Trash Or Treasure? The Week's Most Iconic Looks In Music


Here at the interns we give our ears and proper workout so we thought we would give our eyes a chance to prove their worth. Trash or treasure gives us a chance to look over the week past's most eyeball worthy looks and decide if we're going to copy them or appreciate them from afar.

Beyoncé has bought out a line of temporary tattoos and has announced this with a smouldering black and white photo series featured in CR Fashion Book. Because if you want to make your product launch cool, who else to associate yourself with but Carine Roitfeld. The new festival accessory. Still... Chanel did it first.

Frank Ocean
You’re not my favourite person right now Frank. He was looking very unimpressed in New York last week, probably because he’s sick of being heckled. I get it, it’s annoying but god dammit Frank, hurry up, just HURRY UP! Ooo is that an Acne bag I see.

Miley Cyrus
Well isn’t this a nice change from those Borat mankini things Miley frequently seems to wear. She should definitely channel this Edie/Twiggy look more often. Whilst the dress screams disco chic, her hair and make-up are the flawless feature of this cover. One of her best looks to date.

Vic Mensa & ASAP Rocky
Lollapalooza attendees were prettyyyyy excited to see these two together on stage. Chilling backstage at the festival posing with some major attitude, this duo has legit street cred in the fashion world (Vic Mensa has his own shoe deal with Puma and well A$AP is the number one pretty boy).


I ? @zuluinternational

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Dear Lord. She looks like she could easily fit into the Capulet party scene in Baz Luhrmann’s Romeo + Juliet, which has pretty much been my costume goals ever since I saw that movie 17 years ago . So in my eyes, she’s winning. The native was attending the Barbados Crop Over Festival which held annually to celebrate the end of the sugarcane harvest. She wearing a custom made Kadooment Day ZuluIntl Mockingjay costume.


Red Dragon

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“I like to wake up with none of my clothes or phones by me and just not know what happened and try to spend the next day figuring it out.” But by the look of his colour coordinated outfit, I still think he has his shit together.

Rachel Clark

Music is a huge part of the brand Burberry. If you didn’t know this, just have a look at one of their advertisements and fashion shows frequently featuring new musicians. More so they have dedicated a component of their website to showcasing them. In 2010, Christopher Bailey (Creative Director) established Burberry Acoustic to use the brand as a platform to expose local music talent.

17 year old indie folk singer songwriter Rachel Clark from Cambridge, who plays the guitar, cello and piano was selected for the latest shoot. Judging by her online following she is still very unknown. For now.

Sam Smith

After the kicks there's little old mixed-up me

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Stealth. The new face of Balenciaga has definitely upped his fashion game since he emerged onto the scene.

Willow Smith
An icon photo series shot by icons themselves. Carine Roitfeld and Jean Paul Goude have collaborated for Septembers issue of Harpers Bazaar and Willow Smith was chosen to represent one of Carine’s favourite figures, Hindu goddess Kali of power/empowerment.

Lenny Kravitz
Woah… Drop it like it’s hot Lenny. The trending story last week: Lenny’s wardrobe malfunction. This guy really does stay true to his style, accessories are his thing.... His necklace. I was talking about his necklace.


First Impressions: Wave Racer, Disclosure, Carly Rae Jepsen + More

First Impressions is an interns roundtable review of songs on their first (or second) listen. Each week we review six new songs from the past week, each giving them a score out of five and awarding our pick of the week. This week we pick apart tracks by Wave Racer, Disclosure, Tory Lanez, Meg Mac, Kid Cudi and Carly Rae Jepsen

Wave Racer
Flash Drive (Feat. Baby)

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Zanda Wilson: Well I should disclose that I’ve been waiting for something new from Wave Racer for a while, and boy has he delivered. Wavey gamer vibes are what has made a name for the Sydney producer, and Flash Drive has all of it in spades. Nothing unexpected, just some great feel-good effects, and dayum that slap bass solo interlude in the middle. Just fantastic. Zanda’s Pick

Alistair Rhodes: Wave Racer's distinct and unique sound definitely shines through with this new song, as soon as you hear it you know it's Wave Racer. The addition of Baby on vocals is just wow! I'm sure we'll be hearing a lot more producers use her vocals over the next year or so. That bass guitar in the middle screams 'Seinfeld intro' to me and who doesn't like Seinfeld! 4

