At 23, Dexter Navy’s ascent in the world of underground art and photography is more than impressive. His work with A$AP Rocky earlier this year helped define the aesthetic for the rapper’s new album, as he not only directed the kaleidoscopic, tripped-out video for ‘L$D’ – which saw Rocky in Dries Van Noten amongst the distorted, neon glow of Tokyo – but also shot the album art. He’s photographed Tyler the Creator, Instagram style hero Ian Connor, and done lookbook work with Billionaire Boy’s Club, and with his latest piece, for the Red Bull Music Academy ‘Paris Now!’ season of short films, he has made a truly special portrait of Paris’ avant garde.

SAINT is a dedication to the true creatives of Paris; it’s a beautifully shot montage of those subversive, fiercely original artists across the worlds of fashion, performance art, music and dance. Described as a visual ‘poem written by and for Paris’, it features such individuals as the high-priestess of dark fashion Michéle Lamy (Rick Owen’s wife, but more importantly his mentor, muse, and creative adviser) and the multi-disciplinary musician and performance artist Oko Ebombo – who dangles off a high-rise in the striking half-black-half-white suit that fans will recognise from his ’19 Naked Life’ video. Joining them are, among others, distinctive models Simon Adde and Adja Kaba as well as innovative dancers Shaun Bui and Andre Atangana

The piece is set to a verse composition by Cleo Wade – a New York based artist and poet – that throws out such enigmatic lines as “forever is only a thing Paris understands” and, less expansively but more revealing, “underground club kids body to body…their sweat becomes yours. Everybody’s nobody.” Towards the end of the film as we see, congregated in a warehouse, a shot of the whole ensemble in all their beautifully unconventional variety. The line “we find our time, we claim our lands…we make our art, we made the city” resonates particularly powerfully: this is a film about those who boldly dance, design, perform, fight and push expectations in Paris. In doing so, it creates a distinctly underground vision of the city that is every-bit as enthralling as the romantic and historical Paris that fashion usually serves us.

WORDS: Benji Walters

The post DEXTER NAVY DIRECTS ‘SAINT’ FILM IN PARIS appeared first on Wonderland.

Stockholm born, New York based singer, songwriter, producer, DJ and muse Tina Asplund – otherwise known as Kissey – began making electronic music in earnest back in 2000 when she joined the Red Bull Music academy as their youngest admission. Since then she’s performed and collaborated with the likes of Little Dragon, Machinedrum and The Roots amongst others, launched her own label – KISSKISS – and worked with The Martinez Brothers on Givenchy’s Fall/Winter 2014 men’s show. Having recently released her second EP ‘Melting Pot’ late last year, we managed to pin down the wonder woman herself to talk ceiling swings, managing the mania of life in the Big Apple and why she’s drawn to boozy, sexed up Greek gods.

Talk to us about your classical training. When did you realise you wanted to transition from classical music to DJing?

I realized at quite an early age. I tried scratching on my father’s belt-drive turntable when I was a kid and accidentally ended up breaking it a bunch of times. I think the turning point came when a teacher of mine, Mattias Stahl, (he taught jazz piano and vibraphone) taught me to think about my voice as an instrument. I also used to have this crazy math teacher, Niklas Lindberg, who would DJ at a few big venues in the city at night. He used to throw hard cover books across the room at kids that had fallen asleep in class, but I ended up taking one of his classes in DJing anyway and he and his close friend and DJ, Netz, mentored me and introduced me to the world of house music.

Singing, songwriting, performing, producing, painting, duos with TK Wonder and collaborations with Givenchy – how does working with multiple creative outlets help you stay inspired? Do you ever worry that you’re overextending yourself?

I think all of it is extremely important, it stimulates different creative thinking in me. I always learn something new that I can bring to the next project/creation. It always comes back to the same values; being conscious about what I feed myself inspirationally, showing up, honoring the things I’ve promised to deliver and committing to creative decisions that I make. If one project is not unlocking one day I just switch lanes to another, let it rest and come back to it the day after. Showing up is probably the most important part for me – no matter how much or how little is created, it is better than nothing, and a lot of the time you carry on working and conceptualising sub-consciously. If I get exhausted I tend to seek out art somewhere like the MET, or I’ll go for a sit in this huge swing that my friend has hanging from her Brunswick apartment ceiling. Or dancing! Anywhere that there’s a good soundsystem. Whatever relaxes my brain so I can start over fresh again the next day.

Given that disco and house music have an early history in the clubs of gay, black and minority America, did you consciously choose dance music and the name ‘Melting Pot’ to explore similar themes?

