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We all know that festivals are pretty great, and amusement parks are crazy fun. But we’ve managed to find something that’s more exciting than both of those things. A festival INSIDE a theme park. If that sounds too good to be true, you’re in luck, because this fantasy has just been brought to life. Moshi Moshi & Rockfeedback Concerts are proud to present the By The Sea festival, being held at none other than Margate’s Dreamland! This event is the only one of its kind, bringing together big name artists and up-and-coming bands, and placing them into the unique setting of a Margate amusement park. The festival is taking place really soon, starting from the 30th September until the 2nd October 2016.

With last year’s festival being headlined by popular names like Foals and Hot Chip, the organisers made sure to equally knock it out of the park this year. Expect to see the likes of Wolf Alice, Super Furry Animals, Bat for Lashes and Wild Beasts, as well a DJ set by Jarvis Cocker on the dodgems. Additionally, there’s an Art’s Cool showcase on the Sunday, where artists such as Eagulls will be playing. There’s even a Margate museum acoustic bill which includes Alexis Taylor and Slow Club.

Buying a ticket gets you full access to the Dreamland theme park across day and night. You’ll get unlimited rides, food and will be able to experience absolutely all of the entertainment that your heart can handle. Get your adrenaline fix from the Big Top or the Helter Skelter, or go old school in the arcade room. If rides aren’t your thing, you can check out the independent record market, or just save all of your energy for the after-parties and other late night take-overs. Remaining tickets for the event are still on sale now, so be sure to get yours before they sell out!

In anticipation for this once in a lifetime event, Wonderland was treated to a By The Sea playlist by Ibibio Sound Machine to get us all in the mood for some seaside shenanigans.

https://play.spotify.com/user/bytheseauk/playlist/1UvbdmnOMgvBdgfOI56T2w

Ibibio Sound Machine – “The Talking Fish”

https://play.spotify.com/track/77olimEkYdq1743eHmoBeF

Owiny Sigoma Band – “Sunken Wrecks – Pilooski Remix”

https://play.spotify.com/track/71GskVQPwgTt3YAjr2vX6R

Parliament – “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)”

https://play.spotify.com/track/1KdVXbtyjedbgO2aEelS4G

Clap! Clap! – “Sailing in the Seas of Wood”

https://play.spotify.com/track/6SWfQeCyAkiJuRRKY0OYY0

Ibibio Sound Machine – “The Tortoise”

https://play.spotify.com/track/0w2Ap7HHvycf4g3iQBcHQn

Melt Yourself Down – “Tuna”

https://play.spotify.com/track/5tA2QzVeKf6ChkOV6Idxjz

Seasick Steve – “Last Po’ Man”

https://play.spotify.com/track/4k1JEZAugkdAXUOp3LPMm3

Philip Glass – “Liquid Days (Part I)”

https://play.spotify.com/track/3YptZ40vtJizsNtR6uyZzZ

Owiny Sigoma Band – “Deep Kisumu Fish”

https://play.spotify.com/track/1ztn3KtBG9vTulitapRlQN

Words: Mariah Rosslee

The post Playlist: By The Sea Festival appeared first on Wonderland.

Taken from the Summer Issue of Wonderland

Top by AMERICAN APPAREL

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Laura Callaghan is focusing on the popularity of inspirational quotes on social media platforms through her art medium of illustration. The girls are complex creatures, often looking unimpressed with life, and to be honest aren’t we all? In a world where girls are torn between being told that they can do what ever they want and yet still being compared against impossible beauty standards, it’s no wonder girls are giving the world the side eye.

Callaghan is keen to explore these contradictions and puts her girls in relatable scenarios, which will leave you slightly uneasy. Her show is an intricate collection of fresh new watercolour paintings, printed textiles and screen prints, which are much more inspiring than your Instagram feed packed full of illogical quotes. They’re also about a thousand times more relatable to gal-life. Quote after quote of things like “Be with someone who looks at you every single day like they’ve won the lottery” and “Every job is a self portrait of the person who does it, autograph your job with excellence” eventually starts to feel like a bit of a kick in the teeth when you’re bored at your uninspiring job, drinking an overpriced dishwater latte.

Wonderland caught up with the woman herself, who talked us through some of the themes of Aspiration, the flaws and failings of social media and the relationship between millennials and capitalism. The exhibition runs from 2^nd June – 2^nd July 2016 at KK Outlet and it is not something you’re going to want to miss.

