So, Robin, thanks for speaking to us. Wild is pretty much entrenched in the Nottingham scene. How long has it actually been around for and how did it all start?

WILD opened its doors for the first time on the 16th April 1983, twentyeight and a half years ago. Since then we have had branches in Cambridge and Leicester, but compared with the Broad St shop, these were somewhat shortlived. We opened our second Nottingham shop WILDER in 2006, in a more central location on Market Street in case people weren’t willing to go to Hockley. Which, given the size of Nottingham beggars belief! It’s quite a sobering thought, to me anyway, that Wild Clothing is now the longest running ‘independent’ fashion retailer in the City, the only one that has been here longer is Paul Smith, and I’m not really sure that he can be classed as independent anymore! But it was at Paul Smith that I worked and struck up a friendship with one of his 2 employees ! We decided that we fancied getting into this clothing business together, and seeing that this ‘second hand clothing’ but gave it a bit of a twist by selling new stuff alongside the second hand clothing, Levis, plain t shirts sweatshirts, that sort of thing. Without wanting to sound too triumphant, it was an instant success, and the pair of us never looked back.

Is there a certain ethos behind what you do here?

The Wild ethos has always been to provide our customers with the best quality used clothing around, presented in a way that allows it to be worn straight away. That means it’s repaired where necessary, laundered and pressed. Alongside the ‘vintage clothing’, we have always offered new clothing that we feel compliments the second hand. We have been responsible over the years for pioneering many brands which have gone on to be bigger things, Supreme Being, Ringspun, Insight, for example. But the biggest and most important brand we carry is Stussy, which we have been doing since 1991. However, even though that is always popular, the hottest most sought after brand at the moment has to be Obey, which we introduced to Nottingham 3 years ago.a

Are you conscious of the part you play in the Nottingham scene? It is definitely a hotspot for music lovers and more to acquire their vintage fashion.

We are very conscious of the part we play in clothing Nottingham, but we never seek publicity or look for plaudits. We are simply a business that tries to give customers a good deal and a pleasant friendly shopping experience, that hopefully they will remember, and therefore come back. And we have always been a popular destination for music lovers, as we try to play stuff that is a bit different, its very important to us and we hope people like what they hear.

What do you think makes the music scene in Nottingham so good?

Nottingham has certainly come on as a music town. When I was growing up in the 60′s 70′s 80′s, it was pretty poor for live music here ’til Rock City openned. And to this day there has never been a ‘big’ Nottingham band. But, alongside Rock City, the Rescue Rooms, the Social etc are bringing great new music to the City. And as music and fashion go hand in hand, thats good for us..

What would you say to our freshers if you had to give them some advice about their time here in Nottingham?

We are currently looking to welcome a new set of students to Nottingham, my totally unbiased advice to them would be to look no further than Wild and Wilder for all their clothing needs ! If not that, then certainly support our local independents shops

Tom Jenkin

With their new release R O M A N C E recorded and soon to be released, Tubelord are back in the swing of performing their melodic alt. pop anthems. John Bell caught up singer Joseph to talk about poetry, totem poles and cloud atlases; and the new album of course.

The MIC: So –firstly- congratulations on the new album. What can we expect from it? Is there a story that the songs collectively tell?

J: The story behind the songs is a lyrical project, using found words from female poets; words were pieced together to form sentences to which then I continued to produce a complete song. The initial project was supposed to eradicate any of my own words but as time passed and certain phrases I had written fitted alongside the rhythms of the music, my own words kind of acted like mortar. Every word used by a poet has been footnoted for the reader to reference to.

The MIC: That’s fascinating; were the poems love poems then? I don’t want to over-generalise, I’m just interested behind the meaning of the album title…

J: The poems chosen were not specifically love poems. As the writing process went underway, it was an attempt for myself to disappear; I didn’t want there to be any part of me in these songs, yet inevitably, ‘I’ picked out certain words and in the process of choice, ‘I’ would unfortunately reappear; this is where the title stems from. If you or anyone is writing outside of a critical context, is it not for the pleasure of describing a romance you would feel towards a moment, a person or a place?

