#dispatchd

Dispatchd x Samirai Sound:

Dispatchd (DSPXD) have teamed up with West London recording studio and label Samurai Sound as a creative collective.

In April it was announced at Coachella that Alexander Wang would be doing a capsule collection for H&M. On November 6th the collection will be available at 250 shops worldwide and online. The collection will feature clothing and accessories for both men and women.

“I am honoured to be a part of H&M’s designer collaborations. The work with their team is an exciting, fun process. They are very open to push boundaries and to set a platform for creativity. This will be a great way for a wider audience to experience elements of the Alexander Wang brand and lifestyle,” Alexander Wang said. 

The range is luxuriously sporty in an ad shot by Mikael Jansson. The ad campaign features star players such as Joan Smalls, Raquel Zimmermann, Isabeli Fontana, and Natasha Poly, Andy Carroll and kickboxer Rivaldino dos Santos. With distinctive neoprene jerseys and tonal colour blocks throughout the collection we cannot wait for the 6th of November!

After one year of marriage Amber Rose has filed for divorce from Wiz Khalifa. They have a one year old son together Sebastian ‘The Bash’ taylor Thomaz. According to the divorce docs, as obtained by TMZ, Amber cited irreconcilable differences as the reason for the split. The two officially split ways on Monday.

Wiz and Amber have a prenup in place which awards Amber full spousal support. According to sources Amber is reportedly asking for full legal and physical custody of their son, although she will apparently allow Wiz visitation.

Although it did not seem that there was trouble in paradise there have been numerous infidelity claims since it was announced that Nick Cannon is Amber’s new manager. However, there is said to be no mention of cheating in the divorce docs.

The pro-marijuana legalization debate in the United States is heating up and inspiring folks to take a stand, including Charlo Greene of Alaskan news station KTVA. The (former) anchor Greene took to the 10 p.m. broadcast to report news about the Alaska Cannabis Club, which led her to reveal that she is the CEO of the organization. She gave a detailed-but-short explanation and announced her resignation in the most amazing way possible:

“I, the actual owner of the Alaskan Cannabis Club, will be dedicating all my energy toward fighting for freedom and fairness, which begins with legalizing marijuana here in Alaska. And as for this job, not that I have a choice, but fuck it – I quit.”

Greene later addressed questions via the Alaska Cannabis Club’s Indiegogo fundraising page, which raises funds for the organization to campaign in the states. Greene provided more information about her bold resignation:

“As a member of the media, I’ve seen the dirty campaign tricks and lies that prohibitionists have been using over the past several months to sway Alaskan voters firsthand. Here’s the sad thing: it’s working. Polling shows the majority of Alaskans, who were in favor of the initiative at the start of the year, are now against it. Few people fighting for marijuana legalization in Alaska are as media savvy, well educated on the marijuana industry, passionate, professional and completely dedicated to passing this initiative as me, the only person in Alaska that has had the balls to face the injustice of Alaska’s medical marijuana catch-22 and do something about it. My Alaska Cannabis Club members are right here with me, ready to fight this long overdue fight.”

We wish Charlo Greene and the Alaska Cannabis Club lots of luck and success on their journey to help legalize marijuana.

[h/t Dazed]

This isn’t a joke, and this isn’t a Total Recall cosplay convention outfit. A woman in Tampa, Florida recently underwent surgery to give herself a third breast. Of course Florida. Of course.

Going by the name of Jasmine Tridevil, she went under the knife to give herself a center breast in order in the hopes of obtaining reality star fame. Tridevil is trying to pitch her story to MTV with the plan to secure a reality show and, according to her Facebook page, is currently filming “her daily life in Tampa to show the struggles she faces because of her surgery.”

Tridevil noted that the surgery cost $20,000 and included a “nipple” implant. She had to ask over 50 doctors to do the procedure, and when she finally found one, she was forced to sign a non-disclosure agreement so he couldn’t be named in public.

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Aside from the public recognition, she claims she underwent the surgery because she “wanted to make [her]self unattractive to men,” and was uninterested in dating.

We doubt she’ll have to worry about that problem anymore.

[via The Huffington Post]

Aaron Jerome AKA 'SBTRKT' brings us into the future with his sophomore album 'Wonder Where We Land' featuring an array of collaborators such as Sampha, A$AP Ferg, Jessie Ware and Raury, to name a few. Prior to this, Jerome released his EP 'Transitions', which acts as a bridge gap between his debut album 'SBTRKT' and 'Wonder Where We Land'.

