Gypsy & the Cat

Australian duo Gypsy & the Cat are 21-year-old Xavier Bacash & 24-year-old Lionel Towers, who are influenced by a mixture of musical legends ranging from Fleetwood Mac to Jeff Buckley and modern DJs from Justice to Daft Punk. 

Their debut single ‘Time to Wander’ combines contemporary electro with folk-pop and soft, warm vocals with a catchy cosmic hook. It has a tranquil retro vibe and endearing dreampop, currently featured on the new Kitsune Maison 9 compilation.

After producing and recording their album in their Melbourne home studio, Gypsy & the Cat have now moved to London and are mixing their debut album with David Fridmann (of Mercury Rev fame and producer of MGMT, Flaming Lips, Clap Your Hands Say Yeah to name a few) and Rich Costey (Producer of amongst others, Muse, Mew, Franz Ferdinand, 


Statement jewelry takes on a dynamic geometric look / Industrial and polished mixed metals / 3D angular construction / Contemporary interpretation of Art Deco motifs / Larger proportions for collar and cuff pieces / Laser cut Perspex and outsized, faceted gemstones offer a lightweight summer approach




Having first opened in 1970 with an innovative boutique at the Mandarin Oriental Hotel in the Central region of Hong Kong before expanding to Tsim Sha Tsui in 1972, Joyce was a pioneer which was the first to bring international designers such as Givenchy, Lanvin, Margiela, and Fendi, amongst other luxury names, to Asia. To celebrate their 40th anniversary, Joyce has specially commissioned works of over 50 designers for a multi-sensory exhibition and special installations from the likes of Alber Elbaz, Yohji Yamamoto, Prada, and Yves Saint Laurent, premiered this December in Hong Kong and will then also travel to Paris and open during fashion week in March.
Dazed Digital: How do you feel luxury fashion retail has changed over the last 40 years?
Andrew Keith: Luxury has changed so much over the past 40 years. When JOYCE first opened in 1970 many of today’s luxury brands did not exist or at least were not brands as we now know them. It wasn’t really until the mid 70s when Krizia and Armani started that the branding became a key factor in fashion retailing. Now four decades later luxury fashion has become accessible and recognizable to so many people. But throughout the past 40 years Joyce has stayed true to our pioneering spirit, supporting new designers and creativity, pushing boundaries providing our customers with a unique edit of the best of luxury fashion from around the world.
DD: The exhibition seems a great way to celebrate the anniversary. How did you go about selecting the 50 runway looks and designers that will be exhibited?
Andrew Keith: We invited every designer to select a key piece from the year that we first introduced their collection to Hong Kong. We are honoured that so many of our partners over the past 40 years have gone to such incredible lengths to find these archive pieces. Some designers have actually remade pieces from their first collection specially for this exhibition.
DD: The show is presents a variety of media, what can we expect aside from the garments themselves?
Andrew Keith: Apart from the garments themselves you can expect interactive media tables with unique archive footage from our past, a series of interviews hosted by Diane Pernet with designers from our past, present and future, a virtual tour of the exhibition on joyce.com and an augmented reality book to support the exhibition.

Define Us



Teen Daze

Teen Daze from Vancouver, Canada is something worth listening to.
Rich, vivid chillwave from their Debut EP 'Four More Years' and remixes
Put them into your Christmas party DJ set list

What is the significance of the name Teen Daze?
The name Teen Daze comes from a celebration of my friend Joel's 20th birthday.  The day before, my friends took him out and had a "Teen Day", where they did as many "teen" things as possible: loiter, eat candy, hang out by the train tracks.  I started writing a song about it for him called "Teen Daze", and I didn't have a name for this project yet, and it was pretty much love at first sight.

Describe your album Four More Years?
The other night, I met up with a friend that I went to school with for the last three years.  I finished up my degree last year, but he's finishing his up this year.  I had dinner with him on campus, and he introduced me to some of the freshmen that lived on his floor.  When they asked what I did, I said, "I tour a lot and write a lot of music."  They asked what my band sounded like, and I said, "Sort of like if Daft Punk and Boards Of Canada collaborated."  So I guess that's as good as I can describe it: dance music with an emotive, ambient background.

What inspired you to do it all yourself in terms of producing all the music yourself?
I've been doing it by myself for almost four years now, and I've really just grown accustomed to it.  Maybe it's a selfish thing, but I really just love being completely in control of the sounds I get to create.  Not only in a creative sense, in terms of the music I'm writing, but also in the production and engineering.  By recording everything myself, I avoid awkward studio fights, like that one Jeff Tweedy and Jay Bennet have in "I Am Trying To Break Your Heart", where Jay Bennet bickers about where to make an edit.  That looks so painful, and unnecessary.

