Author Archives: Ray Jackson
  1. Olivier De Sagazan: “I can only answer you with my creations, not with words.”

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    “I run every day, running is like an amplifier of presence for me, a time to reconnect with myself and the world. The sound of footsteps and breathing already creates music and incites the beginning of a dance.” Olivier De Sagazan. 

    Olivier De Sagazan blurs the lines between sculpture, painting, and performance, between surrealist dreams and your worst anxiety-ridden nightmares. The phrase ‘the art of decline‘ easily comes to mind when I look at his work. However, I’m told this observation is somewhere between cliche and ‘old hat’ when I put this to De Sagazan himself. I’m delighted to be told I’m wrong even though I’m correct! What cannot be denied, however, is that De Sagazan uses himself and others as a canvas, vehicles for expression. For me, De Sagazan recalls some of filmmaker David Cronenberg’s most complex ‘body-horror’ material, and the more I look through his creations, the more I find cinematic splendor. – namely, Apocalypse Now and Colonel Kurtz’s famous lament, ‘The horror, the horror’. 

    In this exclusive, brief yet fascinating interview, I do my best to get the slightest sense, the mildest hint of what goes through De Sagazan’s head and what makes him the artist he is. Although unsurprisingly, we barely scratch the surface. 



    Mr De Sagazan. You often talk about culture and fear, and the impact of each. Can culture have a stronger effect than fear?


    I think that with age, people like me generally learn to lose interest in or be less affected by fear. Culture and art are the things that motivate and interest me most. As far as I’m concerned, the world isn’t at all screwed up. There are certainly people who make a pact with the devil, i.e. with the economic concept of endless growth and who have no empathy for our planet, but the important thing is to see, each at our own level, how we can act to become aware of our community of interest with our environment.


    What does your experience as a biologist bring to your art?


    I still have a biologist’s eye, which helps me enormously in my artistic work. For me, there has to be a connection between a work of art and a living organism. When you look at a sculpture, you have to feel its presence, and it has to be like an active fetish.


    Your work seems to me to focus on horror rather than beauty – but at the same time, your work has a certain beauty, if that makes sense. 


    “Beauty is the last step before the terrible.” said the poet Rilke, and here we must understand that beauty is the feeling that everything can change at any moment, and that it therefore lies in this acute awareness of our fragility. There’s nothing mortifying about my work, just a sense of urgency as I try to awaken my eyes and my whole being. Most people only look at my work in the first degree, i.e. that boy who disfigures faces must be a violent, mentally ill type. I have to admit I’m dismayed by such considerations.


    What do you think an artist like yourself does, or what effect does it have on the wider political or cultural landscape? 


    I hope that my images will produce an awakening of thought. I think we’re living in a kind of trivialization of reality, and the aim of art is to shake us out of this torpor. But I’m an artist, not a political scientist.



    You’ve said previously that you were religious when you were younger. As you get older, do you ever feel that same longing for religion or divinity coming back?


    It happens to a lot of people, including me who’s always been an atheist, but as I get older, I start to feel the need to believe in something. Maybe it has something to do with Freud and his essay “The Future of an Illusion”: as long as we are aware of our own mortality, we can always be attracted by the idea of an afterlife, and so on. Yes, there’s always the return of the repressed, but I’m on my guard. The tragedy of religions is their tendency to want to explain everything, and in this, they become a poison that freezes you in your certainties.


    What are your major personal traumas that keep you working and being creative? Or even your own personal triumphs?


    I left my father’s faith at the age of 20. It was very hard at first, but then I realized that if life had no meaning, I would give it meaning by finding one, and that gave me enormous energy.


    Do you believe in the meaning of “the art of decadence” or “the art of decline”? I like that expression and I think of that when I look at your work. 


    No, it’s an old concept that comes up regularly, as in the last century with Max Nordeau …


    Which philosophers are most important to you, and why?


    Aristotle with his key concept that the foundation of the soul is touch. Then came phenomenologists like Merleau Ponty, who went so far as to think that this inner touch would already be present in matter too, hence that wonderful concept of the flesh of the world that I love so much. So there would already be a form of sensitivity in the earth and matter in general.


