The below feature was published by Gigwise as part of the premiere of Darlia’s ‘Stars Are Aligned’ music video. Co-written with Ciara Judge.

Darlia at The Great Escape. Photo: Gigwise/Richard Gray

It was only up until recently that the charts were completely saturated with a plethora of dance-pop hybrids, but some say 2014 marks the return of rock to the public mainstream. Spearheaded by bands such as Drenge, Wolf Alice, Royal Blood, Slaves and, of course, Darlia themselves, there’s no doubt a backlash of sorts is happening.

“It depends on what people want. If people suddenly want ten-pieces who all play saxophones, they’ll just be more of them because that’s what people want. It’s not about what people are doing, it’s about what people want,” says Darlia’s frontman Nathan Day, talking about this supposed rock revival, before the final night of their biggest headline tour to date. And what people seem to want is the filthy guitar riffs, loud dynamics and galvanising sounds that the trio (Nathan, along with bassist Dave Williams and drummer Jack Bentham) have become known for.

The band only started touring in the past year following the release of their first EP ‘Knock Knock’ in October 2013. What followed included an Australian tour alongside New York’s Skaters, a slot supporting The Libertines – which they describe as “more of an honour than an experience” – as well as the climax of filling out Reading & Leed’s Festival Republic tent this summer. Their scuzzy, unashamedly loud sound, added into the fact that with his blonde mop of hair and smudged black eyeliner frontman Nathan Day bears a slight resemblance to Kurt Cobain, has meant the band has received press buzz comparing them to the 90’s most famous grunge band. A compliment? Darlia aren’t so sure.

“I get that. I do. I’ve got blonde hair. I’m in a three piece and I sing. That’s the way it is,” Nathan admits, shrugging. “There’s people who just think we sound like Nirvana and it really, really irritates me because that’s just not what we want…I really respect Kurt Cobain as a musician. But I also respect Noel Gallagher and I respect Pete Doherty and I respect Kate Bush.” … [Continue reading on Gigwise]


More music stuff HERE

Originally published by Phoenix Magazine

There’s a lot to be said for independent creative spaces. For one, they do things differently to large commercial galleries; taking bigger risks, touting more controversy, getting closer to the artist, the subtext and the subculture around the creations displayed. As autumn descends, a little earlier than we’d hoped, we’re readying our cultural programmes for this season and know of a few well-respected haunts you should be visiting with us.

Francesca Woodman: Zigzag
9 September – 4 October
Victoria Miro Mayfair, 14 St George Street

In a short but impactful career, up to her death aged just 22 in 1981, Francesca Woodman produced over 800 black and white photographs famed for their surreal and haunting presentations of women, many of which were self-portraits. This autumn’s solo exhibition at Victoria Miro in Mayfair takes a new approach to Woodman’s work, considering the zigzag and other geometrical shapes as recurring themes in her work, showing how, though Woodman’s photography is often discussed in terms of its dreamlike form, it was grounded in sophisticated practice and precision. This one will be an eye-opener.

Marina Abramovic: White Space
17 September – 1 November
Lisson Gallery, 27 Bell Street

Hot on the heels of her acclaimed exhibition this summer at the Serpentine Gallery, 512 Hours, Marina Abramovic returns to London to exhibit a range of historic works at the Lisson Gallery, many of which have never been publicly exhibited. The exhibition features two of Abramovic’s sound pieces, video documentation of her early performances and a variety of photographs, all dating from 1971-1975. Taking its title from an early, immersive sound piece in a white paper room, the exhibition explores some of Abramovic’s first experimentations in the performance-based practice which is central to her work today.

Tracey Emin: The Last Great Adventure is You
8 October – 16 November 2014
White Cube Gallery Bermondsey, 144-152 Bermondsey Street

Emin says this recent collection of work concerns “rites of passage, of time and age, and the simple realisation that we are always alone”. The exhibition’s title, “The Last Great Adventure is You” was originally intended to refer to another person, but in the two year period spent creating this body of work she came to realise that the ‘You’ had become a retrospective exploration of self. The exhibition’s reflections are manifested in bronze sculptures, gouache paintings, embroideries and those iconic neon works. Her first exhibition at the London White Cube gallery in five years, this show is an exciting one.

Sculptors’ Papers from the Henry Moore Institute Archive
22 September 2014 – 22 February 2015
Whitechapel Gallery

London’s most radical and controversial public sculptures, both realised and unrealised, are presented in a display drawing featuring the vast array of sculptors’ papers owned by the Henry Moore Institute. Drawing on both the creative process and the political and critical debate surrounding the works, the exhibition will showcase the workings of and reactions to some of the most creatively and politically charged sculpture works from the beginning of the 20th century onwards. Take part in a programme of screenings, talks and tours and learn more about the physical construction of art in London.

Pierre Huyghe: In Border Deep
13 September – 1 November 2014
Hauser & Wirth, 23 Saville Row

It’s been quite a year for French artist Pierre Huyghe: he’s already held solo exhibitions in New York, LA, Cologne and Barcelona and makes a return to the UK this autumn to showcase his unique brand of multi-media art. Famous for his examination of film vs. reality and his use of fact vs. fiction, his art confronts the boundaries between fiction, cinema and actuality and makes use of creative images, video and installation. His first major solo exhibition in the UK since 2006 is not one to be missed.


Words: Rachel Michaella Finn | @rachelmichaella


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