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Vol 2.1


Copyright Faux Media 2010

Want your photo here? Email your work to:

Photo: Robert Milsom

INFO This issue was made by // Martyn Cooling, Mike Coleman, Jennifer Cooling, Jonathan Hitch, Cheryl Burns, Andy Von Pip, Scott Kershaw, Michelle Huynh, Liam Haynes, James Arnold, Phillip Darley, Adriana Barro, George & Leisa @ Darley Management, Vendula Pribylova, Vendula
Pribylova, Ricky
Debicki, Paul Cook, Dan Willis, Steph Wilson & Tom Revell. For business enquiries // For editorial enquiries // For marketing enquiries // Any further questions should be directed to //

Faux Magazine is published monthly by Faux Media. All content (unless otherwise stated) is copyright of Faux Media. Any opinions expressed within do not neccessarily represent the opinions of Faux Media. MAGAZINE PRINTED AT JOURNAL PRINT MEDIA. DEVELOPED AND CREATED BY FAUX MEDIA.

FEATURES KELE OKEREKE // 14 Dan Willis chats to Bloc Party’s Kele Okereke about his debut solo LP ‘The Boxer’

PROFFESOR GREEN // 18 Martyn Cooling chats to Professor Green in our monthly quick fire Q & A session.

SKY FERREIRA // 22 Liam Haynes chats to singer songwriter & L.A party girl, Sky Ferreira.

RHYTHM & BLUES // 24 One of Faux’s favourite photographers Michelle Huynh shoots 55Preview & Handsome Clothing on location in Melbourne

INCEPTION // 30 Paul Cook analyses the philosophical and sociological ideas behind the work of Christopher Nolan.

THIS IS CYRUS // 34 Martyn Cooling interviews Jonah Hill on his up & coming lead role in the Duplass Brothers’ ‘Cyrus’

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WIN 2010 has been the biggest year in Moda history, with the entire crew traveling the globe to play the worlds best clubs & festivals, the record label breaking all kinds of new music & hugely successful Summer in Ibiza. To celebrate, the lads thought they should go a bit crazy. Round one of their brithday celebrations is on October 1st and is all about leaders of the nu skool. And who could be more suitable to head-up such a rave than Radio 1’s chief dance selecter ANNIE MAC!


Alongside the Moda team, Annie has helped curate one of the most cutting-edge & exciting line-ups to hit Lincoln in forever, from the urban flavours of turntable specialist DOORLY, to the House grooves of one of this years biggest new names RIVA STARR, to the electronic infused Indie of the mysterious MONARCHY. This wont be a night of pushing boundaries, it will be a night for obliterating them altogether. For your chance to win 1 of 2 pairs of tickets to the event just email your name and Mobile Number to: comps@ and label your email MODA All entries must be in by 30/09/2010, the winner will be notified by phone on the day of the event. The winner will be chosen at random, employees of Faux Media, are forbidden from entering. Subject to terms and conditions on For more info visit:


Have you heard about Vitamin Tee? They are a newly opened store, offering cool killer tees, badges and bags designed right here at their Lincoln “P” labs. With an evergrowing range of music, movies and popular culture merch; they are the maths and science of shit hot tees. They have kindly given us 4 sets of their brand new delicious cupcake package (pictured left) to give away. For your chance to win 1 of the sets just email your name and Mobile Number to: and label your email MMMM...CAKE All entries must be in by 15/10/2010, the winner will be notified by phone within two weeks of the comp closing. You must be able to claim your prize from the shop in Lincoln, this prize will not be posted. The winner will be chosen at random, employees of Faux Media, are forbidden from entering. Subject to terms and conditions on ireadfaux. com. For more info visit:

MOST New York based fashion designers Dee & Ricky, have partnered with G-Shock. The duo created a truly unique collaboration based on their signature LegoÂŽ inspired designs for fashion accessories. Black resin band with a multi colored face and a Ana-Digi dial code.

The Nokia N8 introduces a 12 megapixel camera with Carl Zeiss optics and Xenon flash, HD-quality video recording, film editing software and Dolby surround sound. All in a beautiful, aluminium design.

This is the Nike Blazer 73 Black, an almost perfect sneaker from Nike. The Blazer is a classic basketball shoe and a favourite of female sneaker fiend’s the world over.

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Words: Martyn Cooling / Mike Coleman



Earlier this year, an exhibition titled “The New York Art Of The Velvet Underground” was held at the Hysteric Glamour store in Shibuya. The T-shirts inspired by the exhibition are now available from Hysteric Glamour.

In a similar vain to the Beastie Boys ‘Awesome; I Fuckin’ Shot That’ DVD from 2006, 50 Radiohead fans created this unique DVD with footage they shot from the crowd. Best of all, its free from their site.

Hipster Hitler is a brand new site from two writers & illustrators known only as ‘JC & APK’. It documents a hipster version of Hitler and his struggles with ironic t-shirts, fonts & staying ahead of the curve with his genocide.