    Which work has been most important to you?


    My inaugural gesture was to go and physically enter my work, to cover myself with clay and paint, to become with my body a kind of hybrid between art and reality, or rather to abolish this separation between art and reality so that everything becomes art. Thus was born my performance ‘Transfiguration’. ‘Transfiguration’ is a good example. I wanted to bring one of my sculptures to life, and I’d been working on it for weeks with no results.


    What was your life like in the Congo, where you were born? What was it about Central Africa that inspires you? 


    Central Africa is my cradle in the poetic sense and in terms of my inspiration. What I love about African art, and primitive art in general, is the immediate link with life, in the sense that there is no separation between the two. In the belly of a Teke sculpture, there are pieces of the deceased, and so there is life after death for the deceased and peace for the living. Masks and sculptures are like crutches to help them walk through the “night” and go further in their perception of the world. That’s how I understand art too.

    What are your main motivations?


    We’re still trying to get out of this collective hallucination that makes us believe that everything down here is normal, that it’s normal to be born, normal to exist, normal to die, and that the world has no mystery left in it. I don’t know, I hope to produce a kind of jolt or awakening to the strangeness of the world, to give it a metaphysical dimension.


    Do you have any regrets about the work you’ve created or things you would have done differently with experience?


    I [have previously] probably lacked method and always moved forward instinctively. But assurance that has enabled me to push my experiments further and harder.


    What projects are taking up your time?


    I’m still pursuing my research in painting and sculpture, which still fascinates me. I’m also preparing an opera on Mozart’s Mass in C with Roland Auzet and the Limoges Opera for February 2024.


    Mr De Sagazan, anything to add? 


    I can only answer you with my creations, not with words.


    Olivier De Sagazan, thank you for your time. 


    Visit and view De Sagazan’s work on his official website and social media.

  2. Milan Kundera (1929 – 2023)

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    Milan Kundera (1929-2023) specialized in writing about philosophy, women, memory, love, sex, life’s absurdities, melancholia, betrayal, loss, communism, nostalgia, and most importantly, sex, lust, love, and women. At this current moment, with the loss of this most life-changing of authors (for me at least), I’m struggling for words to summarise his importance. Rather, I’ll just let you sample the greatest and profoundly heart-breaking passages yours truly has ever read. And yes, for those reading who know me, it involves the death of a dog.

    “Dogs do not have many advantages over people, but one of them is extremely important: euthanasia is not forbidden by law in their case; animals have the right to a merciful death. Karenin walked on three legs and spent more and more of his time lying in a corner. And whimpering. Both husband and wife agreed that they had no business letting him suffer needlessly. But agree as they might in principle, they still had to face the anguish of determining the time when his suffering was in fact needless, the point at which life was no longer worth living.

    If only Tomas hadn’t been a doctor! Then they would have been able to hide behind a third party. They would have been able to go back to the vet and ask him to put the dog to sleep with an injection.

    Assuming the role of Death is a terrifying thing. Tomas insisted that he would not give the injection himself; he would have the vet come and do it. But then he realised that he could grant Karenin a privilege forbidden to humans: Death would come for him in the guise of his loved ones.

    Karenin had whimpered all night. After feeling his leg in the morning, Tomas said to Tereza, “There’s no point in waiting.”

    In a few minutes they would both have to go to work. Tereza went in to see Karenin. Until then, he had lain in his corner completely apathetic (not even acknowledging Tomas when he felt his leg), but when he heard the door open and saw Tereza come in, he raised his head and looked at her.

    She could not stand his stare; it almost frightened her. he did not look that way at Tomas, only at her. But never with such intensity. It was not a desperate look, or even sad. No, it was a look of awful, unbearable trust. The look was an eager question. All his life Karenin had waited for answers from Tereza, and he was letting her know (with more urgency than usual, however) that he was still ready to learn the truth from her. (Everything that came from Tereza was the truth. Even when she gave commands like “Sit!” or “Lie down!” he took them as truths to identify with, to give his life meaning.)

    His look of awful trust did not last long; he soon laid his head back down on his paws. Tereza knew that no one ever again would look at her like that.

