Leadbelly - 'Where Did You Sleep Last Night' (1944)

For the record, I'm unfamiliar with the Kurt Cobain-sung cover. I just had a rather bluesy weekend 

Metal Lust Object No.5

Vintage Italian solid silver caviar dish via Vintage Kitsch. A modern model with added depth and seahorses is offered at Asprey. Some food experiences should go all the way, no?

Sartorial Arts

All works sourced from the artist's website

   I recently had an opportunity to browse the artworks of Oscar Whicheloe at the Medici Gallery - one of the myriad fine show spaces on London's Cork Street - and although the show concluded yesterday (let alone that I should have visited it earlier), I thought some of my semi-regular readers might entertain yet another sartorial artist in their hearts

   Of course, Whicheloe hews to a different blueprint than my favoured illustrators (Leyendecker, Fellows, Sheridan, that Grafton guy... can't think of any others); presently working at Wimbledon Art Studios, he is a graduate fine artist of Surrey Institute of Art & Design (class of 2003) who has set his brushstrokes on producing still life and portraiture, as well as prints, etchings and monotypes. Rendering tailoring is only one of the facets this gifted creator presents to the world and like my dear friend Ian Bruce, he can find the inner artistic boldness in even the most conservative suiting

   Nevertheless, for those who are as enticed by Savile Row window displays (now de rigueur since Nutter's began putting on a show in 1969) as the next man, Whicheloe's reverent, skillful and evocative series of half finished suits framed on that famed street are ineluctably delightful. As my own forays in painting and drawing taught me long ago, nothing vexes quite so much as the near infinitesimally small detail - the strings on a harp bow; the fuzzy turf-like texture of a towel; thread hanging from a needle or, perhaps, a bespoke suit. It is, therefore, a feat that he can so accurately capture the stitching so necessary to this sort of work in progress; additionally, by focusing on the incomplete suit, he brings a certain dynamism to it by making it a centrepiece - it congratulates the skill involved and enjoys it for the tantalising hint of a finished article that it is. Even an unfinished work done well holds a certain amount of value. The guessing game for the windows will no doubt keep one or two of you Paraders diverted; I have so far spotted  Richard James, Huntsman, Kilgour, E. Tautz and my countryman Ozwald Boateng. One may also note the presence of Paul Smith's socks and furnishings from other Piccadilly locations; the Royal Arcade and Albermarle Street shops, respectively; Smith's signature use of his tumescent palette and print libraries is just the sort of challenge that's at home in Whicheloe's catalogue of nuances

 

   It is this combination of a bold, up-close aesthetic packed with unerring detail that gives the artist's work a certain piquancy; his nous for composition, shape and colour also deftly leavens his output. For those of you available later in the year, Oscar Whicheloe will return in a solo show at St. George's Hospital, London

My present focus is on the still life scenes that are captured in a tailor’s window – a very precisely controlled environment, entirely constrained by the way the tailor has decided to position and display his creations.

These displays capture both the wider society they aim to reflect and attract, as well as the hidden inner-world of the tailor. “Finished suits are presented with tacking threads still visible, echoing the glamour and attraction of bespoke luxury clothing and the society that consumes it, as well as the physicality of the fabric and the hidden work involved in its manufacture.

A Portrait of a New Suit

It's Houndstooth Time

Right before the spring arrives to make it obsolete, that is

"Liz"

February 27, 1932 – March 23, 2011. Never forgotten and, therefore, not truly gone

   In the past year alone, all due to the constancy and magic of Turner Classic movies, I have watched Cat on a Hot Tin Roof, Butterfield 8 and The VIPs at least twice each. And there was a particular luminescent smoulder belonging to one Elizabeth Taylor that made many of the moments in these films as sexy and yet as dignified as they come. Often, I wondered if her work should be accompanied by a heatstroke warning

    As a child, I initially perceived Ms. Taylor in two states - one as a rather glamorous actress that elicited romance-tinged reminiscences from my parents and the other as a rather glamorous actress that was best friends with my hero, Michael Jackson. But I was already aware that this other indelible star rather liked surrounding himself with the best of the then-living icons: we should all be so fortunate to learn at the feet of Diana Ross, sing tributes to Sammy Davis Jr., or be called on by Fred Astaire for moonwalk lessons  

"Richard! Will you stop drinking and come to bed this minute! Your voice is ricocheting all over this hotel."