THE GOOD NATURED Words: Martyn Cooling

Having salvaged her Grandma’s 1980’s Yamaha keyboard, Sarah McIntosh - aka The Good Natured - grabbed everyone’s attention. Her first self-produced EP “Warriors” in 2009 was an outpouring of emotion: a deeply electronic introduction to her music. A year later, having been triumphed by the likes of Radio 1’s Steve Lamacq and Huw Stephens, and heralded by The Sunday Times as the new Kate Bush, McIntosh sat her A-levels and split up with her boyfriend. With these abrupt changes in her life she found a whole new inspiration to write. Sarah’s music speaks for itself, swirling around in a world without gimmicks, you wont find excessive accents, stupid hair or fabricated irrelavant back-stories; Sarah is The Good Natured - The Good Natured is Sarah. Mixing her house-y beats, electro rhythms, j-pop synths, honest lyrics and a home-grown British quirkiness with a deep, forlon and quietly haunting vocal delivery makes her debut EP ‘Warriors’ a must listen. Lyrically and musically, McIntosh displays a maturity far beyond her teenage years; unafraid to explore the human psyche in relation to her own experience. Her latest single “Your Body is a Machine” is out now & is coupled with an impressive remix package with edits from Body Language, Radioproof and Zebra & Snake, The last of which made its way onto the latest Kitsune Maison compilation. She is going to be one to watch in 2011, as she ascends to the heady heights that she deserves. For more info on The Good Natured visit:

MELODICA MELODY & ME Words: Cheryl Burns

Meet Melodica Melody and Me, a band hailing from Brixton, South London who have started to create quite a following for themselves this past year. Touring with big names such as Laura Marling, Mumford and Sons and Bombay Bicycle Club, and even hosting their own headline slot in the Club Dada tent at Bestival, they have been introducing the masses to their new unique brand of folk and impressing many a long the way. You can clearly hear the voices of their influences, such as Bert Jansch and Victor Jara within their music, but Melodica Melody and Me have skilfully managed to avoid the trap that many fall into and keep an evident line between their own sound, beautiful harmonies and infused reggae basslines, and that of their heroes. This year also hosted the release of debut single Piece Me Back Together in early August, a blissful summer track which thankfully, will make any dreary day a lot more bearable. It will be interesting to watch where 2011 will take them... You can find out more about the band at: www.


The Boy Who Trapped The Sun is the pseudonym for 25 year old singer-songwriter Colin MacLeod. Already having released his debut album ‘Fireplace’, it gained high critical acclaim from the likes of NME, Mojo and the Sunday Times Culture. This has certainly put him in good stead for his upcoming single release of Dreaming Like A Fool in September, and also earning him support slots with both KT Tunstall and an upcoming tour with Fyfe Dangerfield. Initially stating to be the singer in a series of thrash-metal groups, TBWTTS has finally settled on his own brand of acoustic folk which is brimming full of elegant guitar, beautiful arrangements and soothing vocals. Key track to pay attention to would have to be Golden, a superbly crafter acoustic gem with lyrics talking the universal language of lost love. If you get the chance, make sure you catch this man live on his latest support slot this September For more info about Colin visit:

TIGHTEN UP RECORDS Words: Mike Coleman

Jamie Kavanagh, Christian Shank and Howard Newman have amassed between them a formidable range of experience and a hard-earned amount of exposure. Known separately as Kavsrave, A1 Bassline and TekOne, between them these DJ/producers have dominated the blogosphere, released music on labels from Glasgow’s ‘Numbers’, Bristol’s ‘Hench’ and London’s ‘Southern Fried’ and collectively cover a broad range of electronic music’s most dancefloor-ready sounds. Now having garnered releases on some of the most respectable labels available in electro and dubstep, the boys have developed a new platform for their broad range of sounds; their own label Tighten Up, which looks to offer a meeting of this trio’s lofty yet disparate sounds. The Tighten Up ethos is clear, an experiment in sound that blends the raw aggression of Tek-One, the party-ready bounce of A1 Bassline and the twinkling synthesizers of Kavsrave. They explained: “We’ve always listened to and played out each other’s music over the years. There’s never been anyjealousy or animosity between us - only encouragement! If any one of us has ever writ - 13 -

ten a new tune it’s always played to the other two and we’re constantly bouncing ideas off each other.” This collaborative ethic is exemplified in the label’s first release, ‘Lucky Charms/ Arrakis 97’, featuring stunning partnerships between A1 Bassline and Kavsrave and Tek-One respectively. The trio explain explain that “The label was originally put together purely for us to do collaborations on - we wanted to see what would happen when we mixed all three genres together.” Whilst the former provides a giddy, dizzy beat that will please fans of leftfield electronica, electro and precise, hypnotic dubstep in equal measure, the latter offers a frantic, adrenaline-infused dubstep track targeted directly at the dancefloor. The hallmarks of all three are present throughout with equal weight. Their shared experience, talents and sheer breadth of sound have the potential to provide a strong foundation for the label, whilst plans to involve the boldest and brightest emerging artists make Tighten Up an essential label to watch, as ambition and talent inevitably expand the label into a consistently exciting force in electronic music. F

KELE OKEREKE Words: Dan Willis

We sat down for a chat with Bloc Party’s Kele Okereke to discuss his solo ablum, latest influences & Dj’ing. The often criticised, lamented and unfairly labelled Kele Okereke is still a person to pull no punches. With his debut solo album The Boxer receiving critical praise and his commitments to Bloc Party continually in doubt - owing to scathing comments in the press and a planned move to Manhattan later this year - fans of the band might feel they have a lot to worry about - Kele, however, remains fiercely independent, unflustered by the familiar sound of mounting speculation. “We decided when we on tour in 2009 that we wanted to have a year off and that’s where the idea for a solo album came from really, I felt like doing something by myself. I’m just recording some stuff this afternoon; I usually am when I have some free time. It’s just for myself really, just ideas I have,” he explains, unwilling to link current projects to any specific plan or record label. “When I went into the studio there was no real preparation and I didn’t take any ideas forward from recording with Bloc Party. I just went in with an open mind and started using these machines which I had no idea to work and thought I’d see what came out.” This approach has seen Kele’s solo effort embrace and expand on the progressive electronics that Bloc Party have been cultiv-

