FASHION Magazine

Loving the DVAS new album Society (Upper Class Recordings)–out this week. The title track is a splash of funk, a dash of electro and a whole lotta disco. Move over Katy Perry, I’ve found my summer anthem. Watch this video and more at fashionmagazine.com/music. Plus: Want to be featured on FASHION + Music? Upload your […]

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My iPod, as Little Boots might say, has been stuck on repeat this weekend with Scissor Sisters‘ latest, biggest, gayest dance party. I’m loving their new album Night Work, full of disco-y bangers that you’d hear at 3:47 am (if you were still awake, which I’m not, but I can still pretend!).

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British fashion magazine Dazed and Confused christened its first iPad-compatible issue the “Iran Issue,” due to Apple’s insisting they censor all nipples. While Apple (understandably) wants to keep its content squeaky clean, the i-empire may need to realize that a European fashion magazine without nudity is like our magazine without shoes. [Gawker and The Cut]

Chronicle Books has just announced the November release of a 400-page retrospective look at Anna Sui’s 20 years in the biz. The coffee table tome includes fashion spreads, text written by Costume Institute curator Andrew Bolton, a preface by Jack White and a foreword by Sui herself. [WWD]

The New Pornographers is a band. Some call it a supergroup, others, a collective. But with a fifth record on the way, are we still calling The New Pornos names? Three years since their last outing and Carl Newman’s indie-rock outfit has moved back into the sweet environs of thoughtful power pop. Re-embracing said sensibilities, Together (Last Gang Records) turns the dial up from Challengers, the band’s last, more cerebral release.

A few years ago, a little song called “1234” came out. You may have heard it before. Originally titled “Sally’s Song,” it was picked up while Feist was on the road before recording The Reminder. It’s words belong to Sally Seltmann, who at the time was releasing little-known albums from her native Australia under her New Buffalo pseudonym. Well, Feist picked up the song’s tempo, and turned Seltmann’s song into a joyful and twinkling commercial success. Meanwhile, Seltmann was picked up by Arts & Crafts.

When it comes to heavyweight pop collaborations, there’s a lot to be fearful of: Stepping on toes, amounting to the sum of two parts, going through the motions. Broken Bells’ self-titled debut is nothing of the sort.

Broken Bells is James Mercer, principle songwriter for the Shins, and Brian Burton of Danger Mouse fame. Together, they’ve made an empyreal pop record. One that’s psychedelic, atmospheric and hypnotic. It’s being drawn up to a 21st Century Pet Sounds made with special tools. And it’s damn good.

The Besnard Lakes’ music is as vast and dramatic as the remote region of Northern Saskatchewan for which the band is named. Listen to the wall of sound captured on this Pitchfork-approved outfit’s third release, The Besnard Lakes Are The Roaring Night (Jagjaguwar Records), and you’ll understand why Jace Lasek and wife Olga Goreas were tapped to score actor Mark Ruffalo’s directorial film debut Sympathy for Delicious. We spoke with Goreas, the voice behind lead-off single “Albatross,” from her home in Montreal.

Someone threw a (fake) cat at Vivienne Westwood at her show yesterday. It narrowly grazed her shoulder however and a model simply picked it up and cuddled with it. Only at Westwood. [Nylon]

The (supposed) truth comes out: last week Carine Roitfeld was a no-show at Balenciaga, claiming that she was “blacklisted” from the show. Details have emerged that the french Vogue editor had asked the Balenciaga house for samples for a shoot, and once received, a coat somehow made it’s way to MaxMara’s design studio, where it was copied. And that was the end of Roitfeld and the Paris Vogue entourage. [Fashionista]

Lindsay Lohan was back in the fashion week scene after being MIA at Ungaro yesterday, sitting front and centre at Kenzo yesterday. When WWD asked the actress why she was not at the Ungaro show, she replied  “Because I don’t work for them anymore.” When pushed for more details Lilo told reporters that “There’s legal things going on; I can’t really discuss it.” [The Cut]

Consider the mythical chimaera. It has the body of a lion, a serpent’s head for a tail, and a goat’s head jutting from its back. Weird, right? But considering its relevance to Brasstronaut’s debut full-length, Mt. Chimaera (Unfamiliar Records), it’s not all Classics Club geekdom. Grazing and gobbling up genres in its path with cunning sensibility, Brasstronaut manages to fuse pop, electronica, klezmer (yup, pokey clarinet) and jazz into one highbred take. Every moment of Mt. Chimaera is fresh—dashing your anticipations at each unexpected turn.

We don’t recommend you sit at home and listen to Woodhands’ Remorsecapade (Paper Bag). Get out and request their songs when you’re at a sweaty dance party—you’ll bounce along with this record’s front loaded punch and intensity.

Woodhands is Dan Werb and Paul Banwatt, an inditronica drum and keytar synth based in Toronto who rock in both drollery and sensibility. On Remoresecapade you’re either having far too much fun, or on the verge of bumming out. On tunes like “CP24,” Werb lets you know that “I’m gonna’ be on CP24, pointing sixteen-hundred roman candles at your door.” It’s relentless, it’s spastic, entirely danceable and lyrically odd.

Kieran Hebden first started releasing upbeat patchwork productions as Four Tet back in 1999 in order to find a creative outlet beyond his post-rock outfit, Fridge. Dialogue and four subsequent full-lengths constantly shifted personality while staying within the indie-electronic category of digital looping, slicing and pasting.

On his latest outing, There Is Love In You (Domino), Hebden shows that his work remains as richly syncopated, dynamic and elemental as it’s always been. This time around though, Four Tet plays partial to arching soundscapes over the hip-hop inflected basement-nerd tunes previously offered.

Always experimenting, but consistently sincere, you can always trust The Magnetic Fields aren’t just playing a one off. In the past they pulled out all the stops on 69 Love Songs, an album so comprehensive it spread across three discs and many, many inconsolable hours of your life. Then came Distortion, a much different tune, paying homage to shoegaze drone-fuzz and the Jesus and Mary Chain. Now on Realism, The Magnetic Fields’ third Nonesuch release, singer-songwriter Stephin Merritt takes the band into ersatz production on what is ostensibly a variety-folk concept album.