Now It's Time to Run Out, Do Myself Some Real Good Wear and Tear

September 9th, 2010:


Lyn Devon


Not quite my style, but to each her own. Lyn Devon returned this season with more of her trademark classic tailoring in 22 looks. She fit in a few bold colours with this collection, including a bright red dress, a yellow top and skirt set, and a few acid green pieces, that really added a bit of pop. She also incorporated small polka dot and red butterfly prints. Shirts were buttoned up all the way and tucked into high waisted shorts and pants. Overall, the Lyn Devon girl is looking a little too polished for my own taste, but I quite liked the trenches in looks 14 and 17. Props to Cecilia Mendez on her posing here though, it made the clothes look much younger and more quirky than they would have otherwise.

  

  

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Nicholas K


So what was going on over at Nicholas K on Thursday? Awesomeness, that's what. Colourwise, the collection was very tonal, with a heavy dose of different grey hues, and intermittent beige and olive greens. Models trudged down the catwalk in buckled and laced combat boots with aviators and burettes, occassionally toting the largest bag you've ever seen. There were glimpses of plaid and stripes, but the real story was the continuation of the nomadic theme from her fall collection. She had a lot of what will hereafter be referred to as 'the slouch factor', which I generally reserve for Alexander Wang and Rag & Bone, but I will use it here, as it feels appropriate. Draping to the max, trench coats with oversized hoods, the lightweight aviator theme that seemed a bit of a throw back to Burberry Prorsum's Fall 2010 collection, leather jackets... I can't even... Fuck this, long and short of it is, I'm buying everything.

  

  

  

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Richard Chai Love


Minimalism appears to be a trend a la snowball effect, as we see Richard Chai also toning down his collection and leaving the maximal at home. Like Nicholas K, he decided to go with a look we might associate with a nomadic culture. However, in using whites, greys, and pale blues, in collaboration with a lot of sheer nude fabrics, his collection took on a more feminine appeal. The sheer look was perhaps the most notable, with models decked out in it, whether it be pants or a top (in which case, you would also see that bandeau bras were quite popular). Everything seemed loose, especially the pants, which were big and flowy at times. You got the sense that the clothing wasn't hugging you, it had merely lighted upon you, and a weak draft would send it flying away. Lacking the military edge we had at Nicholas K, Richard Chai's collection felt very soft and feminine, perhaps ethereal. I also thought it was a little futuristic in a way; maybe the sort of thing we'll all be wearing when we're rocketting off to Neptune or whatever. Very nice.

  

  

  

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Bensoni


It was prints galore in the Bensoni runway, with little room for anything else. On occasion, a bright yellow or white frock popped up, but in this contest, the prints win, for sure. They appeared on full-length skirts, blazers, and cocktail gowns, and completely dominated the show, stripes being particularly relevant. Pants and skirts were high-waisted, with hemlines dropping right down to the floor. Cocktail length dresses were also big here, whether they were worn under a blazer or trench, or just by their lonesome.

  

  

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Christian Siriano


The print trend continues at Christian Siriano, with a particular focus on crocodile, which was used in brown and pink tones, as well as brown and blue. Siriano designed a number of really cute cocktail dresses, which I'm sure all the Project Runway fans will love. His finale pieces were red carpet gowns, which became progressively more outrageous, beginning with a flowing printed piece and ending with two gowns you could barely see for the mass of ruffles and tulle projecting out of them. Ruffles was a big thing for him this season, present on most of the dresses he presented, but he also sent out a few pant and skirt suits, which featured the afore mentioned crocodile prints, as well as snake skin. My favorites? The opening looks. I really liked the simple whites with brown leather.

  

  

  

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Cushnie et Ochs


Carly and Michelle have returned for another season, and it's looking like they're getting a bit soft. Their spring collection is much less dark than previous ones, and who knows why. Seems to be working for them though. Preppy, fully buttoned shirts, floral prints, and sheers gave the collection a gentler feel, accentuated by consistent minimalism (safe to say, minimalism remains strong folks... looks like RRR for spring 2011). But in case you're thinking these two ladies have gone completely off their rockers, let me assure you that they haven't abandoned the edge that they're known for: a closer look at those floral prints reveal little decapitated people. And if that's a little too morbid, you can always go for a few leather pieces. There was elegant draping on several looks, which lent itself to a feminine aura. Pleating also appeared on skirts and cocktail dresses. Oh, and the shoes? Be sure you monitor yourself appropriate while wearing them. Kicking someone with those will undoubtedly draw blood. Overall, an impressive display that is going to earn them a few new fans.