ating for some time. ‘The Other Side’ could quite easily have sat comfortably alongside on Intimacy – even on A Weekend In The City, whilst the album itself displays everything from hardwired 90’s house (‘On The Lam’- also vaguely reminiscent of T2’s garage/bassline smash ‘Heartbroken’) to the typically Bloc Party-esque melancholy of ‘Rise’ – shot through with a new, heavier dose of electronics. The key idea Kele picks out as an influence is ‘gestation’; “It was recorded and then I went out on tour for a month and came back to listen to it to see how I felt. That was kind of the way it worked, the biggest thing was letting things simmer. I think that the music of Bloc Party was quite melancholic and anxious and that’s what people liked but with this I wanted to do something joyous and celebratory.” Those acquainted with the album or its accompanying live shows would probably have to agree. The timbre of The Boxer is still as urban and full of shadows as ever, and that pervasive Bloc Party anxiety rears its head relatively frequently. Okereke, though, has always been a vibrant live performer with or without his band and the real development made in his solo work is not the refinement of melancholy, but the development of

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ecstatic epilogues. Euphoria abounds in The Boxer; ‘Everything You Wanted’ builds with thick intensity before exploding into an anthemic chorus of “Day-o, Day-o”; layered with Kele’s lamenting cries of “I could have given you everything you wanted / Everything you needed.” ‘Walk Tall’ is a pseudo-military call to arms but where, on a Bloc Party record, this might have surfaced as a hackneyed criticism of a police state, this opening track makes for a firebrand statement of independence and – perhaps more importantly - an opportunity to dance. In live performance, Okereke has consistently proved himself a vivacious frontman, mixing grandiose displays of deftly fashioned pop music with tender ballads to great effect. In his solo work, Kele’s habit of draining his music with uncomfortable emotion seems to have ebbed somewhat, and although this album ultimately lacks the depth of previous efforts, it certainly benefits from shifting the focus from emotional introspection to fashioning a more relaxed, dancefloorcentric effort. “I think it’s just being old really, I’ve being doing a lot of stuff for the past five years. It just feels fun now. It was fun working with [producer] XXXChange and he just helped me re-jig things when I went to New York and organised things better through the record.” Recent months have seen more bands throw their lot in with the sounds of the 80’s – adding to a revival that seems almost endless. Bands including We Are Scientists and the Arcade Fire are proclaiming dramatic Bowie, Springsteen and Eno influences in recent works - but Kele, perhaps not surprisingly, remains a child of the 1990s. “It’s from DJing a lot recently really, a lot of classic vocal house, 2-step, garage and drum and bass which I used to love as a teenager and all the kind of music that makes you want to dance really.” This, in fact, is one of the great ironies of the album in that by stepping away from - 16 -

his hugely successful band, Okereke has created a more musically relevant album than ever which evokes the nostalgic underground club sounds many of his fans have grown up with, whilst retaining his emotional perception to the extent that it makes his personal reanimations of 90’s urban music a hell of a lot more interesting than, say, Tinie Tempah or N-Dubz. With work like this though, there is a nagging feeling that it gives a striking amount of potential for any future Bloc Party work; surely these beat-laden, electro dazzlers would get even better with a classic Lissack guitar line, Moakes bass riff or some Tong drum crashing? The “Hmm, I think so, maybe, I think so, hmm” before Kele tackles

tackles the issue of his band and friends is telling. “I think we needed the time and a different perspective from things. We work really hard, toured pretty much non-stop for five years and it was important to have some time to enjoy life.” So, speculation of turmoil and disturbance in Kele Okereke’s life seems largely unfounded. He states that he has “never had a single problem with [record label] Wichita” and appears relaxed, continually creative and comfortable with where he is at. The media perception of an arrogant, closeted artist can be hard to dismiss with a person who does not give information away readily but Okereke does the business where he needs to; The Boxer is an embracement of Kele’s - 17 -

musical passions, un-tapped resources and nostalgia. Whilst the band’s future may be uncertain, Kele is moving forward– but should the band’s hiatus be cut short, these invigorating, energetic influences will doubtlessly inject a new lease of life into Bloc Party. The Boxer is out now through Wichita Records, For a full review of The Boxer, check out You can also catch Kele on a mini UK tour this November at Birmingham Insitute (15th) Glasgow Arches (16th), Manchester Ritz (18th), London Electric Ballroom (19th) & Bristol Motion (20th) F


PROFESSOR GREEN Words: Martyn Cooling

This month the victim of our quick fire Q&A is Professor Green, we quiz him about his leap from one of the underground’s finest talents to bona fide mainstream star. Stephen Paul Manderson, better known by his stage name Professor Green is currently one of the UK’s hottest talents. With top 10 singles, ‘I Need You Tonight’ & ‘Just Be Good To Green’ (featuring Lily Allen) and his collaboration with Example, ‘Monster’ about to be released, he is all over the British music scene and fast on the way to becoming one of the country’s biggest rappers. I sat down with Green for a chat about his debut album ‘I’m Not Dead’, his rise from the underground and his history in battle raps. How did you first get your start in Hip-Hop? I got into Hip-Hop actually a long time before I started rapping, Biggie was like the first artist I really started listening to when I was young, but I didn’t start rapping till I was 18. A lot of my mates were making music for a good few years and one night I was at my mate’s house and everyone was freestyling; I got put on the spot, under pressure, so I spat a few lines. Everyone was like, “what, you can rap?”, I was like no, but it just kinda worked from there.