    They had never fed him sweets, but recently she had bought him a few chocolate bars. She took them out of the foil, broke them into pieces, and made a circle of them around him. Then she brought over a bowl of water to make sure that he had everythng he needed for the several hours he would spend at home alone. The look he had given her just then seemed to have tired him out. Even surrounded by the chocolate, he did not raise his head.

    She lay down on the floor next to him and hugged him. With a slow and laboured turn of his head, he sniffed her and gave her a lick or two. She closed her eyes while the licking went on, as if she wanted to remember it forever. She held out the other cheek to be licked.

    Then she had to go and take care of her heifers. She did not return until just before lunch. Tomas had not come home yet. Karenin was still lying on the floor surrounded by the chocolate, and did not even lift his head when he heard her come in. His bad leg was swollen now, and the tumour had burst in another place. She noticed some light red (noy blood-like) drops forming beneath his fur.

    Again she lay next to him on the floor. She stretched one arm across his body and closed her eyes. Then she heard someone banging at the door. “Doctor! Doctor! The pig is here! The pig and his master!” She lacked strenth to talk to anyone, and did not move, did not open her eyes. “Doctor! Doctor! The pigs have come!” Then silence.

    Tomas did not get back for another half hour. He went straight to the kitchen and prepared the injection without a word. When he entered the room, Tereza was on her feet and Karenin was picking himself up. As soon as he saw Tomas, he gave him a weak wag of his tail.

    “Look,” said Tereza, “he’s still smiling.”

    She said it beseechingly, trying to win a short reprieve, but did not push for it.

    Slowly she spread a sheet out over the couch. It was a white sheet with a pattern of tiny violets. She had everything carefully laid out and thought out, having imagined Karenin’s death many days in advance. (Oh, how horrible that we actually dream ahead to the death of those we love!)

    He no longer had the strength to jump up on the couch. They picked him up in their arms together. Tereza laid him on his side, and Tomas examined one of his good legs. He was looking for a more or less prominent vein. Then he cut away the fur with a pair of scissors.

    Tereza knelt by the couch and held Karenin’s head close to her own.

    Tomas asked her to squeeze the leg because he was having trouble sticking the needle in. She did as she was told, but did not move her face from his head. She kept talking gently to Karenin, and he thought only of her. He was not afraid. He licked her face two more times. And Tereza kept whispering, “Don’t be scared, don’t be scared, you won’t feel any pain there, you’ll dream of squirrels and rabbits, you’ll have cows there, and Mefisto will be there, don’t be scared…”

    Tomas jabbed the needle into the vein and pushed the plunger. Karenin’s leg jerked; his breath quickened for a few seconds then stopped. Tereza remained on the floor by the couch and buried her face in his head.

    Then they both had to go back to work and leave the dog laid out on the couch, on the white sheet with tiny violets.

    They came back towards evening. Tomas went into the garden. He found the lines of the rectangle that Tereza had drawn with her heel between the two apple trees. Then he started digging. He kept precisely to her specifications. He wanted everything to be just as Tereza wished.

    She stayed in the house with Karenin. She was afraid of burying him alive. She put her ear to his mouth and thought she heard a weak breathing sound. She stepped back and seemed to see his breast moving slightly.

    (No, the breath she heard was her own, and because it set her own body ever so slightly in motion, she had the impression the dog was moving.)

    She found a mirror in her bag and held it up to his mouth. The mirror was so smudged she thought she saw drops on it, drops caused by his breath.

    “Tomas! He’s alive!” she cried, when Tomas came in from the garden in his muddy boots.

    Tomas bent over him and shook his head.

    They each took an end of the sheet he was lying on, Tereza the lower end, Tomas the upper. Then they lifted him up and carried him out to the garden.

    The sheet felt now wet to Tereza’s hands. He puddled his way into our lives and now he’s puddling his way out, she thought, and she was glad to feel the moisture on her hands, his final greeting.

    They carried him to the apple trees and set him down. She leaned over the pit and arranged the sheet so that it covered him entirely. It was unbearable to think of the earth they would soon be throwing over him, raining down on his naked body.

    Then she went into the house and came back with his collar, his leash, and a handful of the chocolate that had lain untouched on the floor since morning. She threw it all in after him.