  

  

  

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Gregory Parkinson


Parkinson's first presentation at NYFW is unlike anything we've seen so far this season in that it is an abundance of colour. Every single look in the collection was a rainbow of prints (predominantly altered animal ones); sometimes a piece was made up of numerous different fabrics. Outfits were heavily layered at times, and most were belted down about the waist. Knee-length skirts and full out boho maxi dresses were a la mode as well, but seriously, the vibe I'm getting most strongly here is prints and colours. Just go buy some for the sake of this man's sanity. He's clearly unhappy with the minimalist trend.

  

  

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Jen Kao


Last season, Jen Kao brought us an edgy, dark collection, but for spring 2011, she had much lighter things in mind, and I have to say, I love the change. There was a lot of white (which I suppose we are starting to expect) and the collection felt heavenly. Personally, I felt there was whole Ancient Greek mythology vibe going on, what with the flowy white dresses, the crocheting (which reminded me of ship rigging, oddly), and the strange technique she used on the shoes. Not to mention, I swear to Zeus that some of the pieces were inspired by Xena, everyone's favorite warrior princess. Colours were white, olive, beige, and brown, with some royal blues thrown in as well (again, helloooo Athens). Anyway, definitely one of my favorite collections so far in New York; it's dreamlike in it's quality. FFG*.
*Fit For Gods

  

  

  

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Mandy Coon


Mandy Coon reportedly looked to the sea for inspiration on her spring collection this year, in particular, the jellyfish. I definitely picked up on that a bit with some of the looks, particularly a few of the dresses, which had sheer fabrics trailing down from the skirt, but also in the prints that were often tossed over the shoulder. Apart from a few white and coral looks, Coon's show was very dark, incorporating a lot of leather. There was also a sort of unfinished look to the collection, evoked by somewhat tattered hemlines, and the fact that the models occasionally had only one arm in the sleeve of a jacket, allowing it to hang off their shoulder.The off the shoulder thing also had me thinking about bull fighters at times. I'm a little stymied by Coon at the moment; perhaps I just need a little time.

  

  

  

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Rachel Comey


Prints were big ar Rachel Comey, appearing on everything from head to toe. Comey went with a more mature look than we are used to from previous seasons, but the overall effect was successful. Looks that might have seemed a little too modest for the sweltering heat we've been experiencing lately appeared lighter than you might expect, thanks to thinner fabrics and the use of sheers and chiffons. While it's not what I'm likely to be wearing in a year's time, I can definitely see what the benefits of it would be for others.

  

  

  

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Ruffian


I have to say, I was really liking the naval/military theme in this collection. The white with royal blue or red was really stunning, and it had me impressed from the get-go. I mean, Sigrid's opening look? Killer. The traditional military green also popped up a fair bit, as did animal prints (among others) and gold. I liked that the coloured fabrics were often silky with a sheen; it added glamour to the strict, military-inspired pieces and also created a sense that the clothes were being worn on a film or something, if you catch my meaning? The prints brought in visions from various places across the world, like Africa and the Far East, making this almost feel like Twenty Thousand Leagues Under the Sea.

  

  

  

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Vena Cava


I apologize if it seems I'm getting repetitive, but we've got some more prints at Vena Cava. Certainly not overpowering, but they are definitely in the mix. Oh, and I know it's been a while since I mentioned minimalism... The collection is also a little retro in colouration, I thought, featuring a variety of blues with yellow and an orange-red, with the usual black and white. The clothes themselves were retro too at times, particularly in the handling of some skirt hemlines. Halter dresses and short suits were also to be had.

  

  

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Kimberly Ovitz


Minimalist. Black and white. Stripes. And squares. Lots of squares. While this seems simple and boring, I actually quite liked Ovitz's collection. I loved the trench coat, but more than anything, the looks that involved pasting squares and rectangles on to the pieces were ones that I found really appealing. Drapery was also a staple (as we expect from Ovitz). Apparently the whole collection was built around the square, which we see in the looks mentioned before, but in others as well, like a sweater that was made from a square piece of fabric by cutting holes in strategic locations. Not so black and white anymore, is it?

  

  

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Holy mother, that took a long time. Don't expect a review of September 10th for at least three days folks, but please check out the shows yourself as well! More to come...


Peace, love, and floating,
Gill Ford


Photos courtesy of style.com

These Streets Will Make You Feel Brand New

Okay, so the likelihood that I stay up to date on NYFW is low at the rate shows are happening, but I'm going to do my best to stay on top of it... Here we go...