How did you merge from that into the more commercial side of the battle scene? Going from the UK stuff you were in, to the more international battles like ‘The Jump Off ’? I just kept at it man, once I started I just couldn’t be stopped. It was from ‘The Jump Off ’ though. I did one battle in it and from then it is was just time after time. Obviously you were there for a long time and you battled people like Jin, who is one of the most famous battlers out there. I was reading about a beef you two had? Yea, I just thought there was a bit of madness. It was a battle with a $50,000 prize and he won the year before. Now whereas everyone else in the battle had to qualify, but he didn’t, he just sat back and only had to battle in the final, it was just dead cheeky. How long was it, since the house party, until it all kicked off? It all came quite naturally, I think was only 3 or 4 months, between then and the first proper battle. So pretty fast then? Once I started battling it all kicked off pretty quickly. And now you have your album out, how different is it to your earlier mixtapes? Completely in a sense, some of the elements remain, like there is a lot of humour. But I’ve matured alot since then, you know the music progressed alot since then. This is also my first complete project, my first full body of work. The music on the album all came about recently, there was only 2 months from completion to when it came out. It’s definatley more a mature project as well. Do you think you’ve found your sound now? Is this album truly Professor Green right now? Yea, but its always changing, I have different sides to my music and if people like one side

of my music thats great but, dont expect to just do that. Your only as good as your last song. How was your experience with Mike Skinner’s Beats label? It was wicked man, it’s a shame it turned out the way it did. It was unfortunate, but everyone had the best intentions. You’re signed to Virgin now, was that something that was on the cards for a while? No, it’s a pretty new development, we had a meeting almost a year and half ago, but nothing happened. We met up again this year and four weeks later I signed my papers. And I mean a lot of people complain about their labels but I love mine, I aint got a bad word to say ‘bout anyone. Was there any compromise of sound that came from the signing? Nah nah nah man, the only thing they helped choose was whittling down which tracks made the 12 track listing. But I was happy with everything I made so I didn’t stand to lose. If you could describe the album for anyone that hasn’t heard it how would you describe it? It’s honest man, I listen to a lot of different music, and that’s apparent in the sound of the album. There is no one sound, the entire album is my voice. I worked with alot of producers as well, I didn’t just stick with one person, which allowed me to achieve the different sounds I wanted on the different songs. How was it working with the other guests on the album? Yea man good. I enjoyed working with Lily Allen. We were introduced by mutual friends, but it’s over Facebook we hooked up. I told her I had the rights to “Dub Be Good To Me” and she was like what, love that track, and it all went forward from there. Professor Green’s ‘I’m Not Dead’ is out now on Virgin Records, and 3rd single ‘Monster’ featuring Example is out 20/09/10. F

Lincoln Art Works

Contemporary Art Gallery

Open: 10am - 3pm Every day 7 West Parade, Lincoln, LN1 1NL Tel: 01522822224 Mob: 07981772020 Email:

SKY FERREIRA Words: Liam Haynes Lead Photo: James Arnold

We headed down to EMI’s head office to catch up with Sky Ferreira; singer, songwriter & L.A Party Girl. Sure, you might think we’re saturated with female quasi-indie pop stars at the moment – from La Roux to Ellie Goulding, Little Boots to Marina & The Diamonds, Lady Gaga to Kei$ha – we’re frequently close to drowning. But there’s always room for more. Already a raft of new stars in the sky are emerging; Florrie, Spark, Sunday Girl, and last but not least Sky Ferreira, are all ready to grab pop’s crown. I headed down to EMI’s offices in London to chat to Sky on the eve of the release of her debut UK single, ‘One’. Would she be as bratty as she seems on video? I was ready to find out. First things first, how important does Sky feel that image is to being a successful pop-star? On the back of the success of Lady Gaga, is style overcoming substance? “I don’t really put myself together to have some kind of image, but I think I’m unique for sure. I guess that style just came to me though. Image is a big part in music though, of course- it’s cool, but I don’t think it should be the priority”. I was intrigued that, at only 17, Sky was being marketed rather overtly sexually – but I guess that’s inescapable now, right? Turns out, she feels the same way. “Sometimes, but not all of the time. I’m not a huge feminist or anything like that, but it’s definitely noticeable with girls that you have to dress a certain way to succeed”. Then again, when Katy Perry posts

pictures of you – legs akimbo – all over Twitter, it’s sort of already a lost race. Being lumped together with similar artists is inescapable in the modern music industry, but it doesn’t seem to worry Sky too much. “I mean people always compare me to Ke$ha because we’re both from L.A. and have blonde hair – and I guess she’s got some electronic elements going on too”. On top of the Ke$ha comparison, she was also drew a field of Ellie Goulding comparisons by basically stealing one of Ellie’s début demos produced with Frankmusik from under her nose. “It was really confusing, I didn’t really know what was going on. I guess he asked her to do it, but she got confused, and then didn’t realise that I was actually planning to maybe release it, not just cover it”. Sky comes across as the girl your mother warned you about – precocious, confident, sassy, and as polished as a blood diamond. She speaks with an unerring belief in her own ability for success – combined with the kind of self-absorbed sense of cool that only L.A. can provide. With her début album lined up for early next year, supported by artwork from esteemed Vogue and Rolling Stone photographer Albert Watson, Sky looks set to continue making every girl next door look a little bit less exciting for at least a few more months to come. Sky releases her as yet untitled début album in 2011. Her début single ‘One’ is out now through Parlophone Records.