Ben Kyi: Over a year since the release of his single Streamers, Wave Racer has returned with the jovial Flash Drive. The track utilises to full extent the sugary, high spirited electronica and video game vibes that we have come to expect from Wave Racer, but with the added bonus of killer vocals from Baby and a fantastically sporadic cut and paste bass solo. Let’s hope we won’t have to wait another year for his next release. 4

Sam Murphy: Yes, I love wavey adding vocals to his tracks. There are definite rays of PC Music in this one but it still has his signature aqua-soaked beats. It’s colourful and playful, exactly how it should be and surprisingly never gets overwhelming. I also like that it’s attached to an EP, which means we’re getting more music from the beat maestro. 3.5

Omen (Feat. Sam Smith)

Zanda: There’s something about Sam Smith’s voice that just suits Disclosure’s style of production. Anyone that loved Latch will dig this one. The British duo are able to feature Smith’s spectacular range whilst still imparting their signature bass vibe on the track. If I had to pick on something I would suggest that Smith’s vocals in the chorus are a bit over-worked and altered, but there’s no doubting the huge value of this tune. 4.5

Alistair: Disclosure really love working with Sam Smith and who wouldn't, he has an amazing voice, but in saying that I'm really not digging this one from the British lads. Omen doesn't seem to go anywhere and stays stagnant throughout the full four minutes of the song. It definitely doesn't get me moving the way that Latch did. 2

Ben: Following on from Latch, there was a lot of understandable hype surrounding the release of the second collaboration between Disclosure and Sam Smith. The pulsating bass, shimmering beats and great production that the two piece are known for, are all present on Omen, and Sam Smith’s vocals are once again impeccable. However, the track doesn’t really build to anything. This isn’t to say it is a bad track. Though instead of accelerating, Omen seems to be content with merely drifting along. 3

Sam: This one’s a tough one because the first time I heard it I thought it was a little lacklustre. It just felt like the chorus was flat. But it’s grown on me since it’s release and I actually remember thinking the chorus to Latch was a bit of a letdown when I first heard it too. Now I’ve gotten used to that fact that Omen isn’t a 120BPM banger I’m starting to enjoy it’s subtle textures. The layered vocals in the chorus suit Sam Smith to a tee and the beats are bouncy and malleable. It’s probably not the earth-shattering hit it could’ve been but it’s good. Ask me in a month I might say it’s great. 3.5

Tory Lanez
Say It

Zanda: With vocals as smooth as Tory Lanez, its hard to go wrong. However good production should always be recognised, and although there some sparse, underworked backings throughout some of the verse sections the overall use of synthetic melody and effects is good. The chorus redeems any other flaws, with free-flowing vocals sitting on top of some gorgeous bass. 3.5

Alistair: Boy oh boy Tory Lanez what a voice. I wonder if he was ever in the church choir as a little boy because those harmonies that he breaks into are truly gospel like. Tory can not only rap but he can sing and I wouldn't be surprised if this catchy R&B number races up the charts. 3

Ben: There is very warm feeling throughout Tory Lanez’s latest cut Say It. Whether it is the low key production, the gospel style backing vocals or the honesty in Lanez’s words, Say It is a mostly solid R&B number. The only drawback is the unnecessary use of auto-tune on Lanez’s vocals. This somewhat kills what would have been a pretty amazing track. 2.5

Sam: Torey Lanez is really holding us down while we wait for Jeremih to get his shit together and release Late Nites. Lanez is a smooth vocalist but it’s the sample of Brownstone’s If You Love Me that really takes this track to the next level. Lanez’s work with WeDidIt earlier this year was brilliant but this seems to tread a really careful line between alternative R&B and the mainstream. I reckon over the course of this year this one’s going to be a real sleeper hit. 4

Meg Mac
Never Be

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Zanda: Its awesome hearing Meg Mac exploring a darker side to her style here, with dominant and dark piano dominating some gorgeous phrase-ending cadences. ‘Never Be’ also shows another side of her vocal range, really delving into the lower levels of pitch, and putting Mac’s amazing versatility on display. She just keeps going from strength to strength. 4

Alistair: This song kicks off with a BANG as soon as Meg Mac starts singing. She has such a powerful voice which is perfectly accompanied by an equally powerful piano and kick drum. If you close your eyes and listen to Never Be, automatically your foot will start tapping and your fingers will begin clicking. You just want to start screaming out the lyrics with Meg Mac on this one. 5 Alistair's pick