September 8th, 2010:


Organic by John Patrick


John Patrick's collection included 18 looks this season, using the classic pastel pallette we tend to associate with spring. Whites, pale blues, and a faint yellow opener made the collection feel almost resort-like, and very light and comfortable. You get the sense that his clothes are going to be great whether you're running about taking the kids to football practice, or heading to a party. He also included a few floral prints in the form of dresses, blouses, and skirts.


Despite the almost casual feel of the clothes, there is an underlying formalism in this collection as well, which you see in the collared shirts, pressed pants, and blazers. And may I just add that the hat on Tattiana Turin is worthy of Camilla Parker Bowles? Love.

  

  

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Sachin + Babi


One thing about the presentation at Sachin + Babi that I noted in particular was the wide variety of trends they had going on. Honestly, with everything from boho to rocker, there's something here for every closet. There were safari and tribal influences, there were floral prints, black and brown leather, maxis and minis. One thing you might also want to note is that compared to what we've come to expect from these two, the collection was relatively minimalist, with the dominance of spring's trademark pastels and many whites and pale greys. But don't think that means 'undetailed', because on closer look, the clothes are exquisitely crafted, and positively gorgeous.

  

  

  

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Willow


As much as I adored Sachin + Babi (and I really mean it, it was top-shelf), I have to say that Kit Willow's collection for S/S 2011 gets my top vote for the day. The majority of the looks incorporated what is apparently the close up graphic of a zebra's mane, and these ones won big points with me. It's a whole new look for animal prints, and Willow's made it very rock and roll. She used the same clever technique with a piece of wood, which brought a bit of a warmer feel to a few pieces, before changing the colouration to acid yellow. Shoes were constant through the collection: black platform gladiators that ranged from low to mid calf. And how did she close? Sequins. May you have a long and prolific career, Kit Willow. Lord knows I'm rooting for you.

  

  

  

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New York is looking good so far! September 9th was the big opening though, so we'll have to see if the promise continued... Until my next post, I hope you're all enjoying fashion week in your own unique ways. And don't forget, Fashion's Night Out is tonight! Be sure to get out there in support of the second coming of this great event!


Peace, love, and floating,
Gill Ford


Photos courtesy of style.com

On Consistancy

One thing that I hear over and over again about the fashion industry (and perhaps this can also be generalized to society as a whole) is that it is constantly changing. But recently I've been contemplating things that seem not to die out. Whether that is the constant popularity of brands like Chanel, the overexposure of models like Kate Moss, the continuity of the military trend every season... It seems to me that perhaps fashion doesn't change as much as we give it credit for. Or maybe that is the wrong way of putting it: fashion DOES change, it is just a slow mover in comparison to other things (technology, perhaps). A better word for the differences we see biannually in the fashion world might be 'evolution'. Change certainly happens, but over a long period of time.


I know this is probably going to piss off a lot of people, but before you sentence me to burn at the stake, realize that they are simply casual observances.


We often regard industries of the fine arts as 'liberal'. You can make a film about whatever you want, and if Hollywood doesn't like it, you find someone who does, or just post it on the Internet. A book about a boy wizard might be considered a promotion of anti-Christianity, but there's likely somebody out there that thinks it's worth something, and there will always be an opportunity to capitalize on that. Your music video might infuriate the parents of kids watching MTV, but it's on there, so no doubt it's something people want to see.


The arts are an opportunity for the expression of all. There are no restrictions. If one country censors you, you can move to a different one where they doesn't and continue on your merry way. But this is a very basic level of analysis. It is sort of like Communism, if you will: great in theory, but once you set it out in the real world, you run into obstacles. As a matter of fact, the obstacle in both of these appears to be the human need for power.


In music, there are a few record companies that decide who they offer contracts and who they don't. The decide the styles of music they support, the artist images they want to promote, and the message that 'good' music should get across. For example, I often hear people complain about rap and hip hop music being ridiculously focused on violence and the objectification of women. They more often than not blame the artist (50 Cent, Lil Wayne, whatever) for this. With the rap and hip hop industries saturated with young black men, this fuels the absurd stereotype that "black guys are violent women haters", which is extremely unfortunate, unfair, and also completely unfounded. Who DOES deserve the blame? The (predominantly white) guys in the suits that say "Okay, so we can't have any of this 'looking for freedom' crap, that is sooooo 20 years ago..." and refuse to sign anybody who doesn't fit the stereotype they've promoted. Still with me?


