Accessory Service Announcement

   My rose pins, which I wear in the manner of boutonnieres, have entranced and mystified both regular readers and the people I interact with outside of this column

   Having tired of being asked if I'm making a political statement in sporting them, I've officially lost discarded them for the time being. If you wish to take up my baton, hie thee hither to Rose Paradise and place an order or three

   This season, I shall be wearing a Remembrance Poppy and, post Remembrance Day, actual boutonnieres whilst I upgrade my lapel accessories

   This is for the anonymous reader who keeps asking about them

Fashion Thought of The Day

For now, this says it all

From The Fashion Museum, Bath. Image by Master-Classter at StyleForvm

Synchronised Swanning and Anish Kapoor

Photograph by YF

   Back in the RA courtyard after observing a bullet of red wax shot out of an air compression cannon  (Shooting into the Corner) at the Anish Kapoor show. The poses struck by myself and YF's lady are close enough to inspire the dreadful punning in the title

   I enjoyed thinking of how high the cleaning bill for removing all the dried wax from the walls and floors at the RA would be, but I especially like what Kapoor does with mirrors, transporting them out of the funhouse and onto the gallery floor. One would think that removing the spooky dark rooms and the disco smoke machines from the equation would take away much of the pleasure of narcissistic image distortion, and actually, in a way, it does. Unless one is one of the many half term-celebrating urchins running unfettered throughout the exhibition, that is

   Also prominent amongst these appealing constructs, Hive (womb symbolism meets the inside of an ocean liner's hull meets an echo chamber) and Yellow (a concave fibreglass and pigment-based work that belies the inverse dome in the centre by appearing solid if stared at long enough) were similarly striking and inviting of momentary scrutiny. I think I want to go again

Stars - 'Elevator Love Letter' (2003)

 http://www.musicstack.com/

   In 2003, I was still a student and because students are stupid and introspective, I began to delve into twee pop. Today, I'm so out of touch with my emotions that I can justifiably claim to have left my feelings in my other trousers. But some things stay with you and this song is one of them

   Stars is a Canadian pop outfit almost unhealthily concerned with love, death, love, isolation, love, major emotions, guitars, love and keyboards. On a side note, founder and male singer, Torquil Campbell, was a walk-on in an episode of "Sex and the City, crowning his achievement with his sole line, directed at Sarah Jessica-Parker: "Is that pleather?" I spent a reasonable amount of time with their first three albums, fell hard and then removed them from my affections almost as quickly. Perhaps it really was a question of feelings in the end. Still, 'Elevator Love Letter' is quite possibly their indelible classic, or at least as close to a signature song as they had developed before releasing 'Ageless Beauty' in 2004

   The thing is, songs that are bleak, wistful and disappointed at the core but dressed up in melodies and beats of earworm-like properties are neither new nor uncommon, but few of them have as delicate and accomplished a happy-sad balance as this does. Although Torquil has a part to play as a cynical, blithe Lothario in the second verse, the song rests much more on the beautiful vocal performance of Amy Millan and her realisation of the equally cynical and emotionally stunted yet yearning, depressed and insecure rich girl whose woes and fragility drive the song. If her story was not so slight, I'd actually like the song less, since Stars already had 11 other emotional situations to navigate through on the song's parent album, Heart, to say nothing of the rest of their output

   'Elevator Love Letter' tells me just enough about its characters, says enough about what a rich girl with a nearly frozen heart really wants out of life and woos me just enough with a fast paced, lightly melodic production and singing that actually affects. And all with a chorus that turns the mundane into something transportive, although it helps when there's various layers of instruments playing in perfect synergy underneath it

   Maybe I've not grown up fast enough - I may still have the albums somewhere

Outsmarting The Daleks

Photograph by YF. Title inspired by BC on StyleForvm

   Much like EJ and Steve of Style Salvage, I've always had more than an occasional torrid fling with the concept of a personal uniform. I'm certainly living it right now - it's been little other than jacket-and-tie or jacket-and-waistcoat-and-tie for the past month or so - and while it won't approach an apex any time soon, it does start to feel a little constricting (much like my strange penchant for wearing my Junya trench to art shows). I do not plan on creating any full-on streetwear ensembles, but the notion of placing such garments back into my ensemble is a rather tempting one. As I recall, my aesthetic of six years ago was about creating traditionally inspired outfits out of streetwear; possibly the folly of youth, but at least it was an entertaining and challenging idea, and somehow I neatly avoided resembling a member of a seventh tier indie band

   Of course, the flipside is that I usually set out to entertain and enliven myself with my traditional ensembles. Hence the ever-exuberant colour mixing and pattern clashing. And no, I did not wake up that morning intending to match my tie to my umbrella, but fate is funny like that

   I'm standing outside my modern art TARDIS in the courtyard of the Royal Academy of Arts in Piccadilly, which currently hosts the works of Anish Kapoor. I'm rather looking forward to catching the show, possibly next week at that. Good weekend, all


   P.S. Dear Steven Moffat, if another regeneration is forthcoming, holla at me. Yours, B.O.N.