The MIC: Your debut album was released on the renowned Hassle records, what made you choose to release R O M A N C E on the new independent collective Pink Mist?

J: When Simon Morleone (Blood and Biscuits/Pink Mist general chief commissioner) expressed an interest in wanting to release ‘R O M A N C E’ through Pink Mist I just felt it would be the perfect home for the record and for those who would care to listen to it. It just felt like returning to the family after having been away for a few years.

The MIC: Your artwork has always been intriguing, in particular Luke Jinks’ Aztec-style designs on Tezcatlipoca. What’s the story behind the cubic design of R O M A N C E?

J: Inspired through combined conversations with a few friends of mine, we were discussing tessellated patterns and the hierarchical meanings behind totem poles, all this whilst the drums were being recorded. But really, I was just digging the illusion of whether you see the cubes coming out or going in.

The MIC: What other non-musical aspects influenced the album? You’ve expressed your literary interests, what’s really blown your mind recently, be it book, film, or experience?

J: The first story in Little Kingdoms by Steven Milhauser, The Amazing Adventures of Kavalier & Clay by Michael Chabon, and reading Sam Riviere’s 81 Austerities has been entertaining. Uncle Boonmee Who Can Recall His Past Lives was a twisted and aesthetically clever film to watch, Texas Chainsaw Massacre (1974)too… for someone who doesn’t enjoy watching films I watch a lot of films!

The MIC: Have you read Cloud Atlas by David Mitchell? I’ve just finished it and I can imagine you enjoying it.

J: I haven’t read any of David Mitchell’s writing; I’ll get onto it though.

The MIC: It’s made up of five stories expanding in time from the 19th century to a future dystopia, all connected somehow, and then it goes back in time to where it started. I thought it sounded like it could be the story behind a Tubelord release.

J: Yes I would definitely enjoy reading this. I’m sorry that link didn’t work out for you, would have been perfect.

The MIC: I had hoped! I mentioned the inter-album release Tezcatlipoca. Is it fair to say this acted as a bridge from the sound of the first album to that of the second, what with the full-band sound of ‘Bazel’ and the synth-heavy sound of ‘Ratchet’, for instance?

J: If you want to see it like that yeah that’d be fair to say I think, although it was a similar practice to any of the past EP releases. EPs act as more an extended song than a short album. It was a case of practicing dynamics and instrumentation. The first album was re-recorded acoustically and within this process a lot of the melodies and structures to the songs perhaps shone through and were more of an enjoyable listen than with the full-band-amplified setup of the album. With ‘Tezcatlipoca’ it was a case of working out where Tubelord would fit more comfortably, bathing in electronica, rock or acoustic; turned out to be none of the above.

The MIC: I was going to ask you if progression in sound is a conscious decision, but it seems like you let the magic happen au natural?

J: The progression of which sound?

The MIC: The difference from say, Square EP to R O M A N C E; essentially from the beginning to now.

J: Through conscious choices the sound progressed naturally.

The MIC: With that in mind, then, are there songs that you dislike? Old favourites like ‘Arm Watches Finger’ are rarely played these days…

J: When Tubelord started I think it was to experiment and pull apart the seams of the typical ‘rock’, heavier alt type band. Let me re-answer that: when Tubelord started I think it was to experiment with pulling apart the seams of what we thought would be the typical alt-rock-heavy band. Then it just wasn’t fun because we’re not those types of people. It felt like lying all the time.

The MIC: And of course you had bassist problems? Tubelord have been a four-piece for a while now- it must be- relieving to finally have some stability- but do you think the hindrances of the past have made you the band that you are today? Experience the best teacher and so on…

J: Yeah the bassist problems didn’t help matters. The hindrances have made us into what feels to be an entirely different band; it’s just completely new, tabula rasa and all.

John Bell

http://asktubelord.com

R O M A N C E will be released 10/10/11 on Pink Mist.

Tubelord will be touring the UK throughout September and October, and will be playing the Nottingham Chameleon Arts Centre 15^th October.