In fashion, we have numerous situations. What is considered 'in style' is whatever is decided to be 'in style' by teams at major fashion publications, like Vogue magazine. If they don't promote a brand, it fails to gain exposure beyond the runway (if it even makes it that far), and let's be honest, the group that follows fashion weeks in March and September is significantly smaller than the group that does not.


One of the problems with this is that style is dictated by the same people, year after year. Anna Wintour has been chief at American Vogue for over twenty years, as has Franca Sozzani at Vogue's Italian counterpart. Beatrix Miller held court at British Vogue from 1965 to 1984, eventually recinding command to Wintour in 1985.


With designers, we see many of the same names putting out collections each season. Karl Lagerfeld has been in the industry since the age of 22. Calvin Klein has headed a fashion label since 1968. Georgio Armani opened his label in 1975, and it continues to be one of the world's biggest brands 35 years on.


This is not to say that there are not also younger talents that are emerging in fashion. Alexander Wang is only 26, Alexander McQueen was 40 when he tragically committed suicide earlier this year, and Stella McCartney turns 39 next week. But the thing with the fashion industry (and with many industries) is that once you make it big, you are apparently there to stay. Even though he is 76, people who are 16 still look to him for fashion advice. Anna Wintour is 60, and she continues to be the final verdict on wardrobes three times younger than her own.


There are many reasons why this is the way things work. One, you never get to start at the top. In order to gain skill and notoriety in any business, you need to work your way up. For some designers, that means going to fashion school; for others, it means taking an apprenticeship. Some get lucky breaks with reality television shows, or gain significant exposure when a celebrity wears their designs somewhere (Lady Gaga, for example, goes out of her way to showcase new and emerging talents, as well as more established names). Two, once you get success, you try to consolidate it by taking on apprentices of your own, trying to make your brand as well known as possible. If you're lucky, when you die the public will see fit to replace you with someone who is willing to continue the traditions of your brand, a la Chanel et Christian Dior.


But the fact still remains that much of the fashion-wearing public is wearing what is deemed appropriate by older generations. Twenty somethings trek through London and New York, Milan and Paris, wearing clothing approved by people in their 60s, designed by people in their 70s, and inspired by the vision of people who (if they were still alive) would be pushing 120.


I'm not saying that this is wrong. I'm not saying that it is right, either. It's just a fact is all. Certainly, fashion changes. It has evolved over time as designers die and new ones take their places, and high profile magazines change due to similar rotations. But the change is much slower than we make it out to be because there is a sense that if something is working, we shouldn't change it. That is a very smart move for people who want to stay in business. Yay for successful ad campaigns and high sales! But in the interest of progress for the sake of progress, the fashion industry could do with less conservatism and more of the liberalism that we tend to associate it with. Give more opportunities to younger designers and reporters and stylists and whatnot. They might not be as successful as the veterans, but it would definitely bring a new excitement to the fashion world, as well as making it much more accessible to the public.


Anyway, that's what I've been contemplating for the last couple days. The fresh contents of Gill Ford's critcal mind, not from concentrate. I hope I don't invalidate everything I've just said by indicating my enduring support for Karl Lagerfeld. How's that for hypocrisy? 


Peace, love, and floating,
Gill Ford

My Name is Geraldine, I'm Your Social Worker

What You Should Be Listening To...

1. The xx - XX - 2009

You should be listening to the XX. I don't care who you are, this is an amazing record. Why do I love the XX? The music is simple, but more than anything, the chemistry of Romy Madley Croft and Oliver Sim is beyond. BEYOND, PEOPLE. They're two shy kids from London who went to school together and started writing songs together. But get this, they were never together when they were writing: they would email lyrics back and forth because they were too self-conscious to share while they were in each other's presence. Is that not the sweetest thing?


There is something about the way they sing, they really get a vibe across that they are deeply in love with each other (even though they're not, apparently) and it's rare that you find a duo who do that so perfectly and consistently. And you know something is good when Karl Lagerfeld uses it on the runway ('VCR' featured for his A/W 2010 collection the past March... props). Buy this album and you will be far from disappointed. Indie music at its very best.


Tracks To Check Out:
All of them. Seriously, I started making a list for you, and realized it had every song on the album. In total, it's not even forty minutes long though, so you can literally go through the whole thing while you're getting ready in the morning. Or heading to bed. Whatever. Just listen to it.