I create music for me and my friends to dance and soundtrack our lives to whether they be straight, gay, bisexual, black, white, women or men. Sometimes the music is fast, sometimes it’s on the slower side. Melting Pot was actually inspired by the mythology of Dionysus and strong sense of longing for someone that had broken my heart.

What is it about Dionysus’ mythology that fascinates you?

He stood out for me because he was always the ‘forbidden’ god. I started re-reading some Greek mythology a while back and I found so much that resonated with New York and nightlife culture here. A big part of being in this city is to be a night creature – that’s when you can meet with friends after work and catch up about life. It’s such a beast, such a demanding hardcore grind; people have 2 or 3 jobs just to pay rent and yet they still manage to make it out at night in order to become part of this collective. You feel liberared as as you become part of this living Dionysus. Losing yourself in music, dance, food, wine and sexuality is so important. You can forget the 10 hour day that you were stuck sat in a cubical at work and instead focus on creating memories.

Do you have any other recurring themes in your work? Love? Loneliness? Longing?

Love, longing and relationships recur a lot. I made a promise to myself a couple of years ago to be super honest in my music. It used to take a hard toll on me in the beginning – it was challenging to be upfront about how I felt right there on the spot in front of the microphone. Any lyric or melody you have hear me sing is written directly in to mic which means that I freestyle a recording, deciding what the song will be about as I’m making it. I used to write about my first love in the beginning but right now I’m writing about my experiences with different people.

Can you recall any specific times when music and dance helped you deal with painful feelings?

There was this one period when I was going through a lot of transitions; I just felt lost and all over the place. I remember I would go by myself to a thing that Prince Language used to host in the basement of Le Baron. I would stand in the corner, surrounded by fog and music and dance it out. The sound system was ridiculous and his music selection was always on point. It would make me feel recharged when I went home, like I’d escaped to drift through the clouds for a couple of hours.

Do you have any regular haunts in New York? Places that you keep being drawn back to?

I love going to the MET and the poetry library in Tribeca. I also like hanging out in Sel Rose whenever I have time. My girl (photographer Ellinor Stigle), her husband Marlon and the rest of the crew will always be there, sitting in the corner. It’s a pure family affair. My favourite bar in Brooklyn is Dynaco on Bedford, it’s been made to look like a wood-lodge with great old school speakers and a big open fireplace in the back.

You’ve mentioned an admiration for FKA Twigs. What is it about her that you find so refreshing? Are there any other artists you’re keeping a close eye on?

It is so refreshing that acts like her and Kelela are opening up people’s mind to bringing in a certain kind of cinematic soundscaping. It’s just my flavor. The Nightslug/Fade To Mind crew have a different kind of storytelling as well, very in-your-face lyrics. I feel like underground and overground music are merging more and more. Producers like Hudson Mohawke and Caribou crossover between niche and mainstream so seamlessly. ‘Second Chance’ is one of the best alternative pop songs written in 2014, I remember the first time I heard it, I was on the subway, I could hardly believe what I was listening to. I missed my stop. There’s no reason why every kid in the US and the UK shouldn’t know about that track.

https://soundcloud.com/kissey/melting-pot

Caribou – ‘Second Chance’

Listened to this song for the first time in the NY subway on my way to a meeting and was so mesmerized I missed my stop, and ended up late. On repeat since.

Lorde – ‘Tenniscourt (Flume Remix)’

Because Flume killed this remix, he murdered it in all aspects. definitely one of my favorites.

Future Brown – ‘Talkin Bandz ft. Shawnna, DJ Victoriouz’

An insane beat, the drop just before 1 minute, where they left the acapella go by itself … on point.

Banks – ‘This Is What It Feels Like’

At first I was a little annoyed that her vocal was lower than were her best range lays, but the more I listened to her album the more this song became the favorite. It ages super well and the chorus, both melody and in the beat, is absoluteness.

Royksopp & Robyn – ‘Monument’

I think it is one of the best songs Robyn has ever written. It’s one of her most epic and empowering pieces, all about creating you and your own self (I love art that talks about that). The fact that it was inspired by a sculpture by Juliana Cequeira Leite makes it even more magical to me.

Tinashe – ‘2 On’

This song was on repeat in general in NY during 2014, either friends, a bypassing car in Brooklyn etc. I heard it at least once a day for sure. It’s a “let’s get started” kind of thing.

Ganz – ‘Get Ones’

I love this song, if a way to a man’s heart is via his stomach, the way to my heart is to know that this is one of my favorite songs throughout all time. When I need a power boost, this is what pumps through my headphones.

Cakes Da Killa – ‘Truth Tella’

Because he is my boo-thing, and I love him and his flow to death!