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RHYTHM & BLUES Photographer: Michelle Huynh Models: George & Leisa @ Darley Management Make Up: Philip Darley // Assistant/Styling: Adriana Barro Location: Soda Rock Diner, Melbourne, Australia

Jeans: French Connection T-Shirt: Handsome Clothing

George // T-Shirt: Handsome Clothing Jacket: Models Own Leisa // T-Shirt: 5preview Leggings: Dangerfield

Jacket: Model’s Own T-Shirt: 5preview

T-Shirt: 5preview Boots: Model’s Own

George // T-Shirt: Handsome Clothing Jacket: Models Own Leisa // T-Shirt: 5preview Leggings: Dangerfield


FILM & PHILOSPHY Words: Paul Cook

Paul Cook analyses the philosophical and sociological ideas behind the work of Christopher Nolan. After a month or so mulling over and contemplating Nolan’s gravity-defying, mind-bending movie Inception I have finally sat down to write a review-comephilosophical reading. Christopher Nolan has long been fusing his unique film making craft with philosophical and sociological ideas, most commonly treading the murky, mystical waters of existentialism whilst journeying into recurrent themes of memory, responsibility and reality. From his humble beginnings as an independent auteur working on the lowbudget, high-tension neo-noirs Following and Doodlebug, Nolan has built a distinct stylistic and thematic body of work which are all linked philosophically. Nolan’s latest thriller Inception joins that filmography and brings many of those themes full circle in what I see as his greatest film since Memento. Inception is as cleverly and intricately layered as the dream-within-a-dream premise upon which it is based and in doing so Nolan has proven himself to be one of the best storytelling directors in the world. DiCaprio gives his second captivating performance of 2010 after the similarly psychological thriller Shutter Island earlier in the year and Marion Cotillard shows once again why she is an Oscar-darling. She was sensational in Public

Enemies last year despite the rest of the film failing to fulfil the hype and in Inception she brings depth and emotion to even the shortest of moments on screen. Having studied Memento, The Prestige and his brace of Batman movies it becomes apparent that his body of work rests heavily on the theory of existentialism combined seamlessly with the themes of memory and responsibility. To summarise existentialism is a near impossible task not least because there are different schools of thought, equally valued and yet almost completely opposed. However, the basics soon become much clearer when you look at them through Nolan’s lens and the director’s intriguing journey into the existential arguably form the depth and intelligence of his films. In a nutshell then existential philosophy is concerned with man’s total freedom to act in whichever way he chooses and it is his choices, and more importantly his acknowledgement of his responsibility for them, that defines him. Ringing any bells? Bruce Wayne becomes Batman to fight evil and avenge his parents’ deaths. The masked crusader even says “It’s not who I am underneath but what I do that defines me” before leaping into the shadows. The same is true for Inception in which the funda-

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-mental storyline is Cobb’s choice to go into people’s dreams and perform Inception, thus defining himself and those around him. To a further extent Inception is the embodiment of Nolan’s fascination with existential thought because the climax is built around Cobb’s realisation and acceptance of dreams, reality and the dramatic conclusion of his acknowledgement of his responsibility for them. Thinking back to Memento, the dramatic end comes when the torn, tortured Leonard Shelby realises his actions and his methods as being in vein and that he has allowed himself to become what existentialists call fallen. At times in Inception too Cobb experiences fallenness in that he loses sight of reality and the purpose of inception due to his immense - 32 -

psychological struggle to accept the truth about his wife Mal. His demons haunt him throughout and his unshakable feeling of responsibility for her death reinforces the existential core of the film. Inception also journeys into Nolan’s favourite theme of memory. We saw it form the motivations and inhibitions of Shelby in Memento, the driving ambition of Batman Begins and it occupies the very essence of the character of Cobb in Inception. Memory and existentialism go hand in hand when looking at the preoccupation the philosophy has with acknowledging and accepting your responsibility for your actions. Put simply Inception is a physical embodiment of the ideas of existentialism. Defining


yourself, creating the world around you, taking responsibility for your actions. Nolan has brought philosophy and film together inseparably and in doing so created a masterpiece. Inception is as smart and deep as you make it. At its simplest it’s a big-budget action thriller that is crafted for ultimate suspense. No other film I can think of features three or four simultaneous action sequences, each with its own unique twist and distinct generic leaning. The way in which Inception transforms and moulds time means that in one instance there is a long, gripping slowmotion sequence (the van falling from the bridge) and in another there’s the thrills and spills of a ballsy guns and gadgets action sequence (the snow fortress). The ingenious craft that Nolan has mastered

is to tell simultaneous and complicated stories that work together and apart to create an edge-of-seat cinematic experience. Inception is the smartest film in years and yet you don’t have to unravel its complex web if you choose not to, appealing to the widest of audiences. His characters too are full of complication and inner-torment which transform his films into deeply satisfying and fantastically enjoyable experiences time and again. I saw it twice in four days and now I’m eagerly anticipating a DVD release near Christmas. With almost $700 million in worldwide box office takings this re-watch-ability has clearly contributed immensely to its success. F

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We join Jonah Hill to chat about his lead role in ‘Cyrus’, the latest film from the critically acclaimed Duplass Brothers. Words: Martyn Cooling // Images:

You will likely recognise Jonah Hill as the foul mouthed horny teenager from Superbad (his most famous role) or you may familiar with him as the fresh faced intern sent chasing after Russell Brand in one of this years funniest films, Get Him To Greek. But what you probably don’t know about him is the wealth of writing and producing he participates in behind the scenes. He’s currently working on no less than 6 projects to be released in the next couple of years, including a Hollywood version of “21 Jump Street” which he is in the process of writing. Hill is widely accepted as one of Hollywood’s most exciting young comic talents, but a starring role in his latest movie ‘Cyrus’ reveals that he also has exceptional skills as a dramatic actor. He plays a young man who has a highly unconventional relationship with his mother Molly (Marisa Tomei). Cyrus has not grown up. He still lives at home and Molly is his only friend. So when Molly meets an interesting divorced man at a party (John played by John C. Reilly) and starts a relationship with him, Cyrus does his best to sabotage the affair. Manipulative and clever, he sets out to split up the happy couple so that he can have his mother all to himself again. A favorite at this year’s Sundance, ‘Cyrus’ looks to be the indie hit of 2010. Already gaining heavy critical acclaim I gave Jonah a ring to chat about the film ahead of its UK release this September.