    Next to the pit was a pile of freshly dug earth. Tomas picked up the shovel.

    Just then Tereza recalled her dream: Karenin giving birth to two rolls and a bee. Suddenly the words sounded like an epitaph. She pictured a monument standing there, between the apple trees, with the inscription Here lies Karenin. He gave birth to two rolls and a bee.”


    Excerpt from ‘The Unbearable Lightness of Being’ by Milan Kundera (1929-2023). RIP. 

  3. Prussia Snailham “I’m reading my diary out loud. I hope that doesn’t sound pretentious.”

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    [UPDATED 12 July 2023] Prussia Snailham is fucking wonderful, in case you wondered. And I feel totally privileged, maybe one day verified, at having the chance to talk to such a tremendous and talented ‘new’ musical and visual artist. I say that because she is not currently signed with a record deal, which is a catastrophe, and does not have any music on the usual mainstream outlets like Spotify or iTunes. Instead, you can sample her work on Bandcamp, YouTube or catch her sounds in a live setting – which I would urge you to do so. So please do it at the next given chance. The following interview took place over a few weeks via email which I believe will give you, dear readers, a great insight into the mind, workings and talent of an artist I know will go very far. Think Lady Gaga, Perfume Genius or Broadcast being covered by Radiohead with a slight taste of Buckfast tonic wine. What’s not to love? 

    On her Bandcamp page, she describes herself or is described as creating ‘karaoke sermons’, with an output that is ‘non-defined, for it’s constantly evolving’.

    “Based in GLA, Prussia has spent the last 3 years quietly cultivating a dedicated fanbase & self-released an impressive catalogue of DIY videos on YT. A POP SENSATION with an edge. Her music soundtracks all feelings & there’s constant apprehension that it all may be capable of falling in on itself!” 

    Upon listening I think that sums her up better than I ever could, for I am truly still overcome having recently witnessed her live deliverance which is absolutely magical. I shit you not.

    Enjoy the following.


    Prussia, first of all – Prussia Snailham – I would love it if that was your real name, is it? Side note: I read Karl Marx was born in Prussia. Boring fact for you. 


    I’m very happy to tell you that Prussia Snailham is my real, birth name. ‘Prussia’ after the failed German state (my dad’s idea) and ‘Snailham’ is an old English name.


    I understand you used to play football. What was your position and were you any good? The wonderful writer Albert Camus was a great goalkeeper, apparently.


    Goodness, that’s a blast from the past… I don’t play football anymore but I think about it often and still love it – love to play it, not watch it as they’re all just a bunch of posers now in my opinion… I was left defence or left mid/wing… I really enjoyed tackling people!! I think I was alright, I was bloody relentless and so strong back then!


    Do you have plans to make your music more widely available, online I mean – I’m a Spotify man, but I can’t really find your tunes aside from on your YouTube. My cousin is in a band and tells me that putting music on a platform like Spotify is expensive.


    Hmm, I haven’t heard that putting tunes on Spotify is expensive but it is a bit technical and definitely stressful… or that side of music stresses me the fuck out! I’m just trying to find the best way to do it that makes ME happy, and the least anxious, because MAKING the music is the only thing I truly care about! And with that, I am actually planning another video series, which will be out on YouTube! YouTube is my absolute favourite way of sharing my work nowadays – I made a video series during covid and loved it. I definitely think music with a visual is best! So yes, lots planned and lots a-coming! The first video in my new series will be released June 18th. I am making a video series to songs I have written. I want to do one a month for the rest of the year. ‘Mess at Best’ is the first one and the imagery is from/based on Snow White – the other videos include crab meat, orcas, Pocahontas, and birds… all made by me using Final Cut Pro.



    Are you signed currently to a label to put out any official music and if so/ or not, what does the future hold for that?


    I am currently not signed to a label but if you know anyone? I would NEVER say no to that type of opportunity! But I’ll still write and sing and play and share my music forever regardless of that kinda thing.


    Who’s your most valued or important collaboration? is it your intention to be more of a solo artist?