Explain the inspiration behind your ‘Aspirational’ show. 

The pieces are a tongue in cheek homage to the prevalence of inspirational quotes on social media. They are pretty inescapable at the moment, copy and paste philosophies and borrowed insights – but when big ‘profound’ phrases, which are intended to motivate and inspire are applied to real life situations they quickly lose all meaning. They’ve now been co-opted by brands to try engage with their customers on a human level, and bizarrely it seems to work – these are the posts with the most likes, the most ‘ME!’ comments underneath. It’s really interesting that they’ve gained so much momentum, though I read a article which suggested people are drawn to positive affirmations in times of hardship and recession, like how readers gravitated towards Superman in the 1930s so perhaps that plays a part in it and I’m just a cynical git. Ahem – ‘No one ever injured their eyesight by looking on the bright side.’

How did you develop your hyper-detailed, technicolor aesthetic?

I started working the way I work now about four years ago. I was doing a weekly fashion illustration for a Sunday magazine where I just had to draw straight catwalk looks and found the more detailed and patterned and colourful a garment was the more I enjoyed painting it. But traditional fashion illustration is super restrictive, it’s solely about the clothing and not so much the mood and atmosphere, so I started working on series of paintings in my spare time where I applied the elements of fashion illustration I enjoyed but took a more narrative approach, so placing the characters in an environment and filling up the pieces with details that would create a richer story I suppose. And it stuck!

Tell us about the materials you work with and why. 

For my personal pieces I use watercolour and pen. I like that I can build up a richness of texture and get some really fine detail with smaller brushes. I think there’s a more human quality to the watercolour work too, you can see how a pattern was created, the hint of some of the initial pencil work, any mistakes I’ve tried to cover up…it takes a LONG time to complete a painting though, I’d say each of the pieces for this show probably took an average of 40-50 hours from start to finish. Obviously for commissioned work time is a factor so I ink those illustrations by hand and then colour digitally. Using photoshop also gives me flexibility to make client changes relatively easily – there’s no undo button for painted work so you’re kind of stuck with what you get.

Your work pokes fun of like-driven social media, whilst being widely disseminated and ‘liked’ on social media itself. Is this an effort to subvert the medium from within, or just a result of the ubiquity of social media – or something different? 

I’m completely reliant on social media as a means to promote my work and I use it constantly so there is a level of self-awareness to the work because yeah, I’m part of it! But that doesn’t mean I can’t recognise it’s flaws and failings,  and that’s what I’m trying to do with this series.

As for subverting it from within, I don’t know…it’s such an organic and evolving thing I don’t think anyone has that much control over how what they post is perceived. One of the pieces I made for the show is about fair weather spirituality and the idea of buying enlightenment – so there’s a figure in a yoga pose surrounded by conflicting religious, spiritual and cult artefacts. But I’ve since seen it being used by yoga instagram pages with ‘inspirational’ captions completely unironically. You can’t control how people see things, and I like that!

You brilliantly parody much Instagrammed brands – Deth/Pret, Droll Prudes/Whole Foods… How do you perceive the relationship between millennials and capitalism?

That is a big question! I mean, we’re living in a time where multi million pound companies can get away with tax avoidance and zero hour contracts are perfectly legal, millennials are probably the ones most affected so I think it’s only natural that there’s a distrust of capitalism and rightly so. But at the same time where is the alternative? It permeates every aspect of our lives, so much is predicated on having and making money. We’re constantly being told by the current government if you work hard enough you’ll reap the rewards, but that has been shown to be emphatically untrue. The idea that capitalism levels the playing field and enables social mobility is hard to believe when you look at who is in power. So I’d say the relationship is….bleak?

How do you negotiate your distrust of branding with the pressure to become, as an artist with a public profile, a brand yourself? 

As far as my own ‘brand’ goes….it’s not really something I think about or plan. I don’t make a conscious effort to portray my work in a particular way and really don’t have that much control over it. I just want to put it out there and say as little as possible about it!