Herve x Zebra Katz – ‘Tear The House Up’

When you’re walking around the streets of NY feeling boss, this song is absolutely mandatory. Just like Ganz’s “Get Ones”. Call everything as you see it, read it, and your life gets a bit easier to deal with in a urban jungle as NY.

Words: Thomas Curry

The post New Noise: Kissey appeared first on Wonderland.

If we told you that BMB Spacekid, aka Dmitry Semenov, hails from the coldest depths of St. Petersburg, Russia (which he does) the sound you would expect him to produce is sure to be far, far from what you are about to hear. His music is the polar opposite of his origin in fact. At the age of twenty-six, Semenov produces P-funk-laced feel-good sounds worthy of a love train in a groove-all-night Cali club.

Citing rare groove influences, his work offers a harmonious combination of astral landscapes, it’s as if he recorded his material on the West Coast a good two years ago. To date, he’s toured Russia and Europe extensively, shared stage with everyone from HudMo and Ras G through to MF Doom and Wu Tang and is set to put out his first UK release, the Cuba EP, this November 10th on vinyl via brand-new label The Full Hundred.

He’s no stranger to the industry, having previously participated in Red Bull’s prestigious Bass Camp, he has also taught at the Goethe-Institut in Hamburg as part of their Hip Hop Academy – for BMB, quality and precision ensure results.

Step ten seconds into the video for ‘Cuba’ and you’re immersed in the West Coast US hip-hop culture that BMB Spacekid thrives on. This Russian prodigy is going to be around for a while.

The post Premiere: BMB Spacekid – “Cuba” appeared first on Wonderland.

A cultural melting pot enjoyed by all, Bestival is a place where Tarquins meet Shaniquas, and due to the creative costumes, everybody looks fabulously ridiculous, regardless of where they’re from. From stages on ships that spew fire to the vibrant Bollywood tent and the enchanting Ambient Forrest, after ten years in the game, Rob da Bank’s baby is still firing off on all cylinders and bringing something to the table that others simply are not.

This year’s theme was ‘Dessert Island Disco’, and over four days a vast woodland area in the Isle of Wight became an oasis of colour, life and some pretty exceptional looks. Taking things beyond the ripped denim shorts and the nauseating oversized flower headbands (which have spread like an undesirable wildfire over the festival season), Bestival challenges revellers to think outside the bucket hat and do something different.

Amidst the crazy, Wonderland caught up with some artists who have had a pretty major summer to get their thoughts on the festival, fashion and what the future has in store for them. “I love the care free attitude of Bestival, everybody is here to have a good time and no-one’s particularly bothered about looking stupid’, said MNEK, the innovative south London singer, producer and kufi hat connoisseur who has taken the music industry by storm as of late. “It’s my first time here but I really like it, it’s really creative open and I do love fancy dress. When I’m performing I love to wear African, and Aztec inspired prints, and I work with my stylist Cassette boy to find things that are a tribute to my heritage whilst keeping it contemporary.”

Over the wild weekend, MNEK was joined by some seriously top notch artists. Beck kicked things off on the Thursday. Serving a funk induced set with old school smashers like Loser and Devils Haircut proving why he is a musician so iconic and well respected. For many Friday was all about Outkast, who gave the crowds a performance that started strong, blasting out hit after hit from their sterling back catalogue, before dipping slightly, and then picking up right at the end, much like Andree 3000’s weave. Also causing a stir on the Friday was La Roux, who bestowed on the crowd tracks from her highly acclaimed album Trouble in Paradise. After a five year hiatus, the people were thirsty for the Bulletproof songstress, and with her sunny, fresh sounding beats.

The filthy-gorgeous and ever vividly entertaining drag posse Sink the Pink got things going on Saturday at the main stage. The London based collective brought sass and glam in abundance to the masses. As well as slut-dropping their sparkly socks off in the day time, they brought the house down each night in The Grand Palace, much to the joy of sweaty punters, who they had queuing in their droves to get a slice of the hot mess action. They passed the torch on to another London extravaganza Hard Cock life on the final night, which was turgid with hip hop beats, addictive baselines and more pumped up festy boys than you could shake your desert island disco-stick at. WIN.

Saturday also saw Candi Staton take it to church on the main stage, belting out classics like young hearts run free and you’ve got the love to inebriated, sun drenched crowds. Scottish trio Chvrches brought their personal brand of exciting synth-pop to the Big Top on Sunday. In just one short year the band have skyrocketed to stardom and have amassed a legion of fans both in the UK and internationally. Ian told us: “The songs that always go down well are the dancey tracks like Under the Tide. American audiences tend to be more outwardly appreciative, cultural stereotype but it’s true, British audiences just show it in different ways.” “Coming back this autumn from the US almost feels like a victory lap, well not quite, but it feels nice because nobody knew how far we would go”, said Martin. “We’ve been really taken back by the support we’ve had but in a good way. We found out we have sold out the Brixton academy which is just amazing.”