Ben: Arguably one of the most talented musicians kicking around the country at present, Meg Mac is back with Never Be. Mac has a flair for smart and engaging composition full of heart and emotion, and this track is no different. Both the striking piano chords and sharp drum hits are anchored by the superb vocals belted out by Mac. This gal can do no wrong at the moment. Eagerly awaiting the release of her debut album. 4.5 Ben’s Pick

Sam: Meg Mac’s voice is always undeniable but it’s really good to hear her hitting it a bit harder with this one and that’s thanks to M-Phazes formidable production. There are hip-hop, gospel and singer/songwriter vibes in her and it all comes together perfectly tied together by Mac’s smokey, textured vocals. The repetition of “I will never be thank the lord” is also a really choice move. That’s the thing that takes it from being good and makes it really memorable. This is her best to date IMO. 4

Kid Cudi

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Zanda: An interesting track here by Kid Kudi, with that initial guitar riff dominating the entire song showing off a heavier instrumental emphasis than we are used to. Truthfully it gets a little repetitive, and the guitar itself sounds too synthetic for the role it’s playing in establishing the track as almost a rock tune. It doesn’t sound like the equalisation is quite finished either, with layers of sound all competing in the same register. 2.5

Alistair: Is Kid Cudi trying to channel Nirvana here? This song has taken a very different style to what we are used to hearing from Kid Cudi. Rather than being an upbeat dance number which Cudi is renowned for, this has tried to go grunge and it fails miserably. The guitar riff is just as repetitive as the whiny singing and after a minute 30 I'd already had enough. 1

Ben: I understand that Kid Cudi is trying something vastly different with Confused, but to be brutally honest, it really hasn’t worked at all. His vocals are off, the main guitar riff is flat and uninteresting and the mix is all over the place. This track recalls a bad ‘90s cover band, comprised of a group of angsty teenagers, recording a demo on an old cassette player which requires cleaning. Confused left me confused, and slightly infuriated. 1

Sam: I know Kid Cudi has a real cult following and they’re probably up with why he’s trying to be Creed but I really, really don’t get this. Melding hip-hop with rock is very rarely a good idea and that point is proven here. It’s off-tune, unfinished and really self-serving. Raury’s Devil’s Whisperer pulled off a similar aesthetic this year and that was by adding in a fire rap verse at the end. Cudi seems to ditch all his identity here and for what? A real stinker of a single and to quote a user on Soundcloud “wtf is this shit.” 1

Carly Rae Jepsen
Warm Blood

Zanda: Carly Rae has jumped on the bandwagon of using song titles to describe types of blood. This is a weird one, I can’t quite get my head around what she’s trying to do with it. With some of the spacing of the bass where the entire sound almost drops out at certain points I feel like Jepsen is trying to show that she’s not just a sweet and cute pop star. If that’s the goal here she unfortunately misses the mark, and it just sounds confused. 2

Alistair: It's clear that Carly Rae Jepsen is trying to break free from the pop star mould that she created for herself with Call Me Maybe. At times throughout this track you can get a sense that she is capable of achieving that, but not with this song. Warm Blood is all over the place, the bass line backing track keeps fading in and out at odd intervals and when at it's loudest Carly Rae's voice isn't powerful nor loud enough to compete with it. The secondary vocals are completely unnecessary. Nine out of 10 for effort for trying not to be a pop star anymore. 1

Ben: In an attempt to stray away from her pop image, Carly Rae Jepsen has concocted Warm Blood; a lacklustre and jumbled foray into electropop which comes across as a watered down version of a CHVRCHES B-side. It makes sense that Jepsen would want to shed her previous image, but this shift doesn’t feel natural in the slightest. 1.5

Sam: I’m really starting to sound like I’m one of whatever Carly Rae Jepsen calls her fans...Jeppers or something like that. Her last album Kiss was really weak but this latest one is probably the best pop album of the year. Warm Blood is a highlight from that. It’s a twisted, liquid banger, produced by Vampire Weekend’s Rostam Batmangli who like Dev Hynes has been really successful at making interesting pop music. Here he plays with her vocals and adds some really lovely pitched-down samples that make me wanna squeeze this song, it’s that good. Actually, now I think of it, it's the same kind of vocal manipulation they used on Ezra Koenig's voice in California English - just a lightbulb moment, may or may not be relevant. 4.5 Sam’s Pick

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10 Songs You Need To Hear This Week: Disclosure, Chet Faker, Meg Mac + More


Post-Splendour comedown has been hard. Real hard. Everyone's immune systems are shot and you're probably still finding mud in places you didn't know existed. Luckily we've gathered together 10 songs from the week that are mud-free and only contagious in the way that they'll get stuck in your head. Not in the flu way. Ew.