I mean the cynicism about branding can only go so far, I have to make a living so inevitably going to have to work with brands. It’s just a case of being aware of who you’re working with. At the moment brands are really eager to be your friend, it’s become the done thing for a brand to cultivate some kind of back story or heritage, adverts for cars and banks try to forge an absurd emotional connection with customers, it’s all very cynical and disingenuous. But there’s no escape, a lot of the brands I take the piss out of are ones I use myself, I too have contemplated what I’m doing with my life over a Pret souper tomato soup.

You frequently post your older work online (with hashtags like #beforeicoulddrawhands) – do you think it’s important to reveal your development as an artist? 

Yeah I think it is. Particularly considering a lot of the people following my work are considering illustration as a career or are currently in University. When I’m giving presentations and talks I always include a lot of very old and very bad work, it’s taken me years to get to the point I’m at now with my illustration and it’s still a process, I can look back on work from last year and cringe at the errors. It’s important to be realistic with students, it does take a long time to get established. No one really laid out the timescales for us when we were in University, a lot of students think you have to have your style and skills honed before graduating but that’s really not the case. It’s a very small number of graduates who get hired straight off the bat, it can take years to develop your style and abilities and that’s ok!

What inspired that fantastically unimpressed facial expression your women have? 

Haha, eh…life? I’m a fan of the side eye, the eyes are the window to your internal ‘fuck you’

You focus on the absurd pressures of aspirational social media feeds; what do you think about the other, meme-driven side of the scale, where there’s a trend towards self-deprecation and an ‘IDGAF’ attitude? Do you think this puts women in an impossible bind?  

I’m not sure I’d put memes in the same category really, there’s nothing insidious or underhand about them, they’re more absurdist.

Your ‘Aspirational’ exhibition includes printed textiles – is this an avenue you’ll pursue further in the future?  Would you consider entering into fashion design, or collaborating with a designer? 

Yeah I’d love to, I really enjoyed it! I’m no fashion designer though, that requires a completely different skill set from the one I have so it would be great to do a collaboration. The pieces I made for the show are scarves so they function almost like a wall hanging or large scale illustration – it would be interesting to see how those drawings worked on a garment once the fabric had been cut and sewn.

Words: Lizzie Griffin and Emily Dixon

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Veronica wears black leather coat, yellow cotton jumper and black leather trousers all by OTTOLINGER

Christa Bösch and Cosima Gadient of Berlin-based label Ottolinger are vehemently opposed to labels.“It’s always interesting to hear an opinion and see how people interpret our collection, what they think when they look at it, or how they feel when they wear it, but we don’t want to feed our generation of references,” says Bösch. “If we name anything, we are likely to be far too much associated with them.” Of course, that makes the designers instantly more compelling, and caught the eye of VFiles, who gave them a prized spot at their crowd-sourced AW16 NYFW show.

The duo’s brand of low-tech engineering is all about subverting couture tropes. Raw jersey, denim and lace are stitched together into exaggerated shapes then shredded further. “We like that the pieces never feel finished,” explain the designers. “It’s about mixing what came before us and what we know, because nothing is original,” they’re quick to add. One label they won’t be able to shake for now is “pyrotechnic designers”, having burned holes and raw edges into the collection for their VFiles debut which had judges Virgil Abloh and Harold Koda in awe. “It was pretty radical and could have gone really badly,” they admit. “But we wanted to change the structure of something that’s normally treated very delicately, so it’s an interesting combination.” They don’t rule out making it an Ottolinger motif.

Bösch and Gadient met at industry-favourite Basel School of Design in Switzerland, where three years being disaffected “misfits” with the same sense of humour gave birth to Ottolinger (“the name on our neighbour’s doorbell at our first studio”). They run their current studio out of Berlin purely for economical reasons but insist that today you don’t have to be based in one particular place to run a brand. “The beauty of everything existing online is you don’t have to be tied to one place.” They’ve put on a DIY presentation in London’s ICA and are planning on showing in Paris next. “There really is no plan,” confess the designers, who use each other as creative springboards. “The only thing we live by is — would we wear it ourselves?”

Photographer: Tyler Mitchell

Fashion: Toni-Blaze Ibekwe

Photographer’s assistant: Ilya Bronchtein

Fashion assistant: Jacqueline Moore

Lighting technician: Akaylah Reed

Model: Veronica Gebremariam @ D1

Words: Modesta Dziautaite

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On this rare sunny London winter day, let Peckham’s Tangerines take you towards summer. The foursome came together through childhood friendship and chance 4am meetings in Brixton, a recipe for success. But it’s important to note, not everyone you meet in the early hours is your next band member. Gareth, Isaac, Miles and Ricky have already had the NME and BBC at their door singing their praises for single, “You Look Like Something I Killed”.