    I am a solo artist through and through! I have worked with a couple of people over the years, and definitely enjoyed it and learnt from it, but the most important thing it taught me, is that I like my solitude and I truly work best completely on my own. Like, no-one-else-can-even-be-in-the-house alone! Just so I can be totally honest and ruthless with myself lyrically… I would never say never but my work is so personal… And I think that’s what makes it decent and relatable… I’m reading my diary out loud, ya know? I hope that doesn’t sound pretentious.


    Do you work with anyone to help on the production side of your work at the moment? Green Door Studios in Finnieston is a place where tons of great Glasgow-based bands tend to end up (Thinking mainly about Jacob Yates/ Rosy Crucifixion / Amazing Snakeheads etc.)


    I’ve been over to Green Door a good few times and it’s a great wee place! Ronan and Sam have the patience of saints because I know I am annoying… haha. All my production is me though. I have no help and don’t really want it… I know what I like and I know what I want! I’m shit at engineering though! I’ll hold my hands up and say I desperately need help in that department! But it’s just me, my laptop, my nord, my Rode mic and my vocal pedal–less is ALWAYS AND FOREVER will be more – Orson Welles: “The absence of limitations is the enemy of art.”


    Can you tell me about your relationship with the wonderful band PreGoblin? ( Have you seen their remake of the Shawshank Redemption with Lias Saoudi from Fat White Family? It’s bloody hilarious.)


    I met Alex Sebley and Jessica Winter in 2019 when they played in Glasgow during a wee UK tour and I’ve stayed in touch with Alex since – he’s a genuine great soul, who just wants everyone to succeed, which is hard to find! He’s been tremendously encouraging of me and my music. Shall I just be painfully honest and say I haven’t…? I’ve seen the odd clip! Shall I just be painfully honest and say I haven’t…?


    And of course, you also recently opened for them and Peter Doherty – How did that all come about?


    I literally got a phone call from Alex the day before the gig to tell me I had got the support slot – it was fucking nuts and probably one of the best experiences I’ve ever had! Pete was just chill and lovely – we spoke briefly about flat Earth and had a fish curry. He spoke to me about my music, my songwriting, my voice and I appreciate him greatly for bothering/wanting to do that because he didn’t have to, ya know? He’s a busy guy and everyone was wanting his attention, as you can imagine. Truthfully, I spent more time with his dogs than him though, but that was equally as amazing.



    Are you still doing open mics and where can someone expect to find you?


    I am determined to get back into the open mic scene! Old Bohemia (Marc and his girlfriend, who are just the sweetest people) put on open mics in the west-end Thursdays and Sundays! And Broadcast open mics are crazy friendly and encouraging – I would recommend them for any newbies!


    What’s the best way you find on getting your music ‘out there’ and especially when it comes to a live setting, how do you go about booking gigs etc? Is it just down to the old thing of ‘who you know’/ ‘quality of work’?

    It is 1000% who you know! And it is hard, I won’t lie. I do not know what I’m doing and to be candid, the more business side of music doesn’t interest me… I want to write and produce and make videos!!! Gigging is of course thrilling and fun and great exposure, but I don’t have that same itch to gig that I see in other people… I think everyone should just do what makes them tick, and as long as you are being unapologetically authentic, life will find a way to fall into place. We have to believe true art will always wiggle its way through and prevail!


    Are you self-taught on musical instruments – how did you start?


    Self-taught! When I was around 15 my dad showed me Ludovico Einaudi and gave me his old keyboard and from there I started learning and writing compositions – I tried to write lyrics but I was absolutely rotten at it… but I never stopped trying and it wasn’t until I was around 21 that I finally wrote my song called ‘Take it Easy’ and something just clicked and I was like, ‘wait… I think this is MY thing. ‘Take it Easy’ does still exist – don’t all songs always exist? haha, it may or may not be part of the video series… I wrote it about a boy that had undeserving power over me a very long time ago.


    Do you drink or use drugs to assist creativity? Do you really enjoy Buckfast (Bucky as we call it in Glasgow) OH YUCH (my opinion!)