   Even after the multitudinous marriages, the faded latter-day career that was sustained primarily by branded perfumes and the cascade of human frailty that has finally claimed her, damn if she didn't continue to command with her presence whilst attending to business. And she never quite seemed to shed a singular, and rather unusual quality: that of being the screen goddess next door; a curiously approachable beauty who lived and looked for all the world like one of its royals, but possessed of a humour that the truly down to earth seem to use best. Between this, her accents and her singular beauty, it was almost too difficult to perceive her as British  

   She also deserves my admiration for affecting the vocal middle ground between Olive Oyl and Betty Boop. Vale, Dame Elizabeth Taylor: never forgotten, not truly gone and missed by more than a great many. Thank you

Daft Punk - Tron: Legacy (2010)

   To be honest, they had me at the affectionately appropriated John Carpenter synths

   I had eagerly anticipated this latest curio from one of our era's most beloved and occasionally pilloried electronic acts, but the prospect of uniting them with the 85-piece London Orchestra and the guiding hands of orchestrator and arranger Joseph Trapanese certainly instilled promise. Never mind that at far as the cosmos is certain, no other concern is as fated to score a Tron sequel as Daft Punk, but the spectre of third album Human After All still casts a pesky shadow. I cannot recall the halcyon message board day the general approval of 'Robot Rock' dissipated into shards of broken hopes and dead disco dreams when some encyclopaedic wag unearthed its original incarnation as Breakwater's 'Release The Beast', providing both an appreciation of a superb sample source and an accusatory totem with which to beat our favourite French androids over the head, without smirking a little

   Nevertheless, Thomas Bangalter and Guy-Man de Homem-Christo have built up enough goodwill over the years to merit more than a little leeway when scoring a blockbuster movie, and if their remit was to produce a soundtrack that stands with the greats of our cinematic history, than the amount of time I've spent listening to this record since its December release suggests they came tantalisingly close to succeeding. For if the duo did not know their way around a hook - no matter how repetitive - their career would have been consigned to history faster than that of The Nolan Sisters

   Of course, such a sampladelic act know their way around the hooks other artists create, and aside from Carpenter and other old hands like Philip Glass, Vangelis (the well played homage 'Arrival') and Maurice Jarre (whose sweeping, bold romanticism and late period synth antics seem to guide the electronic and orchestral merges here as much as Tron's original composer Wendy Carlos. Wagner's here too, of course - who else could 'Rectifier's evil imperial bombast remind one of?), the soundtrack also takes in a very modern sampling of prolific scorers Hans Zimmer and John Powell, who are named in the album's thank you-notes, and whose respective trademarks of moody, minor key, minimalist strings (the recurring leitmotif for the film's sinister, near-unkillable antagonist Clu; 'ENCOM Parts I and II') and muscular tribal rhythms married to string-based melodies and flourishes ('Disc Wars'; 'ENCOM' again) give Tron: Legacy an almost self-consciously contemporary launchpad. Which is why it's so compelling when Daft Punk then proceed to add other twists to it. The repetitive build, swell and release that guides their studio records - utilised here as if to prove that the formula is mutable, not worthless, in a different setting - deftly complements the rushes of emotion, danger, odd austerity and digital battling that the film presents. Indeed, when the aforementioned Carpenter-like four note synth intruded like a warning alarm during Clu's first appearance, I could have punched the air with glee - a newly minted, iconic, modern leitmotif to match Jason Bourne's (the elegant, Bernard Hermann-like grasp of sinister undertones through strings and timpani offering the perfect creepy accompaniment, as does the hot vapor electro hiss when the stern, urgent strings of the final 'CLU' theme incarnation take hold - music for a last stand against a complete monster if I ever heard it. Digital Jeff Bridges is the new Childcatcher)