What kind of collaboration do you do or enjoy with other artists and such?
I'm a huge fan collaboration, I'm always just nervous that the people I'm collaborating with aren't as huge of fans of working with me.  I don't mean to be self-deprecating, but whenever I get together with friends to work on music, I think they think I'm very stuck in my ways of being the only one involved in the process.  But that being said, I really love the idea of working with other artists, and I really do love the process of it.  I'm releasing a cassette with my friend in Houses, on his new tape label Way Slow Tapes.  The collaborative effort with him was so seamless; we're both very like-minded when it comes to our production methods, so creating something together was a breeze!

Source: CBC


Julian Faulhaber

German photographer Julian Faulhaber captures public spaces—supermarkets and parking garages—in the moments between their construction and when they are opened for public use. His long-exposure photos, which remain untouched after developing and for which he uses only available lighting, look unreal and Photoshopped. 

Julian Faulhaber lives and works in Leipzig, Germany. His work has been featured in galleries and museums in the U.S., Germany, China, and more. 

How do you choose a place to shoot?

I am searching for locations in magazines and in the internet. But most of the time I discover them by walking around in public spaces.

Where are these places?

Most of the places are located in Germany, some are in Japan or the U.S. I prefer Germany, because I do have more time to “explore” a place, to find the important aspects. I’m having many location days, until I start to shoot. This is also part of the work, always looking for the progress of the building, the progress of the surface, similar to a painting in the studio, which is changing every day.

Describe a shoot. Are you alone?

I am shooting with a 4x5-inch camera. Sometimes I need some different variations to get in the story, mostly I already got the picture in my head, because of the preceding location days. I am shooting alone and I prefer this way of photographing. If I would need additional light equipment or a film setting, it would be different.

Do you aim for us to see geometric spaces and shapes in these photos? What should they communicate to viewers?

I think these geometric spaces are shaped in a pure form. In combination with the newness of the material, we’re creating this lifestyle, which is so characteristic for our time. The packaging is much more important than the content of a product. It’s the lifestyle, which is determining our way of living.

There are no trees and very little grass in these photos—what do you think about the artificial nature of our public spaces?

The nature is adapted to the environment, and is mostly playing an under-part in urban management. The giantism of designing is implicating the reflection of artificial lights in nature everywhere.

(extract from themorningnews.org)

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The Beginning

Flying Lotus (FlyLo) a.k.a Steven Ellison from Los Angeles is a talented experimental multi-genre musician. His third album 'Cosmogramma' was released on May 3, 2010. The song MmmHmm is taken from it.

Where does the name Cosmogramma come from?
Ha! That was a name that haunted me for a long time. It’s something that I thought I heard when I was listening to a tape of my aunt Alice (Coltrane) speaking. She was speaking about planets, and saying people don’t realise they are all playing a game. She called it a ‘cosmic drama’. But she said it under her breath so I thought she said “Cosmogramma”. I looked into it and cosmogramma is actually a word, it’s basically a map of the universe, and that is very much in keeping with what I wanted to do for this record.

You’ve said in the past that your aunt Alice is a big source of inspiration. Was that the case for this record?
The whole record is basically an ode to my aunt. I’ve been super inspired by her for the past two years, more so than at any other point in my life. I grew up listening to her all the time, but it never really registered in the same way as it does now. I love the harp and strings and I want people to feel that same emotion that I do.

How does Cosmogramma differ from your previous work?
Well it’s way more dynamic, bigger in scope and more textured. There’s more live instrumentation too, so I’ve been expanding my universe. I think it ‘s bigger and better than anything I’ve done before.

How do you feel about the reception Cosmogramma has had?
It's scary, it's so scary, I feel so naked! Especially with this one because I really feel I put me in there as much as I have ever, and I feel very vulnerable. But it's been so far so good I think as far as reaction has gone. But I've already got an idea of where I want to go now, so I just want to do this stuff and see it through and move on to the next thing. But I believe in this one, I said what I wanted to say I think. For the first time, I got close to saying what I wanted to say from the start.

Listen to tracks here

Flying Lotus has tapped into a global audience for his music and the success genuinely seems to have taken him by surprise. His new album features a track from Thom Yorke, a sign of how fast this man’s cache has grown.

How did the Thom Yorke collaboration come about?

That came through Mary Anne Hobbs. She knew that I was into him, and that I am a big fan of his work, and she wanted to make something happen. So she got in touch with him and said he should listen to some of my stuff. He got in touch the next day and was like, ‘what’s up’? I sent him over a few things and he told me he was really busy and might not have time to do anything. Anyway two days later he sends me these files through email and they were all done! I was surprised but very excited.

Sounds like it worked out perfectly…
It was a super easy process. He doesn’t say much, but when he says something you get it and when he doesn’t say anything at all you get it (laughs). He’s very cool, and it was so much fun playing with the track, arranging it. It’s definitely one of the highlights of my career so far.

(Source: Juno, RA, Clash)
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