Who are Guts and Glory?

Guts&Glory are an art and design duo, existing as an arts and lifestyle brand, defining this crazy world with crisp designs and raw colour – because, like those who wear our tees – we’ve got the guts to get the glory! Influenced by global culture, fashion branding, photography, partying and other random life events we bring you creativity in its goriest most glorious form. We’re not trying to start a revolution, or re-invent the wheel; we just want to provide to those who appreciate slick art some fresh tees and cool threads.

What has been your journey to success after university?

Like surfing a massive tidal wave – difficult…but really awesome fun! After university we both took some time out, to travel the world, but also to re-define exactly what we were trying to achieve. It became obvious to us both that successful brands are focused and driven. So this is what we concentrated on – focusing ourselves so we could achieve exactly what was needed and necessary. This involved developing a distinct artistic style and making contacts/building relationships. People in the independent-brand world are really friendly and the whole community is all about sharing opportunities and helping each other out. After building a presence online, we finalised our designs and took the plunge – got those tees printed! After that it is all about exposure. Throughout the ‘independent brand’ world, competent artwork plus friends in shops/brands/promotion/production, equals exposure, popularity and a good brand. From this foundation we aim to evolve into a key and respected brand in the independent clothing-brand world.

What inspires you in fashion?

Things that inspire us, I guess, are very similar to the things that inspire other fashion brands. Quality and attention to detail are key (this is something that we hope to focus on more with our next collection) as they separate the average high street garment from a high end, well developed, product.

What also inspire us are passionate people that genuinely love what they are doing, and show this love through the garments they produce. Rockwell are a big influence for us. What they deliver is clean cut and on point. We are quite new to this whole world, so I’m sure there are loads of things that inspire us without us even realising, but these are the things that stand out – and the things we aspire to.

Would you see yourselves as more artists or fashion designers?

I think artists. All creative products follow the same line – creativity, application, production, delivery. Creating worthy art and graphics is what we’re passionate about, whether the application is to t-shirts or canvases. It’s just that we both really love wearing cool tees!

Where can you see yourself in five years time?

We would love to be a house-hold name for those in-the-know about street wear brands, not for producing ‘really cool tees’, but for putting in the work and making genuine good quality products. To have this at an international level would be a great achievement for us. It’s a tough goal to set ourselves, but we feel with our continued determination, definitely achievable. Plus, you’ve got to aim high if you want to achieve greatness.

How long did it take to launch Guts and Glory?

Well originally it started out as an online art shop with the sickly name of “The Pukey Arts Studio”. This then developed into an arts collective of a few people called “The Pencil Pushers”, until finally we spilt off and re-branded ourselves as you see us today – as Guts&Glory. That process of change took about a year. From the beginning of Guts&Glory, however, it probably took us about 4 months. We really knew nothing about how to start a brand, and were feeling our way in the dark. We started with a blog and a bit researching about production, and just let the ball roll from there.

What sets you apart from the designs we can find in high street stores?

Consideration, thought and time. We’re not churning out design after design, ripping off artists for their imagery, carelessly producing anything to maximise profits. Each design is special and particular. You know when you buy a Guts&Glory tee that we’ve put a lot of time and effort into it making it individual, new and specific. We are a fastidious duo. We honestly don’t think there is anything quite like our designs out there. Each piece of work was originally a hand drawn concept. The digitised ‘Love Is In The Air’ tee had endless hours spent over it having the imagery produced. So I guess, without sounding to corny, you are buying a piece of artwork when you buy a Guts&Glory tee. Also, with every internet order from us direct we include an individually hand drawn swing tag.

How does music inspire your clothes?

To be honest I wouldn’t say music is a massive influence on what we do. I mean there are certain genres that go hand in hand with the ‘street wear’ world and culture. Also there are certain people you admire and really like listening to. So who knows, maybe there is a subconscious musical influence in there somewhere that we have no idea about! Some songs you just can’t escape from. Might accidently find ourselves producing Lady Gaga lyrics without even realising!