   The fortunate thing with so many musical reference points is Bangalter and de Homem-Christo's determination to meld them in ways both subtle and overt, refracting this familiarity into their own aesthetic in the same manner that their synths and symphonies wind around each other like sinew, a trick excellently deployed early in the runtime during the first 5 seconds of the stirring, Zimmer-but-different 'Recognizer' alone. Indeed, this piece is demonstrable of the album's significant, intrinsic aspect: the total ease in wedding the orchestral to the machinery, giving both core elements a textural parity that is stunningly synergistic - in this way, and in the recurrence of its own science fiction main motif across the myriad pieces, the work I'm most reminded of is that of Basil Poledouris for RoboCop. Like Daft Punk, he successfully rendered a traditional, yet unconventional, film accompaniment that musically captured the man/machine tension driving the story; in both cases, it is a judicious sense of nuance that results in such textural success. Hence, unlike with Zimmer or even Jarre, one doesn't see "the synthy bit" and "the horny bit" telegraphed a mile off. And it is both this and their versatility that make future Daft scores a prospect worth putting up with the inevitable cash-in remixes* for

* Let us face it - Tron: Legacy Reconfigured would always have sucked most of the interesting elements dry from the bones of the originals

   Even though two years working with Trapanese cannot confer his particular skills upon them, the two minds at Daft Punk's centre are so attuned to the protean aspects of a film's scenes that the score may forever threaten to overshadow the visuals in the mind's memory. Cohesion carries the day - the stylistic, near synaesthetic similarities created through mood and minimal melodies (and of course a band so concerned with hooks would make a film score with a surface so simple), as well as the two's increasingly dynamic mode of production and mixing, are what allows purely symphonic  pieces like the beautiful 'Finale' to gaily coexist with the Springsteen-esque, neon night ride 'End of Line', requiring little glue from the more conceptually enticing in-betweeners like the moving storyteller that is 'Adagio For Tron' (and speaking of leitmotifs, what an excellent plot detail it is to include Rinzler's theme in this piece, furthering the curiosity over this warrior's origins. Other plot guided examples include the reworked refrain of 'Armory' in 'Outlands Part II'). And all of it sounds ridiculously gorgeous and clear as a bell - there's something alluringly crystalline about the pulsingly pretty highlight, 'Outlands', whose wild ride-soundtracking resembles Danny Elfman's 'Flight of the Batmobile' filtered through the breezy sensibilities of Daft Punk's own 'Revolution 909'. And even this gem is preceded by the album's critical consensus-favourite 'The Game Has Changed', where Daft Punk's production nous reflects the fragmentation of the dying Program characters and the sterile yet treacherous and twisting expanse of the Light Cycle grid and the match fought on it through bit crushed martial drums, a hypnotic synth melody and the old build, swell and release as represented by the prominent and then reticent style of the instrumentation

   In order for one to fully appraise the score, I particularly recommend it with the visuals attached. Given that the film was cut to the music, that is no idle witticism - in that sense, it is also the successor to Daft Punk's humourous, nostalgic and entertaining anime collaboration with Leiji Matsumoto, Interstella 5555, which simultaneously played out to their memorable sophomore, Discovery. Tron: Legacy may not have the duo's vision at the helm, but my, are they becoming increasingly adept at telling a story made by others

   

Crash Machine

   Moments like this really make one feel secure about their finances, no?

A Glimpse of a New Suit

   From the waist up, that is. Please excuse the rumpled hem caused by a restless foot

   More to follow,

   BON

The Week's Inspiration

Shepherd check three piece suit plus cane, homburg hat, gloves and overcoat circa the 1930s, as rendered by renowned fashion plate illustrator Laurence Fellows, patron saint of all i-trads and i-dandies everywhere