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July 25, 2014

We Are Shining: Hot Love

Going Rogue on the Streets of London With Model-of-the-Moment Adwoa Aboah

Freckled beauty Adwoa Aboah loses herself to the beat-scattered, gospel blues of We Are Shining in their video for new single "Hot Love," directed by Simon Cahn. The London-based outfit made up of Morgan Zarate and Acyde, garnered attention with an early release on Young Turks (as The Shining), while their recent collaboration with breakout singer-songwriter Eliza Doolittle, “Killing,” made waves with a flinch-inducing viral video capturing a dancer seemingly unaware of throwing knives narrowly missing her head. "There's a lot of experimental Afro, Latin and European music from the late 1960s to 1980s," Zarate and Acyde say of their current playlists. "In terms of production it's about putting yourself in another world and getting the music to sound like that place." Following a cosmic mix tape, Devileyes, today's ecstatic video by the Parisian filmmaker comes ahead of the duo's debut album out later this year on Marathon Artists. Its free-spirited protagonist Aboah, who has fronted campaigns for H&M and Henry Holland and is the daughter of Camilla Lowther and Charles Aboah, makes the ultimate muse. "I wanted her to be almost like Juliette Binoche in Lovers on the Bridge, which isn’t an easy thing to pull off," says Cahn.

"Hot Love" is released on Marathon Artists on September 8.

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Spotlight

JBM: Only Now

Director Houmam Abdallah Creates an Uncanny Epic in Scotland for the Acoustic Star

“Nothing says goodbye like a steam train,” says Houmam Abdallah, the British director behind “Only Now,” the latest video for soulful Canadian singer-songwriter JBM. Capturing an old Jacobite steam train cannoning through the remote Scottish Highlands, Abdallah’s film merges real and surreal visuals in the same vein as his striking JMW Turner-inspired directorial debut for Beirut’s “The Rip Tide” in 2012. “Playing with paradigms to evoke a heightened sense of reality is where I find my kicks,” says the emerging filmmaker signed to production company Riff Raff Films. His background in post-production has seen him collaborate with Parisian director collective Megaforce, coloring pop promos for Dizzee Rascal, Paloma Faith and London Grammar. “We were overwhelmed by the eeriness of the landscape,” says JBM—AKA Jesse B. Marchant—of filming with Abdallah. “I think the video is beautiful. It haunts and comforts me.” Below, the filmmaker lets us in on his creative collaboration.

JBM’s Stray Ashes is an album that I highly recommend for anyone working in visual form.
When discussing ideas for this video it was so easy to set the mood and structure straight away.

The melted house came from questioning what would happen ‘hypothetically speaking’ if elements in a digital picture overheated. We made a 3D model of the existing house filmed on location, 3D printed a replica and melted it using a paint-stripping gun. This in return gave the feeling of creative freedom that you get from working with paintings or illustration.

There are many challenges when chasing after a train, but that’s music-video logistics that no one wants to be bored with. However, trying and failing to convince the police not to give the Assistant Director three points on his licence was probably the hardest.

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Spotlight

The Wave Pictures: Like Smoke

Tabitha Denholm Pairs the British Guitar Band with a Slow-Mo Vision of Louisiana

“I’m talking about death, family, living in the city and sex,” says David Tattersall, guitarist and vocalist of British indie rock trio, The Wave Pictures. “I hope that doesn’t sound too heavy, it’s a simple song and I put some jokes in the lyrics too.” “Like Smoke,” the evocative track in question, closes the band’s latest album City Forgiveness. Released on the London-based Moshi Moshi records, the poignant, acoustic slow jam is here given an unexpected dance partner in filmmaker Tabitha Denholm’s footage of Louisiana trail riders at an R&B-infused zydeco music party. “My friend [the blues-rock musician] C.C. Adcock was always regaling me with tales of the great music, food, people of the countryside of New Orleans,” says Denholm, who documented the Creole community in late 2013, currently developing a film on Balearic club culture. “After I went there, I couldn't get the imagery of people taking horses to dance parties out my head. I think the combination brings out something new and quite lovely in the footage and the music.” As the band continued their UK tour with French artists Stanley Brinks and Freschard, NOWNESS quizzed Tattersall on his music heroes.
 
I love The Rolling Stones, especially the early rhythm-and-blues stuff. When they did things like Jimmy Reed’s “Honest I Do” or Rufus Thomas’s “Walking The Dog” they were so good: you really hear what sensitive and sympathetic musicians the Stones are.

Wreckless Eric is someone who I admire very much. Especially the albums he made in total obscurity in the 80s: Le Beat Group Electrique in particular is very, very good.

Wild Billy Childish is a genius at recording,
a great sonic artist who really understands rock and roll. At his best, he’s the equal of someone like Link Wray in the studio.

Lately, I really love The Who.
Strictly the early stuff. The Who went shit quickly and stayed shit. I can live without all that pompous rock opera nonsense. But the debut album is totally killer. They have so much energy. Pete Townsend is a crappy lyricist, but he was a great guitar player.

The Wave Pictures play Islington Assembly Hall in London on April 18 and have a limited-edition vinyl release of the “Helen” EP for Record Store Day on April 19.

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