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2. Glasvegas - Glasvegas - 2008

I discovered Glasvegas thanks to a tip from the Lady herself -- Gaga, that is -- and immediately fell for these Scottish boys. Alternative rock, thick Scottish accent, fantastic sound. One thing they did very well was make sure all the songs flowed seamlessly together on the album. You lose sense of where one track ends and the next begins when you listen the whole way through. I get chills everytime I give it a listen. There's a lot of sadness on the album, there's violence, there's people dying and parents leaving and cheating on your lover and whatnot. But somehow I don't feel sad when I'm listening. Mostly, I just feel like I'm listening to great music.


Tracks To Check Out:
1. 'Flowers and Football Tops'
This record was written about the murder of Kriss Donald in Glasgow apparently. It's a beautiful song, and currently one of my favorites of all time. Keep your ears open for when James Allen sings 'You Are My Sunshine' at the very end. It just breaks my heart.


2. 'Geraldine'
This one is great too, it's about the lead singer's 'social worker' who is always trying to make sure he's taken care of. You get a sense of how Allen is always trying to break away from this person, not wanting to trust them, but they keep reeling him back in, assuring him that he's safe with them no matter what. Lyrically, I just love it, with lines like what I've useed for the title of this post, and "when you say that I'm no good and you feel like walking, I need to make sure you know that's just the prescription talking".


3. 'It's My Own Cheating Heart That Makes Me Cry'
Boy cheats on girl. Boy feels guilty. Boy becomes suspicious that girl is cheating on him. Boy realizes this is just a manifestation of his own guilt. Excellent song.


4. 'Daddy's Gone'
Again, incredibly sad, but you love it anyway. Basically, a boy's father leaves him and his mum, and the song is the kid learning to cope with the loss of his dad. You get the sense that he might never really accept the fact, despite his constant repetitions of it. Served over distinctly British musicality.


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3. The Stone Roses - The Stone Roses - 1989

The third record you ought to be listening to is another from the UK, but it's a bit older than the others. The Stone Roses' debut album is critically acclaimed, as a matter of fact, it is considered one of the greatest British albums ever released. In case you forgot, bands like the Beatles and the Rolling Stones are also British. So if it's in contention for best in Britain, it's in contention for best in the world by extension. The Stone Roses were also leaders of the infamous Madchester movement along with the Happy Mondays. Unfortunately, the band broke up back in 1996, but hey, the music lives on. Impeccable compliation of songs that everyone ought to own.


Tracks To Check Out:
1. 'Waterfall'
This is my driving song. Seriously, it's perfect for roadtrips. The lead guitar part is excellent; it's fun and summer-y, makes you think of just being excited to go somewhere you've never been before.


2. 'Don't Stop'
Worth checking this one out simply because the entire instrumental track is that of 'Waterfall' played backwards. Because 'Waterfall' is just that good. So good that it can be played backwards and still be an amazing.


3. 'Fools Gold'
This song is just cool. No other descriptors present. Wicked guitar riff, just a classic, no contest. "The Marquis de Sade don't wear no boots like these". Damn straight.


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Peace, love, and floating,
Gill Ford

And You Can't Hold Me Down, Cos I Belong to the Hurricane

What I'm Listening To...

1. Florence + the Machine - Lungs - 2009

Florence + the Machine's debut album Lungs has dominated my listening time for about a month now... If I had to pick a reason why she's lasted as long as she has, I'd have to go with the wide range of genres she has going on. There's pop, there's rock, there's soul, there's blues. There's all that, and on top of that, it also has a distinctly indie feel to it. Florence Welch has a gorgeous voice, and the album really showcases it excellently. Songs like 'Dog Days Are Over' and 'Rabbit Heart' have wicked harmonies... the only way I can describe her voice on these tracks is triumphant; she just sounds so strong and empowered.


One thing (among many things) that she does well, is create an entire atmosphere within her music that's almost tangible. She does this with her lyrics and the way she uses her voice, as well as the instrumentals in each song. Admittedly, it took me a little while to warm up to her aesthetic... The first time I listened to the record, I felt almost like I was being musically assaulted or something because there's often a lot to pay attention to between the numerous vocal tracks, loud drums, strings, etc... I stuck with it though, being determined to find what everyone seems to love about her, and after a certain point it all pieced together, and I've been in love ever since.