The first track 'Day 1' sets the tone for the 'Wonder Where We Land', opening with a screechy, atmospheric synth that moves through chords wavily across the 35 seconds of song. It feels like a new start, a transition, although nothing that wouldn't be out of place on SBTRKT's self titled debut album.

Next up is the title track 'Wonder Where We Land' featuring veteran SBTRKT collaborator Sampha, whose smooth crooning vocal settles over this surprisingly relaxing beat. Never have we heard Sampha's voice being utilized like this, from pitched down vocal samples, reverse chops and even beat boxing part way through, SBTRKT puts Sampha's voice through it's paces. The bone rattling bass line that's introduced at the opening of this moody track glides smoothly underneath recorded piano, electronic blips and vocals marking a change from the upbeat warm synthy textures of the first album.

'Lantern' opens with techno arpeggios and wacky production that wouldn't sound out of place on a SBTRKT's recently released 'Transitions EP'. One of the rare tracks on the album without a vocal collaborator, this song buzzes with electronics and intricate melodies.

One of the album highlights of 'Wonder Where We Land' is one of the singles, 'Higher' featuring hyped up and coming vocalist Raury. SBTRKT takes a downtempo approach, grounding 'Higher' firmly in more Hip Hop territory, with soaring pads, vocals and a punchy beat. This is possibly the most accessible and catchy song on the album, being more straightforward in comparison some of the other electronic laden tracks.

'Day 5' is the second interlude of the album, this time switching electronics for, what sounds like, a recording of a brass band playing in the middle of a street. Simple but effective, creating a moody atmosphere for the second half of 'Wonder Where We Land'.

Next up 'Look Away' featuring Caroline Polachek from band Chairlift. Maybe the most experimental song on the album, featuring a prominent piano as well as Caroline's catchy vocals that you'll find yourself humming hours after.

'Osea' features fellow Young Turks artist Koreless, known for his spacy drum-less pieces of electronic ambience. In this song the two producers layer an increasing amount textured synth sounds, making something that wouldn't sound out of place on a Tron movie soundtrack.

The album's first single 'Temporary View' features the very prominent Sampha, who seems to be a SBTRKT staple. Maybe one of the most accessible songs on the album, this song twinkles with synths and clean half time drums. In my opinion the most catchy chorus on the album, Sampha at his best.

'New Dorp New York' is another single, maybe the most hyped track of the album, featuring Ezra Koenig of indie band Vampire Weekend. The booming bass line is the key element on this song, featuring acoustic drum sounds and Koenig's funky, sharp vocals over a simple bass drum beat. Although 'Wonder Where We Land' is quite a mixed bag, this song stands out as the most different, in comparison to SBTRKT's debut album.

The next song, 'Everybody Knows' is classic SBTRKT, being reminiscent of the warmth and brightness of his debut album. Featuring an undisclosed vocalist, the song simmers with subdued piano chords and tropical sounding beats.

'Problem Solved' features Jessie Ware, a Young Turks regular, appearing on Sampha songs as well as previous SBTRKT songs 'Right Thing To Do'. On this song we see Jessie move into more RnB territory, again featuring a prominent piano part, this song is a punchy but soulful jam that utilizes Jessie's soft vocals tones.

'If It Happens' is reminiscent of Sampha's 'Dual EP' being a simple stripped back piano ballad, progressing through chords, giving Sampha's voice fulls spotlight. Sampha's smooth silky voice seems riff over the song dynamically making this the most simple but effective song on the album.

Sampha's next cut on this album comes with 'Gon Stay'. Making use of Sampha's falsetto, SBTRKT makes an almost Samba like beat, featuring clicking drum sounds, Tom's and hi hats. It's very live sounding, which seems to be a recurring motif on this album, featuring real instruments but with some programming over the top.

'The Light' features Denai Moore, being a more low key song, made up of sampled piano sounds and clicks. Denai Moore's vocals really carry the song, being the main feature, providing beautiful harmonies over this dark beat.

The A$AP Ferg featuring 'Voices In My Head' sees Ferg vocalise over an acoustic hip hop beat with sustained piano chords. The intro features Ferg crooning over high cut keyboard chords before he launches into a ferocious rap proving he's a name to watch in the future. The drums are courtesy of Warpaint, making this one of the most unlikely but successful collabs on the album.

Keeping a crowd waiting may be standard issue diva behaviour, but when even your hype DJ – after 45 minutes of spinning tunes and ineffectually whooping – gives up, you know you’re trouble. Ms Lauryn Hill was booed before she even reached the stage on Saturday night.

Once there, the R&B star – who, after a recent stint in jail for tax avoidance, is usually prefaced ‘troubled’ – did little to win her fans back.