How did living in Nottingham influence you-if at all?

The best thing about starting all this in Nottingham was the exposure to other artists who were doing the same as us – getting their work displayed in bars and restaurants. There are some really great opportunities in Nottingham if you look for them. The biggest help was the Ropewalk bar. They displayed our art for free, and then if they sold Ropewalk didn’t take any commission. This way we had a whole series of work pass through the bar, replacing each picture once it sold, and really got our names out there. There are also some great art events and galleries in Nottingham, who are all keen to get artists and buyers alike involved.

There is such a mix of students/people at Nottingham too, which helps you define who your target audience is, and who isn’t.

Where can we buy your clothes?

You can buy them online from us at www.gutsandgloryuk.bigcartel.com, at the Bristol based Donuts Store or for a limited time only at the newly launched style site Roktic.

Don’t forget to keep up-to-date with Guts&Glory at our site and blog www.gutsandgloryuk.com, or on twitter @gutsngloryuk

Album of the issue

Portamento is the second released album by The Drums. Named after a smooth transition from one tone to another, the album title cleverly parallels the way in which the band has developed not only their music but also themselves; and by doing so have been able to produce a new and exciting album.

During my first listen to Portamento it was apparent that the 1980’s English band legends such as The Smiths and Joy Division have obviously majorly influenced The Drums. However they have taken these influences and managed to develop them, thanks to Jacob Graham- the bands guitarist who has also picked up the synthesiser- The Drums have been able to combine their original indie/rock style with an electronic beat creating an innovative approach to their music.

‘Searching for Heaven’ has to be the most experimental track on the album- this synth and violin heavy track demonstrates the way in which the band have evidently experimented with new musical techniques and formed a sound in which Jonathan Pierce’s pure vocals mixed with the synthesiser creates an almost haunting yet modern sound.

That is not to say that the guitar lead indie/pop style most popularly associated with The Drums has disappeared. With their catchy beats and Pierce’s lyrical stories so honestly executed it is obvious to see why The Drums have had such a major influence to popular music. It really goes without saying that The Drums are set for big things; expect sold out gigs during their winter tour this year.

Daniela Navarro

Crammed onto the stage like a child’s nativity play, the eight-piece London band hit Nottingham’s Bodega Social Club with a performance that was far from amateur.  This group of suave, sophisticated and talented performers, in attire fit for the ‘smoky jazz club’ scene, played a set chosen by the dedicated fans.  Vocalist Paul Van Oestren asks the audience, “do you want it mellow or do you want it loud?” both of which The Bookhouse Boys master with great ease.

The beautiful Catherine Turner hypnotizes fans with her strangely seductive jerky movements, and the smooth vocals of an introverted Kate Bush, complementing the gritty tones of Van Oestren.  The upbeat favourite ‘I Can’t Help Myself’ pulsated through the venue and kept the audience dancing from start to finish.  Bassist William Emms played the haunting tones in ‘Guns Like Drums’, complemented by ghostly vocals, thrashing percussion and regal outbursts from Natty Defriend and Charlie Beringer on trumpets.  As individual members each from radically varying musical and influential backgrounds, the eight compile into a strange cocktail of musical genius, deserving of a fresher consumer than they have so far received. Check out their album ‘Tales To Be Told’, out earlier this year.

Suze Britton

Outlook’s location could not be more ideal, with arena’s such as the Ballroom, a crowded pit  in the abandoned fort where you can dance all night and look up to see the lit up trees, this in many ways sums up the festivals unique combination of 18th Century Croatian architecture and bass music and soundsystem culture.

With such an enjoyable atmosphere, you’d be a fool to not consider going, but I will certainly be returning to Outlook next year.

Hannah Bayley

THE MIC:  So, Chris Glover, the man behind Penguin Prison, thanks for taking the time to speak to us. Firstly, while i was researching you I got to have a bit of fun trying to draw your logo in order to access your site. Was that your idea and how comes it’s there?