Later that evening, London Grammar brought an ethereal atmosphere to the main stage. Holding the audience transfixed with her cut glass vocals, Hannah sang with subtlety amidst a sea of introspective synth that made every hair on your body stand to attention. This was juxtaposed nicely by Basement Jaxx’s rip roaring set of classic early noughties bangers such as Good Luck, Romeo and Where’s Your Head At, alongside some pretty kooky but well received new stuff from their latest album, Junta.

Closing the fiasco, Sunday saw 2014’s hot ticket Clean Bandit take to the stage to deliver an upbeat and energetic show. The classically inspired four piece from Cambridge hit the jackpot with their incessantly catchy Rather Be in January, and since then they have barely had a day’s rest. Ahead of their set violin player Neil and caught up with Wonderland for a chinwag. “We have two singers who come with us everywhere we go but depending on convenience we have some of the 12 singers from the record to do a show which makes it quite exciting for us and the audience,” he said. “This year has been amazing and next week we go to America to take our quirky Brit blend of strings and electronics over there!”

As evening dawned on the final night  there had been whispers that living legend Diana Ross was to join Chic on stage to close proceedings. This rumour of course had almost every gay man foaming at the mouth with anticipation, as they flew into a diva induced disco-fit. Sadly this never materialised, but by the time the world’s largest glitterball was raised and the band played life affirming anthems like Everybody Dance, I Want Your Love and Le Freak, Diana was a distant memory and Bestival was in a state of utter Euphoria.

Bestival brings some of the biggest artists on the planet together for one big blowout from the iconic to those on the cusp of stardom. It also brings out the best in people. The diverse line up, mish mash of people, absurd outfits and Laissez-faire attitude all make for a scintillatingly off the wall experience, that’s well worth the week it takes to fully recover.

Words: Josh Willacy.

The post Festival Round Up: Bestival appeared first on Wonderland.

When and why did you start Land Of Kings?

Connie Harrison: The idea came about in 2008 whist having dinner with my better half in Stone Cave restaurant on Kingsland Road. I was so excited I ran outside and called Nick and said “blah blah blah and I think we should call it Land Of The Kings”. Nick was like “yeah, but maybe drop the ‘the’ – Land Of Kings is better.”

Nick Griffiths: London can be pretty faceless at times. I think people respond to things that have a sense of community and ties disparate scenes and people together, especially in Hackney.

Did you model LOK on any particular festivals?

NG: We inevitably get put in the same bracket as other multi-venue city festivals but I’d like people to see it as more like a camping one, where it’s as much about discovering the random stuff and finding yourself somewhere a bit unexpected as it is about catching the names you know in places you’ve been to before.

CH: I will say that with Land of Kings the ticket price is a fraction of the price and then you can walk home to your own bed after.

So what can a newcomer expect from LOK?

NG: Our crowd want a bit more than the usual night out in Dalston. We try to bring a bit of festival magic to the proceedings with art, film, food bits as well as the staples of music and booze. So you might be checking out bands in The Shacklewell one minute, having a one-to-one performance in a Victorian school hall the next and then checking out a rooftop screening of local short films.

Are there any bands or events you’re desperate to catch?

CH: Classic Album Sundays will be great. Factory Floor. To the Lazer Cave. And most of all, I’d like to have a psychotic episode induced care of “Diet coke is illegal in the Philippines” by Bestcleo.

NG: Tough one but to pick a few: Kwes, Trevor Jackson, Maria Minerva, Night Angles, Bicep, Trophy Wife on a music tip. Plus we’ve got a premiere of Red Bull Music Academy’s” Let us be Golden” which documents life as a struggling musician in London, with a live performance by Eglo Live Band.

Do you have an all-time favourite festival memory?

CH: Cripes. Too many favourites. Amazing birthday moments at Glastonbury as it usually falls on my birthday. Bestival’s first year. Producing Fat Tuesday tent at the Big Chill and attracting a crowd of 7,000 people, causing a health and safety nightmare.

NG: DJing at Secret Garden a few years ago. It was very late and I’d probably had too much to drink but played to a packed (if tiny) tent of about 50 people. I thought it must have been raining outside as water kept dripping on the decks and my head. I soon realized it was communal tent sweat – nice. It didn’t help that I was wearing a bear suit.

Land of Kings takes place on Friday 4- Saturday 5 May. For tickets and info, go to www.landofkings.co.uk

Words: Zing Tsjeng
Photos: BANGBANGPHOTO 2011

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