Party guarantees a

night of unruly, wild antics and carries on until the sun rises the next day.

FULL MOON PARTY

REVEILLION


FASHION, ACCESSORIES, MUSIC AND TREND NEWS

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Rain-dance; the audio visual feast is

returning to Lon-

don for 2012. With its

22 year old legacy the

Raindance Rave Festival is

back and it’s bigger and louder

then ever. This mega event will be

hosting seven arenas of outdoor and

indoor madness with huge LED projection

screens, sound systems and stage shows. With a

reputation as innovators the Raindance organizers

take their ‘rave on a big stage’ philosophy to a venue

with a difference. Sticking to the original concept they will

throw the biggest Secret Acid House Warehouse Party of the

decade. The whereabouts for the party won’t be

revealed until the week of the event but

for those who know it will be

a night to remem-ber.

Idan-ha-a-

Nova in Portugal is

home to one of the largest

free spirited raves in the world; Boom

festival. Boom started in 1997 as a hippy biennial party heavily dominated by hard trance and electronic music. Described by the organizers as a creation of “global psychedelic and alternative tribes,” the festival now attracts up to 50,000 party goers. Taking it back to the good old days, the hard core ravers dance all night to the sounds of Dub-step, Breakbeat, Techno and Minimal. The true es-sence of rave is alive with fire dancing, tie dye and dreads. Alongside this the festival includes video and art instillations and sculpture and theatre. Drugged up to the nines this could make for interesting viewing.

RAVECALENDER

01.07.2012COHESION PRESENTS: DUB PHIZIX + MORE!The Venue @ The Sound ExchangeBanburyDrum and Bass

06.07.2012We Fear Silence present Rush HourCable ClubLondonHouse

07.07.2012Icon - Dr. PeacockThe MacbethLondonHardcore

09.07.2012Trinity Music Brixton Presents: Sound Sys-tem Social ClubThe Amersham ArmsLondonReggae

15.06.2012Bass HeavenBrixton JammLONDONDrum and Bass

21.07.2012We Fear Silence present Blackout with Black Sun Em-pireCable LondonLondonDrum and Bass

04.08.2012Liam Loves LifeBlueBristolDrum and Bass

30.08.2012Liquid FilthBar IguanaReadingDrum and Bass

RAINDANCE

BOOM FESTIVAL

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“You might not know us yet, but we’ve been watching you. Is your glass half full? Do you eagerly await the next ear-busting party? Do you crave the thump of the bass in your veins?” The Heavy Mosh Crew is originally from Lisbon and is now based in London. They have run the successful music web-site, documenting the best parties, interviews and provide a platform for new musicians to flourish. We spoke to them about the biggest names in Electronic music and their opinions on rave.

Can you describe Heavy Mosh?

Heavy Mosh it’s a group of different characters with different passions in electronic music. In the beginning it was just a platform to show what we like in the best way possible. We soon started to receive a lot of good press and decided to create contents for other artists. We have Heavy Mosh which is our image and we have Heavy which is the com-pany behind the brand. I consider Heavy Mosh more us and what we like. In Heavy we can develop content for different art-ists and we are working with artists that we really admire.

What is your aim?

Jump in, Jump always is our motto. You jump into our world and

sample Heavy Mosh in real life or through our website. You will sample our life and you will then always jump with us feeling the rave and the party. When you get that feeling you’re empty, we try to fill that void with new music and new points of view. We want peo-ple to look at us and think there is a way. I started Heavy Mosh when

I was 16 years old and I am now 22. I imagined just a group of guys doing parties and crazy things in

Lisbon and we are now working with 15 people.So I never imag-ined we would come this far. Who are some of the artists you work with?

We have inter-viewed a lot of strong names but for me the best artist was from Bad Life here in London which was an honour. I have admired their work since I was 16. We are working

with a lot of artists who are really well known around the world and play at the biggest festivals. I have four journalists so they all interview different people and they all have favourite ones. If

I could choose to interview any-one it would definitely be Boys Noise.

You are also a DJ, how do you fit this in?

