Tune Tape Tuesdays #34

Holy Smokes, Batman. It's been THREE WEEKS since the last Tune Tape! Y'all must be dying for some new music, and I hope to give it to you in spades with this HUGE selection of tracks to keep you ticking over until the next time I find some internet. Unfortunately posts are getting harder to publish, as the absence of internet at the house I'm staying at is infuriating to say the least - this particular Tune Tape is coming to you live from The Brass Pig, a very respectable pub in which I'm taking up an entire sofa... The apres-work crowd doesn't seem to impressed with this. Perhaps they should try having no internet.

Anyway, enough complaining, time to talk music. This week's number one spot goes to Sam Smith, who has released a live acoustic version of the song he collaborated with Disclosure on, Latch. The original rocketed Disclosure from relatively obscurity into Electronic music's new favourite thing, but this version is, simply, beautiful. The amount of emotion Sam puts into his vocals is honestly breathtaking, and - unlike the original - the slowed tempo allows him to get his pitch spot on. 
Going in a completely different direction is the second song this week. Anyone who follows me on Facebook might have noticed I released a teaser of the content of this week's Tune Tape - Game of Thrones by Rameses B was said teaser. This song single-handedly combines two of my favourite things du jour: Game of Thrones (especially Ned Stark *tear*), and 'Chill-step' (that's slow, lingering Dubstep to you genre newbs). I've had my eye on Rameses B for a while now, and have great respect for the direction he's taking Dubstep in. Now that 'artists' (I use the term VERY loosely) like Justin Beiber have commercialised and belittled the genre, it's very hard to find anything original or credible. Thank God for real artists like Rameses B, that's what I say.
If this changeable weather we're currently enduring has got your knickers in a twist, calm your nerves with a dose of Prizes' Remix of Evening's song, Babe. Evening's Indie vocals are contrasted with multi-layers of beats and subtle sound effects to create an almost wave-like effect of sound and enjoyment. Let it wash over you.
If you'd rather party vertically than horizontally, have a play of ColeCo's You're So Fine - preferably looking at yourself in the mirror, first thing in the morning, in your pants. Tried and tested, my friends, tried and tested. 
Lane 8 is an artist that I'm really loving at the moment. The last few Tune Tapes have featured his tracks Be Mine and Every Night - this week I give you his interpretation of Spandau Ballet's classic: True. Featured in nearly every film either shot or set in the 80's, Lane 8 masterfully updates this guilty pleasure and makes it totally fresh and instantly addictive. 
I've been a fan of Mikky Ekko ever since Pull Me Down - and became an even bigger fan after his collaboration with Rihanna over what is probably my favourite song of 2013: Stay. This week he's released his new solo single, Kids, and the brilliant Monsieur Adi has already picked it up and remixed it. This guy never misses a trick. Funnily enough, it's actually got vibes of MGMT's track of the same name - although, admittedly, probably not so much of an instant classic. Nevertheless, it's super fun and catchy (without being cheesy), which is enough for my seal of approval.
If you are, like me, an early morning commuter, you will be familiar with BBC's Radio 1. Yesterday I heard them playing Disclosure's new release: F for You. But I'd already beaten them to it; nay, I'd already gone beyond, for I have found Totally Enormous Extinct Dinosaur's Remix. Which is, quite simply, fabulous. I'd possibly go even as far as saying it's a stronger track than the original. But don't take my word for it - have a listen for yourself.
A remix that really took me by surprise this week was Kill Me With Colour's version of Bon Iver's Wolves. Expecting a fairly generic Chillwave take on the original made the surprising inclusion of one of the classics of old-skool HipHop all the more pleasurable. I won't spoil it for you. Go ahead. Enjoy.
If you liked Prizes remix of Babe, you'll probably enjoy Skyphos's take on Nina Simone's classic, Feel Good. I say probably. You will. Skyphos totally revamps the track, taking it apart to its most minimal, yet most recognisable, components, then layering some chilled sound effects over a rolling Chillwave synth beat. Perfect for those mornings when you don't want to get out of bed.
King Krule is a talented artist that is only going one way: up. This month he's put his hand to DJing, laying his own recognisable sound onto female rapper Angel Haze's New York. King Krule turns what is otherwise quite an overly aggressive rap track from a Minaj/Azealia/Iggy wannabe into something quite soft and surprisingly enjoyable. 
If rap is what you're after, then Kid Cudi has returned, releasing Cold Blooded. Kid tends to be a bit hit-and-miss with what he brings out, but I think he's hit the nail on the head with this track. It's got a great bouncy beat, and, as usual, Kid's vocals cut through it like a knife through butter. Glad to have you back, Kid. 
My guilty pleasure of the month has to be Kill Paris's Falling In Love Again, which has cheesy vocals and a dirty electro (bordering on Dubstep) beat. It's a total embarrassment. But I love it. 
My favourite lady of Pop, Lana Del Rey has been remixed by Cedric Gervais this month, who turns her song, Summertime Sadness into a banging house track that is guaranteed to get people off their asses and on the dancefloor. Fist pump, y'all.
Last year, Jakwob released Fade - a more commercial direction than he'd previously been involved in, but enjoyable nonetheless. This year, Fade has clawed back some credibility through Sane Beat's remix, turning it into an understated Trap track that is as simple as it is masterful. This is the kind of Trap I like, especially when it's done this well.
Poliça is, I have a feeling, someone we need to keep an eye on. Her song, Dark Star was one of my standout tracks of 2012. This year, Tiff has been expertly remixed by Doc McKinney, who retains her signature vocals in all their glory while still adding some glitches and wobbles in all the best places. Nice work. 
Moving on from Chillwave, we have some Indie, curtesy of SPEAK and Peaks (confusing), and I Break Horses and Denial. Feel-good and light-hearted, it exemplifies the new sound of Indie that I'm always going on about: more synth, generally higher male vocals (if not, female), you get the picture. For all you die-hard mid-00's Indie fans, I'd be interested to know what your view is on this 'new direction'.
Finally, I found a good Mash-up this week of R.Kelly and Phoenix by The Hood Internet. Listen. It's fun.