How would you describe the character Cyrus? “I think he is manipulative and not very likeable at all. Cyrus is very damaged by the way he’s been brought up. He wasn’t forced to go out into the world and make friends and form relationships. I think a lot of kids want to be with their parents but then eventually your parents have to say: ‘alright here’s the world, you have to experience things and go through hard times and good times and meet people and develop relationships’. But his mother Molly never made him do that because I think she was dependent on him and was allowed to be dependent on her for far too long. Elements of their relationship are beautiful because they are so close and are partners and hang out all the time, however they are close to a very unhealthy degree. This has caused Cyrus to live in a state of arrested development because he was not made to go out into the big scary world.” How interesting and enjoyable was it playing Cyrus, who is not the most sympathetic character as you say?

as a writer when you are improvising you’re not going to go off on a tangent and start wasting everybody’s time by riffing something, improvising a scene that could actually never be a part of the film. You are conscious of those kinds of things.” What were the Duplass brothers like? “Mark and Jay are fantastic and I had been stalking them for years basically. I had a seen a short film they did about eight years ago and since then I noticed that they had such a unique voice and really wanted to work with them. But I didn’t have any semblance of success at the time so I thought ‘why would they want to work with me?’ Then once I had a little bit of success when ‘Superbad’ came out, it all changed. I feel that anytime you achieve even a minor success it’s your responsibility to work with people that you feel have something unique to bring to film. You have to use what little success you’ve attained to help get really good movies made. They were kind enough to take a chance on me because I hadn’t done anything like this role before, to this degree. Who knows, I could have totally blown It and ruined their movie (laughs). Personally, I always knew I was capable of this kind of work

“They say you have to really like or find a way to love every character you play and this for me was definitely the most dramatic and complex character I’ve ever played in my short career. I tried and I just couldn’t find a way to like him; I wouldn’t be friends with him. But the way I found an entrance into the role was by feeling sympathy . What do you think of the distinctive Duplass style of film making with a lot of improvisation? “I’m no stranger to improvisation. On Judd Apatow’s movies we improvise quite a bit and it’s part of my background and who I am as an actor. I think being a writer myself really helps because improvisation is completely useless if it’s not done in character within a story. So - 36 -

but it took guys like Mark and Jay to actually give me that opportunity so it was really like one hand washing the other. It worked out for everyone. ” Can you discuss the music you play in the movie? ”I play music in real life. The only song I learned how to play was the one I play during the scene where I’m staring at John. But it was very important for the Duplass brothers and me, along with and Michael Andrews who made a beautiful score for the film, that the music would be the kind that Cyrus would actually make and would be really good.” Can you talk about your look and image in the film? You look really young. “Well, you know I tend to look very young if I shave and cut my hair but I think that’s done on purpose in a lot of the movies I have made because I’m 26. It varies with each movie. So if I’m playing a 26 yearold like in ‘Get Him To The Greek’ and I look 19, that would not work; no one would believe it. But for this movie it worked to make me look young. In ‘Superbad’ I was a 23 year-old playing a 17 year-old. It was the same thing with ‘Cyrus’. It was definitely aa conscious decision making me look different from the way I look normally.”

Does it concern you how critics view your work? “I recently decided not to read reviews because I don’t want to rest my self esteem on what a stranger thinks. I think Paul Newman said ‘if you believe the good ones you have to believe the bad ones’. The only way I can judge myself is by what I think, whether I am proud of a film and what people I respect think. If a filmmaker like Paul Thomas Anderson came up to me I would listen, I guarantee you. But a critic’s job is to be critical and everyone’s taste is different. I’m so proud of ‘Cyrus’ and ‘Get Him To The Greek’ and I will stake my career on those two movies.” Who inspires you in cinema? “I tend to be more influenced by filmmakers than actors or actresses. I love Martin Scorsese, Paul Thomas Anderson, Steven Spielberg, Robert Zemeckis, Judd Apatow, Alexander Payne and the Coen Brothers. I also really like Wes Anderson and Noah Baumbach. As far as my role models go, I’d say Bill Murray is probably the premier person because he does drama and comedy and does both flawlessly. I think Adam Sandler does both wonderfully too. I also love Ben Stiller and Sacha Baron Cohen. John C. Reilly is a perfect example of someone who does comedy and drama flawlessly and so is Phillip Seymour Hoffman. I’d say my top three would be Bill Murray, Adam Sandler and Dustin Hoffman.” Finally, what do you hope the audience will take away from ‘Cyrus’? “I want the audience to feel like I felt when I watched the film. I laughed but I also felt really moved. I hope that they will feel that it was a really human, emotional, funny, heartbreaking and raw experience. But overall I just hope they enjoy It.” F

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Magnetic Man Magnetic Man (2010)


Out 11/10/10 on Columbia The arrival of Magnetic Man’s ‘I Need Air’ into the upper echelons of the UK chart was a remarkable statement of dubstep’s current direction. Having progressed gradually into the public eye over the latter half of the past decade, a quick retrospective glance finds members of this dubstep supergroup behind the main crossover tunes in the genre’s upwards climb; Skream gave us both ‘Midnight Request Line’ and his unfathomably huge remix of La Roux’s ‘In For The Kill’, Benga gave us the hyper-recognisable ‘Night’, and Artwork preempted the genre entirely with his classic ‘Red’. Having all fashioned anthems that perfectly balance darkness and accessibility, it’s surprising to see this eponymous debut devote so much time to an explicitly pop sound. Sadly this often results in a fairly formulaic affair (as in I Need Air or Crossover) involving chart friendly trance synths, catchy chord sequences and hook-laden vocals. There’s nothing wrong with it – the tracks are inherently catchy and scrupulously developed – but it’s the tracks that are unlikely to trouble the charts that see these three luminaries function to full potential. Magnetic Man come into their own on the tracks that you’d expect each of its parts to