Meg Mac
Never Be

Meg Mac packed out her tent at Splendour In The Grass and she's capitalised on that momentum by dropping her new track Never Be. Never Be was produced by M-Phazes and is the most up-beat, attitude-filled track she's delivered to date. Those smokey vocals work magic over a full-bodied, throwback beat and the repetition at the backend of the chorus is so addictive.

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Omen (Featuring Sam Smith)

After weeks of teasing their new collaboration with Sam Smith, Disclosure finally dropped it and it was worth the wait. It's definitely more of a slow-grower than Latch but the pair of them working together are always going to make gold. This one is all about those layered, church-inspired vocals that bring the chorus into holy territory.

Kehlani's Freestyle

We weren't privvy to the information that Canada's PARTYNEXTDOOR was having relations with R&B princess Kehlani but this song suggests that it's definitely on. Funnily enough the aptly titled Kehlani's Freestyle sounds like it could've easily fit on Kehlani's record You Should Be Here. The OVO singer is also channelling some serious Drake vibes on this one with that monotonal but somehow alluring vocal.

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Tink dropped a mixtape Winter's Diary 3 this week and it's full of great tunes but this Timbaland-produced one is a sure-fire winner. Tink fires-off over an uminstakeably Timbaland beat. The best thing about how Tink works with Timbaland is that she genuinely makes him better rather than just moulding to his sound. She flicks between singing and rapping better than anyone in the game and continues to prove that she's got a better feel for melody than most rapper out there at the moment. Below is the full mixtape to listen and download. Win.

Lianne La Havas
Green & Gold

Lianne La Havas finally dropped her sophomore album Blood today and it's a gorgeous set of boundary-pushing soul tunes. The second track on the record Green & Gold is one of the highlights. She caresses a late-night instrumental with her crisp, profound voice and works the verses up to a chorus that ever so subtly takes you over. La Havas' greatest strength has always been subtlety and as such this one could float by without you knowing, but give it one spin with your full attention and you'll be enchanted immediately.

Jon B

We've been waiting a little while for new material from US R&B duo Abhi//Dijon and now in the space of a week we've been gifted two songs. Jon B is actually a career highlight for them drawing upon strong Channel ORANGE vibes. It plods along with a beat that Janet Jackson would've very happily plucked from them and they take their time working it into a total R&B jam. This is bedroom music.

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Chet Faker
1998 (Feat. BANKS)

Basically someone decided that there was more money to be made off Chet Faker's 1998 and so they got the closest sounding female artist and popped her on it and put it back on sale. That's how BANKS ended up here and whatever the motive is we don't really care because she really brings a severe darkness to it.

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Vic Mensa
Heir To The Throne (Freestyle)

In the Soundcloud description Vic Mensa has described this freestyle as "2001 shit," and he's right. This is 2001 shit. This is Mensa rapping at his finest, going for the rap throne like he's battling against Nas and Jay Z. In the freestyle he addresses the people who think his success has come from his affiliation with Kanye West rapping, "I made u mad before I met dude-ass." No disrespect to Kanye, he clears up.

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Wave Racer
Flash Drive

when it does it’s exactly what you wanted. Wave Racer’s newie Flash Drive is exactly what we wanted. It’s a glitchy, crystalline track that feels like it’s spewing colourful glitter. It’s taken from an EP of the same name which will feature three more tracks and drop on 16th October via Future Classic. You can pre-order it here.

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The Disclsoure And Sam Smith Collaboration 'Omen' Is Here

Disclosure have been teasing us about this one for a few weeks but now we finally have their second collab with Sam Smith Omen. Disclosure obviously shot Smith into the mainstream with their last hook-up Latch and now he's a superstar in his own right this track is bound to be massive. There's nothing hugely different about it to Latch but it's a banging pop tune and Smith's voice sounds as euphoric as ever.


6 Single Covers Transformed Into Mundane Advertisements

Artists are so often endorsing brands by filming new ad campaigns or posing with products that they probably sent their Nanny down to the shops to buy once. But, why don't they save the time and see the gold that is sitting right in front of them? Here, we've taken their single covers or press shots and re-appropriated them into advertisements.

Florence + The Machine


Charlie Puth 
Marvin Gaye (Feat. Meghan Trainor)


Bitch Better Have My Money 


Taylor Swift 
Bad Blood 



Rihanna And Kanye West And Paul McCartney 


Sam Smith 
Lay Me Down