Words by Jim Pilling.
Central St Martins students have got it pretty cushty at the moment – not only have they been given an amazing new building, which came with its own very special launch party, they’ve also been handed a brilliant excuse for being late or missing lectures… “Sorry… new building!” Ah student life. We wouldn’t fancy studying again, but this place certainly makes us want to go back to school just so we could marvel at the structure that looms over the back of Kings Cross, dominating the landscape and illuminated by a giant ‘Central Saint Martins’ spotlight for all to see. You’ll remember that we popped along to the NOVA awards, set up by Lowe & Partners a little while ago, well next up was a music night curated by super label Island Records.
The first room was the exhibition room, which served as an ideal stopgap between acts playing in the live room. On show in the exhibition room were artefacts from Island Records’ 50+ years in the music industry. As we slowly perused the album artwork and photographs we found ourselves constantly going back for more. It’s easy to forget how many icons have been on the label – Bob Marley, Grace Jones, Tom Waits, Bob Dylan, Ultravox! The list goes on – from Junior Murvin to Florence and the Machine, the label’s archive reads like a who’s who of artists that have stood the test of time over the past half a century. As well as the impressive articles from the label’s back catalogue, the exhibition room was host to a number of Kinescope installations, each with a peep-hole and a set of headphones, through which PJ Harvey’s latest (and SECOND Mercury Award winning album) Let England Shake could be heard, and seen. Yes, seen. She’s such an Island treasure that the label decided to use this exhibition as a one-off opportunity to screen Seamus Murphy’s film accompaniment to Let England Shake in this particular format. The 12 short films, one for each track, took the viewer into the world that PJ Harvey crafted through each of her songs, portraying England and Englishness through the powerful everydayness of the road trip-type footage that supplemented PJ Harvey’s own musical depictions of old Blighty. You won’t get the chance to see these films through a Kinescope now – that ship has sailed, but if you’re a PJ Harvey fan and you get the chance we’d recommend having a watch, and allowing the films to shed new light on the songs.
Over to the live room, where four of Island Records’ present gems – Clock Opera, Jess Mills, King Charles, and the ever-impressive Tom Vek – were representing the label’s current flavour, and doing a mighty fine job of it. Clock Opera’s space-paced chopped up pop got the night underway as people began to filter in and get settled for the evening’s entertainment. Next up was Jess Mills, whose performance was as striking as her songs – her reputation preceded her when we heard that she’d been contacted by Robert Smith after doing a cover of ‘A Forest’; he proclaimed himself a fan, so if it’s good enough for him, it’s good enough for us. King Charles’ distinctly English folky-psychadelia was the stand out performance of the night though – one to watch in the coming months and years, most definitely. Not to take anything away from Tom Vek, his tight and punchy indie wrapped up the night and went down a treat with the art students – not surprising, of course, but he just keeps getting quietly better and better, which gives every appearance of his, that extra little ‘oomph’ and that extra little shine.
Photo by Jim Pilling
Tom Vek courtesy of Phil Baines
Photo by Jim Pilling
King Charles courtesy of Phil Baines