No that wasn’t my idea but people seem to like it. Some people said they could not figure out how to draw it but eventually they got the free song anyway so I’m glad the computer was nice to them

THE MIC: Is it true you had an agent at the age of 11?

When I was little I would sing jingles a little bit. I sang on this Beatles for kids album where kids would sing Beatles songs. I did a few other things and then one day I said I didn’t want to do it anymore so I stopped. I was getting more into nirvana and punk and playing guitar so lost interest in that kind of singing I guess.

THE MIC: Have you always been musically talented then and how did you discover your talent?

I just started singing in a choir and I think I was singing louder than all the other kids so then I went to the professional performing arts school and sang in the choir there.

THE MIC: You first got noticed by Q- Tip as part of ‘The Smartest People at Bard’ am I right? What happened to that?

Well I sent a demo of my songs to q-tip and he called me back and met with me a bunch of times. Then later on I started the smartest people at bard. He never heard that stuff. He might not have liked me if he heard that cuz it was sort of a parody of hip hop as well as boy band but he seems to have a good sense of humour so I’m sure he would have liked it actually.

THE MIC:  What’s behind the name then?

Penguin prison was one name on a list of probably 300 names I came up with and I couldn’t decide on which one to use. One day I decided I had to choose one so I just pointed at the list and it landed on penguin prison

THE MIC: Who are your main influences? Because most of your music  has a sort of retro electric feel to it?

Michael Jackson, prince, talking heads, LCD soundsystem , hot chip, Johnny cash, bob Dylan, nirvana etc

THE MIC: What’s it like being under the wing of more than one record label? Because you released some stuff under Neon Gold and now you’re on Downtown in the US, but in the UK you’re with Stranger records. How did that come about?

Neon gold released some singles on 7 inch vinyl but then I signed to downtown and stranger for the album. I think certain labels specialize in different areas so a lot of bands sign to different labels for different countries these days.

THE MIC:  You’ve been compared by some to Hot Chip and LCD Is that too much pressure or do you think you could replicate their success?

Those bands can’t be replicated by anyone and no one should really try. My music is different than theirs although I like their music and I get influenced by it. I am just trying to make my own music and I hope that people like it and come to my shows and have a good time

THE MIC: You’ve made quite a name for yourself through remixes. Have you ever got to work directly with the artists who you get to rework?

I don’t think so.  Although I worked on a song a while ago with Lana del Rey and now I just did a remix for another of her songs.

THE MIC: What’s the majority of feedback like? Do they tend to like it?

Yeah I think most people that I remix like what I do to their song but a lot of the time I don’t ever hear anything from the artist. Just from their manager or their label etc. But sometimes I hear from the artist. Marina wrote me and said she liked the remix I made of her song for example.

THE MIC: Who would you love to remix then that you havn’t had the opportunity to do so yet?

I would like to produce for hip hop artists.  That would be amazing for me.

THE MIC: Lastly then, what is next for Penguin Prison?

Releasing my album and touring and whatever else life brings!

First to hit the stage was Alexa Hawksworth, drawing out melodic acoustic riffs as the undertone to her powerful voice.  Singing of men and woe, she swept the audience away onto her emotional journey, ending fantastically with a powerful cover of ‘Take On Me’.  Next up was Aaron Smith, complete with bassist, percussionist, and folky ballads.  The nostalgic tones of the mouth organ were complimented beautifully with harmonies that provided a captivating set from start to finish.

Jack Garret sure had some boots to fill, but boy did he fill them.  Just one man and his guitar, he blew away such a venue.  His sound merged jazzy blues with classic folk, accompanied by an incredibly impacting voice, Nottingham’s very own manned-up Justin Nozuka.  Ending on his song ‘Fire’, he sure went out with a bang, leaving his wild guitar riffs and roaring vocals lingering a while after he left the stage.  The line-up was rounded off by five-piece band The Golden Troubadours.  Lounging comfortably on amps and steps, they brought the evening to a gentle close, with a light tropical sound, almost Fleet Foxes in Hawaii.  Fantastic venue.  Fantastic line-up.