make individually; tracks that will probably shock anyone buying the album on the basis of the lead singles catchy refrain and pop sensibilities. The doomy prophesying of ‘The Bug’ is a definite album highlight – the sort of unique, incomparable originality that three producers of this magnitude should be offering us consistently when in collaboration. The same sort of unique flair crops up again on the dizzy minimalism of ‘Ping Pong’. Variety is the buzzword here, but that’s almost the problem with Magnetic Man’s album; for all its variety of tone, energy and style, much of the album comes off sounding either like solo tracks from Skream and Benga. The prickly twitching of ‘K-Dance’ would have fit easily on a Skreamizm, whilst the weighty ‘Karma Crazy’ and irrepressible ‘Fire’ are so Benga in jagged tone and rolling rhythm that it’s a struggle to hear any influence from his two associates. Magnetic Man may have set off with an obvious intent to break the charts and fashion a different breed of dubstep – and more power to them – but the trio’s debut album suggests that whilst dominating the top 40 is something they could easily achieve – expect to hear the taut amen breaks of immaculate pop creation‘Perfect Stranger’ on heavy rotation come it’s October release - they’d be better served focussing the sum experience and ability that the three of them have into developing the darker, mature sound that they demonstrate such mastery of. Words: Mike Coleman

Klaxons Surfing The Void (2010)


It’s been a long time coming, but the extra-terrestrial kings of Nu Rave are back. They’re angrier. They’re heavier. They’re so damn spacey you’d think they’d been found in 1947 Roswell. But are they better? Well, no, sadly. As lacklustre opener ‘Echoes’ limps to a close the question “is this it?” will begin gnawing. For all it’s energy and shallow mysticism, Surfing the Void is going nowhere. This is half because it’s actually as zany and progressive as the Roswell wikipedia article. The more crucial half is that it’s so devoid of the fun that defined Klaxons. Less like a fun UFO ride, more like a big, dull black hole. ‘Valley of the Calm Trees’ will remind you of their knack for a melody, and perhaps lull you into a satisfied trance, only for the tired vocals of ‘Venusia’ to snap you out of it. ‘Flashover’ would be the record’s saving grace if there was just one more track half as good. With a brutally muscular intro and ridiculously catchy midsection it sounds something like what would happen if post-Humbug Arctic Monkeys did a drunk karaoke take on The Horror’s; From a space station. But it’s not enough. Perhaps it’s unfair to judge a record by the standards of it’s predecessor when said predecessor defined a genre. It’s average, rather than awful, but it’s hard to feel anything but disappointed when just one track of Myths of the Near Future ticks more boxes than this whole album. It could have been the comeback of the year. In reality, you’ll probably want to forget it and pray that the next album redeems them from is an uneven effort.

Out now on Polydor

Words: Tom Revell Just broke up with your partner? Or just feeling a little angry? Well Pull in Emergency will sort you out in venting some of that emotion. As their debut self- tiled album is full of human sentiment, love and catching indie melodies that are sure to perk you up. Haled by the Guardian as “one of the UK’s most thrilling new bands” – not the most prestigious of musical opinions, but they may be right with this one.

Pull In Emergency Pull In Emergency (2010) Out now on Mute Recordings


Opening with ‘Everything is the same” their first realise produced by Gordon Raphael (The Strokes) injects a deep base and an infectiously catchy riff accompanied by Faith Barker’s rusty rock vocals, that gives a likeliness to The Metric’s Emily Haines – sets the albums tone. As the rest of the record displays the youth of the North London teenagers, with its rough and raw indie rock that oozing with attitude and style. With such tracks as ‘Backfoot’ shows a common solution to teenage problems by running away from broken hearts and dead end jobs, which I’m sure many could relate to. With a second single out next week ‘15 years’ and the rest of the album out on the 6th of September – these are busy times for the young Londoners. I think we’ll see a lot more of them in the future. Words: Steph Wilson

Aeroplane We Can’t Fly (2010)


Out now on Eskimo Recordings

So lands We Can’t Fly, the debut of Aeroplane, solo project of Vito De Luca, player of every instrument and writer of every track. Typical of most things 2010, try to tag it with a genre and you’re just wasting your time, unless soul-funk-Bowie-esquewith-occasional-angular-riffs-and-a-little-bit-of-Motown-electro-with-that-sad-yet-happy-ambience passes for a genre name nowadays. And as you might guess from that spellchecker bothering sentence, We Can’t Fly won’t be for everyone. ‘I Don’t Feel’ though featuring vocals from Merry Clayton, backing vocalist of Stones classic ‘Gimme Shelter’, no less - stands out as the most accessible offering. The particularly 80’s ‘Fish in the Sky’ is the most rewarding track here, and ‘Good Riddance’ (coincidentally similar to Cee Lo Green’s ‘Fuck You’ and none the worse for it), ‘Caramellas’ and ‘We Can’t Fly’ are lovely, high-flying highlights too, but it’s as a whole experience that the album soars. Stick it on in the background with an open mind, prepare to board (and that’ll be the end of naff aviation jokes, sorry) and you might just fall in love with it a little. Words: Tom Revell

Xfm deejay Eddy Temple-Morris and self-proclaimed ‘guitar legend’ Tom Bellamy are Losers. After recently releasing several remixes into the London dance-scene their debut album Beautiful Losers gets its own release next month.