Pop Culture Thumbs-Up 21/10/2009

   The Quietus interviews Florence Welch of the vacuously flouncy Florence and the Machine. And it is truly refreshing to read an interviewer so unrestrainedly spiking her subject, so much so, that the interview itself comprises 30% of the overall feature. As someone who's only sweet on the outside and considers House, M.D. and its rational, brutally honest title character to be the best creations in modern television, I feel very happy indulging in the vituperative, scathing and insightful snark unleashed on Ms. Welch, who reminds me very much of every other female art student I've ever met in London (Writer's note for art students: put it this way - if we're buds or if I've ever been polite to you, I'm obviously not alluding to you)

  In the comments box, one reader notes, "good singers don't always make good conversationalists. and more often than not, good conversationalists make terrible singers. Two different forms of expression. it doesn't mean that she's stupid." He's not wrong. But leaving aside his obvious fandom, he's wrong to excuse her conversational abilities on the supposed merits of her talent because aside from the fact that her public persona generally belies the metaphorical knots around her tongue, someone who allegedly bursts with ideas should have even the most basic things to intone on regarding their craft, some small details to reveal regarding its intricacies or the work put in or how a particular burst of inspiration took matters to a logical and enjoyable conclusion. And that isn't what I just read, nor will my hopes be approaching the high setting any year soon

   Rumours of the death of America's favourite jackass (straight from the President himself), Kanye West, comprised the top Twitter trend this morning. I'd be interested to know what the fake cause was - "crushed under the weight of his own ego/hubris/chutzpah" seems far too mundane a death for him. Where would the funny be?

   Oh, and I finally sent a new piece in to Men's Flair, regarding the Hong Kong based tailors, W.W. Chan, who will be in residence at the London Park Lane Hilton tomorrow and Friday. I like them because they are far over half the price of your entry level Savile Row two piece and nearly as impressive. And frankly, not many other tailors do such an intuitive job of creating an aesthetic that marries exquisite classicism to natural progression. When I can afford them, I'm pretty sure crazy things will happen

Don't Look At Me

Photograph by YF

   Autumn is meant to be the favoured season for those with the dressing-up affliction, but I'm only now starting to get into the spirit. No one and nothing to blame; it just seems to be one of those slow times

   I was a little less colour bold as a result, but the nice thing about a slow period is that it doesn't last forever. Be patient; my infamous eye-bleeding combinations shall one day return

an.evening.in.flux

 All photographs © Erno Raitanen

   As art.in.flux's recently mentioned Suspended in Process exhibition comes to an end, I had the pleasure of having this selection of photos from the opening night delivered to my inbox by enterprising young Finnish shutterbugger, Erno Raitanen (another Finnish photographer? My Pokemon collection has been truly superseded). He has quite an eye, I trust you'd all agree:

In conversation with S and Winston

Special thanks to Kat for inviting me and art.in.flux for organising such an interesting evening

Cornelius and Ryuichi Sakamoto - 'Turn Turn' (2008)

   'Turn Turn' is one of the songs that I listen to precisely because of how it plays with my head. Most folk unlucky enough to be aware of my aural relaxation proclivities would decry this revelation as just another footnote in my ongoing adoration of Cornelius. They're probably right

   A cover of a song by the Japanese band Sketch Show, it was originally written by electropop legend Haruomi Hosono, who is also a core member of the trailblazing Yellow Magic Orchestra (for the kids - J-Lo sampled 'Firecracker' for 'I'm Real'; the version without Ja Rule, that is) with his Sketch Show partner Yukihiro Takahashi. The cover features on the album Tribute to Haruomi Hosono, which leads to the involvement of Academy Award-winning composer (for The Last Emperor) and third of the YMO trio, Ryuichi Sakamoto, as well as the pictured international EP by Cornelius. Keigo 'Cornelius' Oyamada? He's merely a longtime fan who got to play guitar on 2007/8's live performances by the trio and has maintained a successful, eclectic and evolving musical career since his start in whimsical pop band Flipper's Guitar in the late 1980s that includes international releases for his last 3 albums and headlining sets at The Budokan

   The original 'Turn Turn' is the kind of song one would expect of modern YMO - it's a touch awkward, a little bonkers, lackadaisically funky and it's so synthesised and - in spite of its light melodic touches - oddly atonal that the result is somewhat alien, albeit trippily so. The cover is even odder for managing to achieve what sounds like a meditation on mild insanity. Many of the present Cornelius techniques are in force, including the 3D-like stereo panning of half the instruments per song that makes his music an audiophile's delight in triplicate (God knows how he does it, but it's a technique so subtle - especially compared to his contemporaries and challengers - that it tends to mesmerise the listener without inducing insanity. Unless it's one of the songs where he's actively trying to drive one insane). And the contemplative mantra of the chorus - "You must come full circle to find the truth/We must come full circle to find the truth" - offers an ideal premise for this thoughtful duo, who employ a bare bones approach of bass, guitar, light-but-whipcracking snares, goofy effects and good old Japanese exoticism. These elements then lightly intersect with each other underneath the synchronised vocals of Oyamada and Sakamoto, who sing with a soothing detachment

   The general mood is of calm until somewhere between a DJ cutting on turntables and a spinning top, there's the crazed tape effect in the breakdown as androids chant a synthesised "Turn" with ever increasing urgency until the effect releases itself across the speakers and a long synth note washes over the rest of the song. Chimes tinkle, a gong rings and the music ends in the exact same way it began: a faded note skipping across stereo channels, signaling a mood of reflection, quiet and strange contemplation

   Yes, it has that kind of effect on me

A live performance of this version of 'Turn Turn', also featuring Takahashi (without the crazed breakdown)