Wish List Mondays #36 - Ode To A Rose

In the risk of sounding a bit like a stalker: I've been watching Rose Byrne for a long time. About 13 years, in fact. Back then, cable (and therefore Parental Locks) were pretty new. I watched a lot of films I really shouldn't have been able to - American Pie, Oscar & Lucinda, Titanic, to name but a few. But one particular film has remained with me for another reason than its inappropriateness: My Mother Frank was the first film I saw that starred Rose Byrne. This film was not, by any stretch of the imagination, one of Australian film's more memorable offerings. In fact, I can't even remember the storyline. The only thing I do remember is seeing Rose, and thinking just how wonderful she was. To this day, any time she comes on the screen, I say "she's my favourite actress". Not because she can move me to tears, or because her roles have been particularly boundary-pushing, she's just so very...watchable. Most people know her as her 'typecast role' - the uptight bitch of Bridesmaids, I Give It A Year, and, more recently, The Internship. Her filmography is far more impressive, with roles in Star Wars II, I Capture the Castle, X-Men: First Class, Troy, 28 Days Later, Marie Antoinette...the list goes on. But this is not entirely a big-up of Rose Byrne as an actress. This is also a fashion post, and she is one of the few people I can think of who gets it consistently 'right'. She never has a hair out of place, yet manages to look effortlessly put-together, as if she hasn't even tried. To me, that's fashion. 

Get the look:

LOOK ONE

1. Modern Jersey & Mesh Body, Topshop, £20. Touch my body, here.
2. 'Malva' Single Strap Sandals, Reiss, £129. Strap on, here.
3. Gold-Plated Multi-Stone Earrings by Bounkit, Net-a-Porter, £140. Get stoned, here.
4. Super Base Metallic Scale-Print Skinny Jeans by Sass & Bide, The Outnet, £108 (Sale Price). Scale down, here.
5. Bowler Hat, H&M, £8. Bowled over, here.
6. Patterned Minaudière, Zara, £60. Pitter-patterned, here.
7. 18K Gold-Plated Make A Wish Charm Bracelet, Kirstin Ash Jewellery, £89. Wishful thinking, here.

LOOK TWO

1. 'Alex' Silk Crepe de Chine Top by Marc by Marc Jacobs, Net-a-Porter, £195. Holy Crepe, here.

2. Embroidered Metallic Tweed Skirt by Oscar de la Renta, Net-a-Porter, £1,330. Heavy metal, here. 

3. Cream Lip Colour in Barely Peach by Trish McEvoy, Selfridges, £22. Life's a peach, here.

4. Lilac Rose Eye Palette by Bobbi Brown, Selfridges, £45. Artist's palette, here.

5. Pointed Ballerina with Ankle Strap, Zara, £23. Angelina Ballerina, here.

6. 'Goslin' T-Bar Points, Topshop, £68. Get the point, here.

LOOK THREE

1. Cutout Bodycon Dress, Topshop, £40. Red hot, here.

2. '2285U' Curling Wand by Babyliss, Amazon, £30. Curl up, here.