    I may have a blunt while editing/producing a tune but it goes no further than that, and I would never write or perform while drunk or on anything, because I genuinely struggle to sing in tune once I’ve got a drink in me – my relationship with drink and drugs worries me sometimes and I write about it a lot… The only way it “assists” me, is it gives me situations I’ve found myself in to write about! (and yeah, who doesn’t LOVE Bucky!?)



    What path are you on? Sorry, that’s a bit of a philosophical question but I have a habit of these!


    Cliché, but I just want to be happy. I want to make the younger me so proud of the person I’ve become, ya know?! I also want to get really fit and strong and flexible. The older I get the more important my physical health becomes to me. I think I ultimately just want to finally know how to look after myself and genuinely fall in love with looking after myself.


    What made you turn to music? Who were the artists you found early in your life to maybe make you decide ‘ok I want to do that, and I can’?


    Kate Bush, Massive Attack, Ludovico Einaudi, Regina Spektor, and Bon Iver are my top 5 (don’t hold me to that!) but they didn’t make me decide to make music. I honestly don’t know what did… I just kinda stumbled into it because it was so therapeutic, and to be cliché, I found writing the best way, and sometimes the only way, to express myself. A lot of the time I found I was sitting down to write a song about something really specific, and then when I’d be finished, I’d realise that I’d written about something completely different… So, I actively started to write in order to figure out how I was feeling. I kept this all very private for a long time too, before I eventually showed it to someone close to me and they told me, ‘to not share art is selfish’ and I thought about that for a while and ultimately agreed!


    I think you have an amazing natural voice if you don’t mind me saying. Your cover of ‘Cry Me A River’ is tremendous. Maybe related to another question here, when did you find that voice?


    Woah, how did you find that…? I must be 20/21 in that video. And thank you! To be honest, I always knew I could sing from a young age but being able to sing isn’t hard because you are either born able to sing or you aren’t, in my opinion! I know I’ve definitely found my own sound and style though. I acknowledge, understand and really emphasise the distinctiveness, the accents and the cadences in my voice. And you mustn’t be afraid to be “weird” and do things “wrong”. I love a good grunt, gasp or clack of the tongue while singing, You know!?


    Where does your own (well-substantiated) confidence stem from? 

    Can you recall the time when you first started playing in front of people – or maybe the first gig which helped you grow?


    My mum always told me to channel my nervous energy into my performance and use it as motivation because, if you aren’t nervous, it means you don’t care! And I always remind myself before I play, in front of anyone, that I would rather try and fail than not try at all, and I am not doing this for anyone else other than myself.


    Aside from animals and life, are there any other main themes you’re writing about in your work?


    There definitely seems to be a theme of water and the colour green in my writing… I love writing about the mundanity of life – the simplest of things that mean so much at the end of the day… food and eating, communication, honesty, death… I write a lot about relationships and love – be that romantic, sexual or mother-daughter love; also fearing love, etc… It’s very hard not to write about love and pain!


    What’s the biggest blocker or hurdle you have to overcome as an artist?


    Don’t mix business with pleasure, and that’s all I want to say about that…


    Right. The boring and standard question now which I always ask artists, but the response is always interesting. Give me your main influences – this can be artistic or even just from life.


    I get most of my influence and inspiration from films and TV – I watch films and TV way more than I listen to music… I religiously re-watch The Fifth Element, Big Fish, The Lady in the Water, Legend, Ever After, Unbreakable… I could keep going…! I also like to travel with my headphones on but with no music and listen to strangers talk because people say such poetry without realising it. My mum and dad inspire me a lot too.


    What are you most curious about or interested in?


    Curious is an interesting word… True crime, competitive weight lifting (watching not doing), conspiracy theories like the ‘Mandala Effect’ – I am also a hat and jacket collector! I cannot step foot in a charity shop without buying a hat and/or jacket.


    What is it you find so interesting about weightlifting?!? 


    Weightlifting is just amazing – it’s so impressive and crazy inspiring! People and our bodies are capable of so much – you should watch this.


    I’m not in your world as I’m not a musician – what’s the toughest part of it all?


    Social media 100% (and I hate it) I’ve always been such a believer in ‘the music will do the talking’ but with social media, you have to be a personality, constantly pushes out “content” and appearing so cool and unbothered! Even just captioning Instagram posts, I used to get so stressed out that I wasn’t saying the ‘right’ thing… Bloody stupid and sad how important all that stuff is.


