Bat for Lashes plays the Bowery Ballroom: an Interview with Natasha Khan

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Tuesday, April 11, 2006

Rapper Proof, born Deshaun Holton, was shot and killed on April 11, 2006, at approximately 4:30 a.m. EDT (0830 UTC) at the Triple C Club on 8 Mile Road in Detroit.

Proof was known for his work together with his good friend Eminem and his group D12.

Another man was shot shortly afterward, and was taken to St. John Hospital.

On April 12, 2006, Mario Etheridge, 28, of Detroit turned himself in to the police, having been named by several witnesses. Mario was allegedly a bouncer at the club. “Police said he is a cousin of Keith Bender Jr., the bouncer who was allegedly shot by Proof during the fight.” The fight that started inside the club was reported to be over a pool game. The argument was taken outside where, “A shot was fired in the air, Proof allegedly pistol-whipped Bender, knocked him to the ground and then shot him. Etheridge then allegedly opened fire on the rapper, striking him four times in the head and chest. One week later, Keith Bender Jr. died of his injuries on April 18, 2006.

Official Police reports are yet to determine the series of events which left Proof and Keith Bender, 35, deceased. Bender died 8 days later on April 18, 2006. Following Proof’s death, rapper Snoop Dogg called on fellow musicians to unite, describing the incident as “a loss to the hip-hop community”.

The tributes were led by fellow rapper The Game who was first to comment on the tragedy. The Game remembers how he and Proof became ‘real cool and real homies’ and that ‘Proof will always be remembered and I as well as the Black Wall Street family will keep his memory & his family in our prayers 1’. The second to comment on Proof was long time friend Royce da 5’9″ who was deeply saddened by the death of his good friend. Royce had been a friend of Proof for over 9 years and the two had recently reconciled. Royce echoed the music community, saying ‘He is such loss for the hip hop community…I hope that he will be remembered for the talented artist and great person that he was, and not the tragedy that he fell victim to’.

Eminem was the third to discuss Proof’s death days after his passing, clearly affected by the tragedy. Eminem described Proof as “funny, smart and charming” and said that he would be sorely missed and described him as “the heart and ambassador of Detroit hip-hop”. Eminem said that Proof was, and always will be, his best friend.

Tributes poured out of the UK with Vm2k6 leading the remembrance. Proof’s demise which was mainly overlooked by the UK media was documented and reflected by VM2k6 in which he calls Proof ‘fresh, talented and meaningful, a rarity in Hip Hop today’. He continues saying that Proof had ‘the greatest ability to transfer his experiences and most of all feelings into words’ and finished with the heartfelt line- ‘I guess its only in Death you really begin to shine’.

Several fan videos were released in tribute to Proof, including the hit “Good Die Young” music video which used D12’s 2004 single, which is currently one of the highest discussed and viewed videos on YouTube.com. Many other “slide show” flicks were created, which are appearing all over the internet. The “Good Die Young” clip was produced by RYKE Video Productions.

Proof stated how he wanted to be remembered in an interview with Sohh.com shortly after his album release; ‘I want people to say that I was a true artist’, ‘ That I did it best and stayed true to Hip Hop roots’ and ‘I’d want people to understand I did it for the love not for the charts.’

Friday, December 8, 2006

The New Zealand National party is asking state owned entity TVNZ (Television New Zealand), why they broadcast the coup threats the military commander, Commodore Frank Bainimarama, made live to the world.

“The question that TVNZ must answer is was this a legitimate media conference, or were they acting under the instruction of Frank Bainimarama. Be it inadvertent or not, the New Zealand public broadcaster has become a tool of the coup leader,” Gerry Brownlee, state owned enterprises spokesman for the National party, said.

“Television New Zealand news is run by professional journalists and has a duty to cover news of major significance,” Andrew Little, national secretary of Engineering, Printing and Manufacturing Union which represents journalists, said.

During question and answer time in Parliament on Thursday 8 December, Mr Brownlee asked Dr Michael Cullen if the broadcasting was consistent with government public services policies. Dr Cullen did not answer the question as he said that there was no evidence or reports and Dr Cullen does not trust Mr Brownlee’s word.

“This is not a question about whether the Commodore’s threats were news. They were. This is a question about whether, without TVNZ’s satellite assistance, the Commodore would have been as effective in his campaign of fear,” Mr Brownlee said.

“[The journalists] and they alone should decide what should be covered. The day that a politician decides what the state broadcaster covers will be a sad day for the integrity of New Zealand democracy,” Mr Little said. The union seeking insurances “The union is seeking an assurance from the National Party that media censorship is not National Party policy.”

Mr Brownlee commented: “I for one don’t want to see TVNZ becoming the Al Jazeera of the South Pacific…”

Wednesday, June 25, 2008

Animal rights activists have complained after officials from the Wimbledon tennis tournament shot down pigeons, allegedly because they were an inconvenience to players. This move was possibly illegal under Animal Welfare Act 2006, which prevents using lethal force unless it is used as a last resort.

File:BruceFriedrich1.jpg

Wikinews spoke to Bruce Friedrich, Vice President of PETA, which has campaigned against the move. He said that “killing animals so quickly and for such frivolous reasons is cruel, illegal, and won’t work.”

Wikinews has also been told by Friedrich that “the All England Lawn Tennis and Croquet Club should still be prosecuted for cruelty to animals, since they broke the law and should be held accountable.”