The Losers Losers (2010) Out 13/09/10 on Gung Ho Recordings


Over the course of the ten-track album it becomes painfully clear that The Losers are perhaps not quite as good as they think they are, beginning right away with Three Colours, a song which sounds like nothing more than a mediocre Faithless B-side. In fact almost every song on the album resembles an attempt to replicate the sound of a pre-existing dance outfit; whether it be Chemical Brothers, Daft Punk, Pendulum or Hadouken, all are fair-game for a shameless cloning at the hands of The Losers. This only introduces an imbalance, a lack of consistency, and the record flutters between Acid House, Dubstep, Grime and Grindie without any sense of fluidity. One album highlight is Never Meant To Be, a track that attempts to create an air of poignancy using dialogue samples from Wayne’s World... Honestly. After this, Beautiful Losers staggers along noisily until its final track, an utterly unexpected cover of  Summertime Rolls, featuring Placebo’s Brian Molko on hypnotic lead vocals. This unique take on the rare Jane’s Addiction track is perhaps the only saving grace of what is a very average and jumbled album; it’s just a shame most listeners would have turned off long before discovering it. Words: Scott Kershaw

The sheer number of bands reforming who occupied the alternative consciousness through the late 80s and early 90s, along with the nature of many of these reunions (Black Francis’ now infamous “We’re only in it for the money” interview) gives The Vaselines first studio effort since their disintegration in 1989 an almost prophetic sense of failure. Thankfully Eugene Kelly and Frances McKee manage to shake off any doubts about their song writing ability, or of the potential of a new and improved version of the King of Grunge’s pet project.

The Vaselines Sex With An Ex (2010)


Out now on Sub Pop

There’s absolutely no doubt that in terms of technical ability both primary members have improved vastly. Firstly Eugene’s many years playing as Eugenius has focused his lyrical style whilst preserving its sometimes vulgar, sometimes charmless, but always fun essence. Standout examples are I Hate the 80’s (available as a free download on the Vaselines very own website, along with title track Sex with an X) and Overweight but over you. Additionally, and I think most importantly Frances has knuckled down and learnt to play guitar. So where, in early recordings, rhythm guitar parts might sound jarring and hesitant tracks such as Exit the Vaselines have a definite richness in tone. The album has a decent balance between rushing guitar tracks with a hook, twee acoustic tracks and frankly all out radio 2 pop, but never straying from the model set over 20 years ago by the scampish youthful long haired foursome. Words: Jonathan Hitch Fenech Soler are a 4-piece from Kings Cliffe formed in 2008 who from humble beginnings have risen to bring the local MODA label to fame and create a path of dancefloor destruction across the world. Now signed to B*Unique the band self produced their debut album and have come out swinging. From the radio friendly nous of ‘Stop & Stare’ and ‘The Great Unknown’ to the heady blasting ‘Battlefields’ and deep dark paranoid anthem ‘Lies’; Fenech are looking to please both fans of their previous singles and the much harder club ready remixes.

Fenech Soler Fenech Soler (2010) Out 27/09/10 on B*Unique


It’s easy to see the influences on the album and the bands love of all thing synth shines through on every track. But it’s the obvious Kitsune influence that brings down parts of the album, with the band adopting the often used “rise for 30 seconds stay there for 3 minutes” approach to electro that the label’s compliations often adhere to. This creates an uneven album and brings down the overall listenabilty. Much like Delphic’s debut album, it’s full of ideas, techincal prowess and sheer talent, but it falls very short of becoming a complete work of brilliance; and lies in the “Roll on the second album” pile. Words: Martyn Cooling


HALO: REACH Microsoft HALO: Reach (2010)


Out now Halo is Microsoft’s key franchise and the backbone behind their Xbox Console. The success of the franchise is mainly due to the skills at Bungie; the production house behind the series. This is Bungie’s last Halo game as Reach marks the end of a 9 year relationship between Microsoft and the team; and guess what? They decided to go out with a bang. This is a full throttle, all for one, final effort that cements the Halo series as one of the greatest ever. Reach brings together all the best elements of the Halo series and packages them into possibly the best gaming experience I’ve ever had. The team have clearly made the effort to re-define and re-evaluate the mistakes they made with ODST and iron out some of the repetitiveness of the first 3 games. No longer taking baby steps, they have lept forward and this isn’t combat evolved, it’s combat perfected. Taking place on the surface of Reach, the game is set just before the events of Halo 1 (combat evolved) and is set in the year 2552, in the heat of war. Humans, under the guide of the United

Nations Space Command (UNSC), have been waging a long war against a collective of alien races known as the Covenant. By the events of Reach, almost all of humanity’s interstellar colonies have fallen. Reach itself is an Earthlike colony that serves as the UNSC’s main military hub. In addition to the military presence, the colony is home to over 700 million civilians, marking the first time in a Halo game where life preservation plays a part in your actions. Reach has also had a weapons overhall, gone is the dual wielding of Halo 3 along with the the single use system of ODST. In comes a combination of the two that allows players to adopt reusable and persistent armor abilities which remain with a player until they are replaced. There is also a pile of new gadgets to un-earth, such as ‘Dummy’ Twin (spawn a holographic decoy), Armor Lock (become invincible, but stuck to the ground) as well as a multitude of hand to hand combat weapons. Reach is an incredible game and a huge achievement in interactive entertainment. This is a great parting gift from Bungie and it solidifies Halo: Reach as the greatest first person shooter ever, if you can better this, it will be one hell of a feat. Words: Martyn Cooling





Profile for Faux Media

Faux // Vol 2.1  

Faux Magazine Vol 2.1 marks a slight re-design in our format, a change in our main editorial team and continues our growth. We have intervie...

Faux // Vol 2.1  

Faux Magazine Vol 2.1 marks a slight re-design in our format, a change in our main editorial team and continues our growth. We have intervie...