    Its been years since I was always in Glasgow city centre constantly going to gigs. Because I’m ancient, I view that time as one of the best of live music – I was at every Amazing Snakeheads, Fat White Family, gig etc – who are the bands these days I need to get my arse up and go check out, apart from yourself obviously?


    Now, see, I suck because I don’t know… I don’t really go out much but if I do, I usually hit up Audio, Flying Duck or Broadcast and try and catch a Cenote, Jungle Testaments, Bass Injection or Midnight Bass night! I looooooooove a good skank!


    What do you do with yourself when you’re not making music?


    I work front of house at a tattoo parlour, so I do all the bookings, admin, customer service, etc. and I honestly love it! I’m pretty anal, so I LOVE organisation, planning, spreadsheets, to-do lists! There’s nothing more satisfying than writing a list and ticking it off! But I’ve also been getting back to the gym lately and I love a good circuit class, cross-fit style!


    What’s next for you – please self-promote as you see fit!


    Gigs!! I’m playing in London for the first time at the end of June and then I’ll be at Endless Summer in Glasgow at the start of July and also playing at Youth Beatz this year too! I’m playing in London on June 29th at Jaguar Shoes, supporting Speedial. I got asked to after the Pete Docherty  And hopefully, the gigs will just keep snowballing from there! And of course, my video series is a-coming (June 18th!) which I’m so fucking pumped for!


    Prussia, thank you!


    Keep up to date with all things Prussia Snailham on her instagram 

    And you can listen to her visual and musical output on her YouTube channel

    And check out/ buy her music on Bandcamp.

  4. Liam Gallagher to release new live album ‘Knebworth 22’

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    Liam Gallagher will document his two-night Knebworth Park shows with the release of the live album ‘Knebworth 22’ on August 11th. Returning to the scene of the era-defining Oasis gigs of the ‘90s, the huge audience stretched from fans who had been present some 26 years earlier right through to teenagers relishing the excitement of their first big/ MONUMENTAL gig.

    The heady atmosphere of the shows shines throughout the ‘Knebworth 22’ album, from the roar of approval that greets Liam as he steps up to open the show with ‘Hello’ right through to the mass singalongs that greet the closing classics ‘Wonderwall’ and ‘Champagne Supernova’ (the latter featuring a very special guest in the shape of Stone Roses legend John Squire).

    ‘Knebworth 22’ is released alongside a live video of the weekend’s surprises. ‘Roll It Over’ originally featured on the Oasis album ‘Standing On The Shoulder of Giants’ and, while the band never played it live, it nonetheless turned out to be a lesser-known fan favourite. This performance elevates the song to its full majesty, a sweeping melancholic epic with Liam’s vocal simmering with unadulterated passion.\

    So we recorded the Knebworth gigs we did last year. We all sound Biblical, turn it up ENJOY, LGx.”

    ‘Knebworth 22’ is now available to pre-order or pre-save HERE. In addition to its digital release, physical formats included standard and deluxe CDs, black double-vinyl and sun yellow double-vinyl. A striking olive and black marble double-vinyl edition is also available exclusively from Liam’s official store.

    Liam Gallagher will play select international festivals this summer, including a UK festival exclusive headline set at Boardmasters before culminating with Summersonic shows in Tokyo and Osaka. See his website for a full list of dates.

    ‘Knebworth 22’ tracklist:

    1. ‘Hello’ 
    2. ‘Rock ‘n’ Roll Star’ 
    3. ‘Wall Of Glass’ 
    4. ‘Shockwave’ 
    5. ‘Everything’s Electric’ 
    6. ‘Roll It Over’ 
    7. ‘Slide Away’ 
    8. ‘More Power’ 
    9. ‘C’mon You Know’ 
    10. ‘The River’ 
    11. ‘Once’ 
    12. ‘Cigarettes & Alcohol’ 
    13. ‘Some Might Say’ 
    14. ‘Supersonic’ 
    15. ‘Wonderwall’ 
    16. ‘Champagne Supernova’