Normally on my set I like to sur-prise myself and I like to surprise other people. I don’t like com-

mercial. If it’s some-thing that I have heard before and it’s not fresh, then I’m not interested. In Portugal I was playing up to four times a week, all over Portugal, so it was very crazy. I was playing in the best places with the best international DJ’s and I had gained a lot of hype in Portugal. I have decided to take a break for the moment to focus on developing Heavy Mosh.

How does rave relate the Heavy Mosh?

I think rave is very much related to Heavy Mosh. When rave started in the UK it started with acid house and everyone wanted to listen to new types of music. I go to a lot of secret warehouse parties in Shoreditch. They are amazing. The one I went to in December was completely full. It took about one hour to find the place and when I found it I thought it was a joke as it was just a closed door and everything was silent. We are associated with East London because they like to party like us. They like parties and strong music and we can see some associa-tion with that.

What would be the ideal party?

I would love the Headbangers to play, Boys Noise records, Bad life, Turbo Records and Electro Records. A stage with them would be perfect. I could play as well I could do my own set. I think if I saw those names I wouldn’t need anything else. It would be one of the best parties for sure.

Q&A / MUSICHEAVY MOSH CREW

THE TECHNO BUFFS

heavymosh.com

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Rhys Coren is a London based artist and co-founder of bub-blebyte.org. He was born in Plymouth, trained in Bristol and makes art that feels innately British. His work is abstract and he is highly influenced by the 80’s and 90’s culture linked to the acid house movement and social rituals of the football culture. Here he talks about how he embraced popu-lar culture and his inspirations as an artist.

What inspires you as an artist?

Crikey... I guess all I know is I HAVE to make art. I’m not totally sure why, but I do definitely have to do it. So, I may as well try and incorporate as many of the things I like into it. Luckily, the reason I am so compelled to make art is because I have this strange inner-monologue that is always thinking about things more formally and obsess-ing over bland details. Recently I have been obsessing over the patterns on clothing that surrounds football. I like the kits of the late 80s and early 90s, as well as the clothing worn by the ‘casuals’ who went to watch football games. So brands like Adidas, Umbro, Sergio, Fila

and Pringle. I also like the social ritual and draw upon the individ-ual components of certain things and combine them for example rave and children’s cartoons.

When did your love for rave begin?

My love for rave be-gan when my mum bought me a load of rave tapes. They were

covers or parodies of the chil-dren’s TV I watched at the time, and I think she thought she was buying the actual music. She actually thought she was buying me the Sesame Street theme, but it was Smart E’s Sesame’s Treat.

What was you inspi-ration behind your two- screen audio-

visual piece “OO” ?

The Roobard and Custard car-toon and the fact that rave cul-ture seemed to dip into children’s TV so much. It was about making rave accessible to children.

What does the ‘Second Sum-mer of Love’ mean to you and what was the meaning behind

your own artwork titled ‘The Second Summer of Love’?

The actual second summer of love; I was too young for it, but

it’s a period of recent history that encompasses all the other things I seem to fetish over. The football ‘casuals’ stopped fighting during the second summer of love as they were

all high and in love. For my art-work, I was thinking again about Children’s TV and rave. I watched

loads of Sesame Street and I was obsessed over the noses on the Muppets. The Second Summer of Love piece is a collection of 70 Muppet noses, all cut out and printed on lovely paper through an archival process. They are just such weird, colourful objects, and I was obsessed (even at the age of 7) in their formal qualities. My compul-sion then was to see them all, and now I can because of the internet and Google. Thanks, Google.

What is it about the 80’s and 90’s that you like so much?

They were my formative years and pre internet. People’s lives in the UK were far more dictated by the geographical, social and political environments. You didn’t have ac-cess to as much information as you do now. Every child had to watch TV at the same time throughout the country as children’s TV was only on at specific times. Every adult had to actually sit and watch the news. You played in your street and you would find things by physi-cally looking. The whole period is decorated in post modernism and it’s like looking back into a surreal, Memphis Group world. It’s colourful and zigzagged.

Were you a ‘rave kid’?

I wasn’t a rave kid, no. By my ado-lescence I was a Brit pop / indie / punk. I am now heavily back into dance music though.

Do you have any exciting art projects in the pipeline?

I think they are... you might not.

Q&A / ARTRHYS COREN

THE RAVE IN-SPIRED ARTIST

rhyscoren.co.uk

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