With a raw and bluesy charm to it, it’s a surprisingly cheerful track when you consider its name. After a couple of listens, we guarantee you’ll be trying to imitate Gareth’s distinctive vocals yourself. Change “Killed” to “Keeeelled” and add in some dry screams to hover over the feedback and you’re there. We caught up with the man himself, Tangerines’ lead singer, to get to know a little more about the newcomers before their first London headline show in March.

https://soundcloud.com/pete-heywoode/tangerines-you-look-like-something-i-killed/s-9ulNj

Hey guys! Why Tangerines?

I wish I could ramble on with some great explanation or anecdote on how the name came about but it just kind fell from the sky, or a tree, and stuck on us. We are of ofcourse very fruity, sometimes rotten, rooted guys.

You formed in Peckham – how do you think London’s had an influence on what you do?

I guess the place you form, write and get together will always have a fair amount of influence on any band, but then again, I don’t think we’d be doing anything too drastically different no matter where we’re based. With huge concrete, overpriced cities like London there’s always this whole thing about competition amongst different artists and musicians, so much desperation, which is ‘great’ and all, but we just try to ignore that and hammer on doing what we love without anything interfering with it too much.

You’ve been going for a couple of years now, how do your think you’ve changed since you started?

On one hand, quite drastically, on the other, not much at all. It’s hard to say because it started out with a handful of songs that we still play at our current shows, whilst also dragging in a completely fresh sound of songs constructed between the 4 of us. The sound has evolved rather than changed, and I think we all get that notion that it’s constantly evolving all the time, with time.

You’re playing Field Day – who are you favourites on the line-up?

Deerhunter, Metz, Roots Manuva, Goat, Thurston Moore.

What’s your dream venue/gig to play?

All I can say is that we don’t get out of London a great deal, but we always thrive on the more secluded, smaller venues; places with history and rawness to them. Not that we’ve played huge arenas, but I just know how detached they can be from the crowd, leaving you unable to take in all the details within live music unless it’s right up in your face juggling your insides about. So I don’t know, maybe we should just cut straight to it and set our sights on a string of portaloo shows. Isaac would be quite happy just sat there dropping off a few numbers whilst playing a few at the same time.

What inspires you guys to write?

Sometimes just a damn fine cup of coffee can get it all going. Inspiration can come from the weirdest of places, but we all like to think that we’re strong-minded, intellectual rebels that can read a book or two. I get inspired from just waking up in the morning, that eerie feeling of realising you exist, but if I were to only write songs about waking up then I’d be getting nowhere fast and we’d be playing down your local church selling religious bedbound albums.

Is it hard to compromise in a band? Is it all rock n roll arguments?

There is a lot of arguing, but a lot of loving too. There’s nothing like a good manly squabble, only if you know how to treat your band members like girlfriends and put it right with some wonderful words. We’ll have deep discussions whilst writing from time to time, leaving us with the eventual outcome that we are all near enough on the same page heading in the right direction, and if someone isn’t, you just hit them on the head with a stick.

Your first headline show’s coming up, nervous? What can we expect?

Got no time for those nerves, especially if you’re surrounded by people that are actually into what you do and are willing to pay to see you play. You can expect it all, all those classics, all those foot moves, all those tired faces of exhaustion shifting through Boris Johnson’s maze of heaven and hell. We’ve also just announced our friends, the phenomenal Big Girls, to the lineup so we can sit back before we play and let Liam Casey’s shyness run wild out of his hair and into your hearts.

You all have excellent hair we have to say, how important is the full package aesthetic matching your music to you all?

Oh we have hair too, yes. You could probably lay a carpet with ours collectively put together. We don’t care too much for looking like much, but we do try to make a scrappy effort here and there. Whatever’s comfy. If London wasn’t so wet all the time I’m sure slippers would be the thing of this band, but boots and hair is what we’ve settled on for now.

And obviously we have to talk about the clown outfit Twitter pic?

Oh that’s just Ricky. Available for private hire and children’s parties.

Tangerines play Servant Jazz Quarters 17th March.

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