Sean Harper
Sean Harper

My Works:

No Man is an Island

It’s been a quiet couple of years for Mathilde Bataillé. Since self releasing her debut EP in 2015, the Goldsmiths student hasn’t shared so much as a hint of a new studio recording. Last year’s 'Live In Paris' EP taunted with her rapidly developing ability as a songwriter, but it’s only now, with the release of No Man is an Island, that she demonstrates a mastery of timelessness.

Though in similar thematic territory to debut EP opener Ghost, No Man is an Island’s instrumentation is of a different ilk altogether. Her guitar cascades in the same way Buckley’s did as lyrically she posits herself as an apparition; a mere observer of the hypocrisies, tribulations and tragedies that, sadly, make us who we are: “And we all claim to wear our hearts on our sleeves/But we put them away when they start to bleed”. It’s these canny remarks that set Bataillé apart from other singer/songwriters inspired by the canon of greats, remarks that could only be born in the mind of an outsider. 

Bolstered by Toby Pitts’ deft drum work, Jamie Keegan’s bass and additional guitar from Richard Hunt, No Man is an Island is a reminder that it’s

Great Dad

...Commands is a new section hosting artist-curated playlists for artist-invented scenarios. In this edition, Great Dad attempt to soundtrack the end of the world after being nominated by Saint Torrente.

Bob Ostertag, Otomo Yoshihide & Justin Vivian Bond - King Kong

"V end of the worldy off the v end of the worldy album "pantychrist" check it out the whole things class."

Agoraphobic Nosebleed - Moral Distortion

"all their songs sound the same to me but i like the song they do."

Broadcast - Tears in the Typing Pool

"My fave song off their album tender buttons, the rest of the album has some sick thick sawtoothy synths but this tracks a wee break from that."

Micachu and the Shapes - Guts

"the final tune (apart from hardcore which is cheekily hidden) off one of my favourite albums 'jewellery' the production and arrangement choices throughout this album are amazing and at times rlly chaotic like the end of the world i guess."

Godflesh - Like Rats

"i heard the mark kozelek version of this before the godflesh one, this is much scarier."

Boredoms - Super You

"so heavy."


Who Cares?


Charles Vaughan hammers one final nail into Vaporwave's digital coffin.

The advent of modern production technology and internet culture has created a ridiculous world of niche sub-genres to lose yourself in. Yet somehow, these inescapably annoying online genres have developed mainstream appeal, only to be killed off by the very communities that created them in the first place. Vaporwave is the most notable of these recent trends, a genre that’s very death sparked an internet-wide meme that is 'as Vaporwave' as the genre itself. Very meta for what is essentially slowed down 80s disco music. But does it matter, and if so why? Well, this is a great form of procrastination, so I’m going to explore this further on behalf of nobody. You’re welcome.

Vaporwave’s origins are widely agreed to be rooted in records such as Far Side Virtual and Eccojams Vol. 1. These albums took two very different approaches to the same goal, creating a sense of nostalgic drive that encapsulated the memories of the current internet age with sonic motifs from by-gone eras. Where Far Side Virtual creates a polished, gleaming sound of the future, a capitalist technological manifestation that embraces the fundamental ideas of accelerationism,

Loraine James

The year is 2018 and it is being claimed that like it or not, we are all accelerationists. For those unfamiliar with the term, consider it “the idea that the prevailing system of capitalism, or certain technosocial processes that have historically characterised it, should be expanded, repurposed, or accelerated in order to generate radical social change.” This, sadly, is the plainest way to put it, yet in the context of Futureshock, an experimental club experience developed by young collective EditedArts and designed to explore this idea, accelerationism’s applications become not just apparent, but exciting.

Not immediately, though. The first live set is running 30 minutes behind, and attendees resort to entertaining themselves with New River Studios’ pizza menu, a renegade VR headset being passed around the bar area, and a DJ set in the same room courtesy of Giedre Juzenaite. Her selections shrug off genre with a roll of the eyes as she chooses instead to limit herself only to music from Japan. Working within this confine makes for a fascinating blend, unsettling in its eclecticism. My turn with the VR headset arrives at the same time as the news that the performances are about to begin.

Enter Joel McMordie.


Saint Torrente, friend to all animals


...Commands is a new section hosting artist-curated playlists for artist-invented scenarios. To start us off, pop heartthrob Saint Torrente compiles his perfect New Year's Eve playlist and nominates our next victim.


This is a song about the young Lady Gaga moving downtown to become a superstar on the NYC scene. Take a leaf out of her book at ur NYE party and be less of a damn slob! It’s complex with a weird art title, bitch! Get ur jush!


Catch Noonie Bao singing about “wanting it all” while evoking and critiquing(?) capitalism on this fucking fierce track! NYE VIBE!


Bree Runway says “I don’t wanna be a weak bitch anymore!” in one coy little dramatic phone call moment. The queen of the people. Quote Bree Runway every day in the new year, you need it!


Look, I like Pharrell, he makes unusual musical choices, looks 25 despite being heavily into his 40s. This Xmas my aunties had a discussion about his skincare regimen... LIGHTNING FIRE MAGIC PRAYER IS A