Violation of the Animal Welfare act carries a maximum sentence of “imprisonment for a term not exceeding 51 weeks” or a fine “not exceeding £20,000”

Wikinews has also been given a copy of the letter sent to Wimbledon officials. Below is the text of the first paragraph:

The All England Lawn Tennis and Croquet Club (which runs the Wimbledon Championships) has not yet released a statement regarding the incident, although The Independent has reported that one will be made after the tournament.

Tuesday, October 10, 2006

As Microsoft had previously announced, they will stop supporting the first service pack of their flagship operating system software, Windows XP. The company will not provide any security updates or incident support options for Windows XP Service Pack 1 (SP1) and Service Pack 1a (SP1a).

On October 10, 2006 support and security updates for these two products will end, as part of the Microsoft Lifecycle Policy. In their customer notification about the change, the software giant advises customers to update to the newer Service Pack 2 (SP2), released in 2004.

Windows XP SP1 was released on September 9, 2002, offering more than 300 security updates in one package. Other than the security updates, SP1 also introduced USB 2.0 support and a new utility, Set Program Access and Defaults, which let users to have control over Microsoft’s bundled products. On February 3, 2003, the service pack was re-released as Service Pack 1a which, as a result of a lawsuit with Sun Microsystems, removed the Microsoft virtual machine (VM), which provided support for Java programs.

The support end date for SP1 was originally September 17, 2006.

Saturday, August 25, 2007

The leading supplier of school uniforms in the United Kingdom, Lancashire-based manufacturer Trutex, has announced it is “seriously considering” including GPS tracking devices in future ranges of its uniform products after conducting an online survey of both parents and children.

“As a direct result of the survey, we are now seriously considering incorporating a [tracking] device into future ranges” said Trutex marketing director Clare Rix.

The survey questioned 809 parents and 444 children aged nine to 16. It showed that 44% of parents were worried about the safety of pre-teen children, and 59% wanted tracking devices installed in school apparel. 39% of children aged nine to 12 were prepared to wear clothing with tracking devices in them, while teenagers were notably less enthusiastic and more wary of what Trutex has admitted they see as a “big brother” concept.

However, Trutex has claimed the tracking devices would bring about worthwhile benefits, including being a valuable resource for parents who wanted to keep a close eye on where their children were at all times.

“As well as being a safety net for parents, there could be real benefits for schools who could keep a closer track on the whereabouts of their pupils, potentially reducing truancy levels” says Rix.

Each year, Trutex supplies 1 million blouses, 1.1 million shirts, 250,000 pairs of trousers, 20,000 blazers, 60,000 skirts and 110,000 pieces of knitwear to the UK.

It is not the first company to manufacture school uniforms with a central focus on child safety; last week Essex firm BladeRunner revealed it was selling stab-proof school blazers to parents concerned about violence against their children. The blazers were outfitted with Kevlar, a synthetic fibre used in body armour. It has already received orders internationally, including Australia.

If the Trutex tracking devices go ahead, it is unclear where in the uniform they will be located.

Thursday, March 9, 2017

On Monday, U.S. president Donald Trump signed in the Oval Office a revised version of his executive order barring entry to the United States by refugees and individuals from certain Muslim-majority countries. While the previous ban, which caused chaos at airports and drew considerable criticism from within and outside of the U.S. government, covered seven countries, this one names only six and specifically exempts legal permanent residents and anyone who already has a visa to enter the country, or a visa revoked by the earlier executive order.

Residents of Syria, Iran, Libya, Somalia, Sudan and Yemen must now wait 90 days for visas. Iraq was removed following concerns that people who had helped the United States military and Iraqi government during and after the Iraq War might be left in danger. Secretary of State Rex Tillerson said this was because the U.S. State Department and Iraqi government improved the vetting process, though he did not say what exactly changed. The Iraqi government also lobbied heavily. Prime Minister Haider al-Abadi spoke with President Trump by phone and Vice President Pence in person. A senior official with the Trump administration also told reporters the Iraqi government had promised “timely repatriation” for Iraqi nationals whom the U.S. has decided to deport.

There is still a 120-day moratorium on accepting refugees into the U.S., though the ban on Syrian refugees is no longer indefinite. The new order omits language that gave priority to religious minorities, which critics such as National Public Radio’s Domenico Montanaro read as “Christians.” Claims of religious discrimination against Muslims contributed to the first order’s overturn by the judiciary.

Under the previous travel ban, permanent residents in possession of a green card were concerned that if they were to visit their home countries they might be barred from returning to the United States. The new executive order exempts them.

Representative Adam Schiff, a Democrat on the House Intelligence Committee, said both orders have “the same fundamental flaws.” Representative Andre Carson of Indiana, who is Muslim, referred to this as “Muslim ban 2.0” on Twitter. Senator Chuck Schumer, a Democrat from New York, called for the order’s repeal, saying, “A watered-down ban is still a ban.”

Not all of the response has been negative. “I have always shared President Trump’s desire to protect our homeland,” said Senator Lindsay Graham, a Republican and a critic of the first executive order. “This Executive Order will achieve the goal of protecting our homeland and will, in my view, pass legal muster.”

The order is set to go into effect on March 16. The White House continues to affirm that the original travel ban was legal and the issue may still be heard before the U.S. Supreme Court.