The crowd were hungry for the hits – partly, because she has little else. After The Fugees, Hill released only one record – 1998’s The Miseducation of Lauryn Hill – and an unplugged album. But what an album The Miseducation was, bursting with attitude and rock-solid tunes. It has stridently stood the test of time – attested by the youth of much of the crowd tonight – and given the current vogue for 90s R&B’s, surely ripe for revisiting.

Revisited it was – but also reinvented. A live band included a strutting guitarist, noodling jazzy keyboards; tracks are unexpectedly thrashy, and – with her insanely fast-paced but sometimes muttered vocals – hard to pin down.

‘Everything is Everything’ is noisy, full of chewy guitar, but woefully lacking groove. Her rapping on ‘Lost Ones’ is finickity and fragmented – in deconstructing her hits, she seems to mislaid their melodies. Even ‘Ex Factor’, greeted with a heart-sore, nostalgic roar, is curiously up-tempo, with busy percussion and screeching guitar solos, losing its mournful soul. “It ain’t working,” Hill sings – and it seems the audience agrees.

No performer wants to retread old hits note-for-note, and audiences should respect new spins; but add the fact that the sound quality is terrible, loud to the point of distortion, and this is a mess. So much so that Ms Hill even starts trending on Twitter, as fans make their disappointment known.

So when she leaves the stage after 40 minutes, there’s a collective holding-of-breath. Happily, it’s only to get an acoustic guitar – and a few unplugged tunes provide a welcome interlude, reminding of the sweet soulfulness of her voice.

Then she’s up and swaggering again – in a cap, white shirt, black leather skirt and what looks like a lab coat designed by Dr Seuss, she cuts the figure of a terrifyingly bad-ass schoolgirl. A clutch of Fugees tracks prove her voice is still in impeccable shape, when she wants to use it – she hits them high notes as easily as she spits bullet-hard, metallic-twanged raps. ‘FU-GEE-LA’ rattles with serious sub-bass, but gets people jumping, and if ‘Ready or Not’ doesn’t sound quite as full of fight as it should, it’s played straight enough to give people the hit of familiarity they’re here for.

After a melange of Bob Marley covers mired by sticky timing issues, Hill concludes with ‘Doo Wop (That Thing)’. The sound is still terrible, but it’s a furious performance, with a stunning, slowed down second verse rap that showcases her powerful, bombastic vocals. The crowd loves it, finally, but it still feel like too little, too late.

Some might have considered him unlucky, filling the second-to-last slot of what is always a ravenous, overtired, day at Somerset House during LFW. But, if the crowds’ ear-splitting applause and cheers inside the BFC tent as the show closed weren’t testament to the unanimous love felt for Lucas Nascimento’s SS15 collection – and just Lucas in general – I don’t know what is.

Expectations were high for the Brazilian-born designer yesterday, and as the opening model took her first stride onto the catwalk in an asymmetric tangerine ensemble, a mixed sigh of relief and excitement was almost audible. I, for one, sank into my seat – as comfortably as one can sink into a fashion show bench – felt immediately relaxed, and enjoyed the show. Though I did ponder the use of tangerine and lemon – again – and concluded: either the universe is subliminally hinting at me to consume more vitamin C, or, acidic colours are a prerequisite at London Fashion Week this year.

I found the best way to describe the collection was that it was presented all at once, yet simultaneously barely there at all. Lucas played with the idea of “a temporary reality,” and an “imaginary line” that cut the outfits in half – from one side, the silhouette was full and complete, with maxi skirts and long-sleeved knitwear, but as the models turned at the end of the runway, they revealed that the other half of the outfit was slashed away, quite literally cut in half, revealing Lucas’ previously unseen edgier side, (pardon the pun), of thigh-slits, bandeaus, navels and knickers. Nothing was as it seemed.

Dresses were half-dresses, leathers were raw-cut and revealed their sassy colour-blocked, silk linings, and draping was sheer, sensual, and sophisticated. You couldn’t quite work out whether the models were dressed provocatively or conservatively, or both at once. I gave up on trying too hard to figure it out, and just went with the flowing juxtaposition of neutral with bold – covered with uncovered – and the layering of lengths and textures.

It’s worth mentioning again the loving, proud, excited, and just all-round bloody happy vibe that was bouncing off the walls as the designer took his bow, and the thunderous vocal reception that resonated as a result. It seems that Lucas’ hair isn’t the best thing in fashion anymore – NEWGEN’s new kid on the block did really, really good.

Lucas Nascimento show SS15. Photo credit: insideout.topshop.com