3. Colour-Intense Lipstick in 'Liable' by Illamasqua, Selfridges, £17. You're so intense, here.

4. Combined Sandal with Stiletto Heel, Zara, £30. Well heeled, here.

5. Box Office Pandora Perspex Clutch by Charlotte Olympia, Net-a-Porter, £1,595. Break the Box Office, here.

Thank you, Rose.

Love,

Belle x

Inception

To all who might assume, from the title of this post, that I have returned to critiquing films, a word of warning: this is not my interpretation of one of Leonardo DiCaprio’s finest hours. This isn’t to say this will never happen, it’s just to say this isn’t it - yet. I have just returned from an amazing week in Paris with my friend (let’s call her Julia, for artistic purposes), who is quite remarkable for many reasons - not least for her amazing ability to inception anyone she chooses. In this particular case, the person that she chose to flex her mind-altering muscles on, was me. Let me paint a picture for you…

Julia is not wholly remarkable for her amazing ability to plant ideas into people’s heads. Oh no. In my case, she is also unique in the aspect that she is a friend, who also happens to be my ex’s sister (for more information on this topic, read my previous post, Don’t Worry, Baby). To all intensive purposes, we had a marvelous trip. Despite Paris being, on average, a scorching 32 degrees (that’s in Celsius, for all you American lovers of Fahrenheit), we managed to see, and enjoy, a plethora of cultural activities. But I won’t bore you with a myriad of Instagram-doctored photos of Paris and its attractions, instead I’d rather talk about our last night. There I was, winding down after a week of sightseeing and cultural exploits of the French capital, quietly packing my bag in the private confines of our beautiful hotel off the Champs Elysees (how’s this picture working for you?), making general small-talk about what we’ve got to look forward to after this trip has ended, when she interrupts me to say: “You’re so sad.” I stop packing and slowly turn to her. “What do you mean, like, ‘gay’ sad?” (Not one of my most mature interpretations, I admit.) “No,” she continued, “you’re just so unhappy - and the saddest thing is, you don’t even realise it.” Well, that last part was certainly true. As far as I was concerned, I am pretty happy - I mean, I haven’t got much to get down about at the moment: I’ve recently graduated with a not-too-shabby 2.1, I’ve landed a dream job in fashion marketing, I’m living in a lovely house, in a new city, and have money to shop, see friends, and travel with. Why would I be sad? “It pains me to see you so depressed about your ex-boyfriends,” she finished with. Well hold on there, Sally. I don’t remember mentioning anything about my ex-boyfriends. In fact, apart from the passing thought, I really don’t dwell on them much at all. Until now.

What I hadn’t realized was, with one, carefully placed comment, I had been totally inceptioned. I began to doubt whether I really was happy. Was I just pretending to be happy because I didn’t think I had anything to be sad about? Did I not have any time to be sad anymore because of the job? Was I so out of touch with myself that I project an exterior of sadness and depression that I was not even aware of? In other words, was what she was saying right? Shortly after our subsequent conversation, in which I talked - for the first time in months - about my disappointment in my inability to sustain friendship with my exes, we went to sleep. But this was only the beginning of her carefully planted seed. On the Eurostar home, I didn’t reminisce on our time in Paris. I reminisced about my old relationships, on where it went wrong after they ended, on where they went wrong before they ended - poisonous, black musings that plunged me right back to a mindset that I hadn’t wished to revisit ever again. Like a bad dream that I couldn’t wake myself from, I let every memory of failure, regret, and remorse wash over me, accompanied by the most depressing songs in my iTunes library. I started doubting whether I was truly over my relationships, whether I should have stuck them out, not ended them when I did, whether things would have gotten better. 

A year ago, I wrote a journal. Well, I call it a journal, but what it really was was therapy. I had come out of a relationship that had obliterated me to the core. I was working, so had no time to talk to anyone about it, so instead I worked through my thoughts by putting them down on paper (sound familiar?). I was sad then. In fact, sad would probably be an understatement. But am I still sad? No. There are memories, people, places, that bring up feelings of sadness. But if I let every one of those affect me, I’d be a nervous wreck. I think that goes for everyone. I have a scar on my wrist. I got it at boarding school when some girls pressed the heated metal on a lighter against my skin. People ask me about it, and I tell them that it hurt, but it used to be redder and now it’s faded. I think that’s like relationships. Time heals scars, but scars are still scars. People will ask you how you got them, and you will tell them the story. It doesn’t diminish their healing process, or the pain you felt when you got them. Julia’s inception was like pointing to the scar on my wrist and telling me “it’s bleeding”. All I had to do was look down to see it was fine. 

Love,
Belle x