My Top Tracks:
1. 'Girl With One Eye'
I LOVE this song... It's actually a cover song, originally written by a band called The Ludes from South London if I remember correctly... Anyway, the way she sings it is great, and with the lone guitar in the background and the drums it's just fantastic (I'd encourage you to look for some acoustic renditions of this one). It's quite a dark song in some respects (what with the cutting out of hearts and all) but when you look at it metaphorically... Okay, it's still dark, but it's a great song. Love, love, love.


2. 'Drumming Song'
This was the fourth single from the album, and it's just plain epic. There are pounding drums going the whole bloody time (hence the title), and it's like a tumultuous heartbeat. Essentially, the drums are what the narrator hears whenever she's near her lover, and they're driving her mad. It's a powerful song; or maybe it just feels that way because of the drums and vocals, but yeah, great. Two thumbs up, five stars, and all that jazz.


3. 'My Boy Builds Coffins'
This one's on the list, but I'm not overly attached to the version she has on the album. I'm not sure where the version I first heard came from, but it's really blues-y, similar to 'Girl With One Eye'. It's much darker than the album version, and I think it's really unfortunate she didn't put this one on the album, because in my opinion it's much stronger, not just in the genre, but also just the rawness of her voice. Here's the link.


4. 'Hurricane Drunk'
I love this song for many reasons. The title, for one, attracted me to it, just because I look at it and just think of someone (some of my dearest friends, for example) so rip roaring wasted... and that just gets me. Her voice is excellent on this record, and the music itself is like an infusion of rain noises, pearldrops, plucking on a harp or something (which sounds mystical and exotic at times), and of course, a compelling percussion track. I'm surprised this song hasn't been released as a single actually; it feels like it's commercial enough to be successful in that way? Who knows, maybe it will be the next one... Or maybe she'll release a whole new album of enticing material. Fingers crossed!


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2. The Hives - Tyrannosaurus Hives - 2004

I came upon this quite by accident one day while flicking through my mother's iPod, which had been loaded up with music by my brother during his punk phase back in his middle school days. I was going for a run, and my own iPod had finally succumbed to various forms of abuse, so I needed to find a replacement. I'd never heard of these guys before, but my choices were a little limited, so I gave them a chance, and they've been my running buddies for the whole summer.


The record is very guitar-driven (which is only to be expected from a punk band, I suppose), with catchy guitar riffs that really appeal to my ears, anyway. I'm not generally a fan of screaming and such in music, but when Pelle Almqvist has his way, I don't mind all that much, because it fits with the mood, I guess. At some point, I'll have to check out some of their other albums to see if they're any good, but for now, I'm quite satisfied with this one.


My Top Tracks:
1. 'B is for Brutus'
When I first heard this song, the intro had me thinking it was going to be distorted surfer music... But I was wrong. It's basically about Brutus and the lack of recognition he gets in comparison to Caeser... or at least, that's what I got out of it. He's the 'little man' who does all these things that are just as big as what Caeser does, but he doesn't get anywhere near the credit. That's the reference of Brutus, anyway, but in reality, it seems more like a song about a boy with an unfortunately small dick, who is forced to compensate in other ways.


2. 'Two Timing Touch and Broken Bones'
Really haven't analyzed this one for much meaning, but the title basically sums it up. It's a really fast moving track, and I'm quite partial to it. It was the second single off the album, which I totally get, because it definitely has that sort of vibe. I'd love to see somebody use it and/or 'Brutus' for a runway show... I think they'd be great over at Rag & Bone. I feel like I should be strutting about when I'm listening to them.


3. 'Abra Cadaver'
Punk: good. Freedom: good. Rebelling against social norms: goooooood. I reckon this ought to be a punk anthem. I'm surprised this one was pushed back to be the third single actually, I really feel it should have been the first one because of the feel and message it's putting across. I guess I'll have to settle for it being the opening track on the album.


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3. The Black Keys - Thickfreakness - 2003

Really been feeling the blues of late, and the Black Keys have been a big part of that. They're not exactly Stevie Ray Vaughn and Double Trouble, and like the White Stripes, they don't have a bass player, but the guitar riffs are fantastic, and Dan Auerbach has a killer voice that I just adore. I'm not going to pick any specific songs off the album, because I really think that this is one where you just need to listen to every track. Yeah, it's that good.


So if you're having a barbeque with your mates in the outback (or if you want to feel like you are), pop this one in. It's great music to just sit and chill to, and it's something everyone's sure to enjoy even if they aren't big on looking for meaning in the lyrics (that's not to say that the songs don't have meaning, it's more a comment on the appeal of the album's sound aside from that). Definite recommendation. Go buy it.


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Peace, love, and floating,
Gill Ford