MAG: LANA DEL REY SHADES OF COOL OFFICIAL VIDEO

MAG: MØ WALK THIS WAY VIDEO i-D MAGAZINE

Working with i-D, directed by Emile Rafael, this is MØ's new badass video for Walk This Way, arguably my favourite track on the album. I think it epitomises her personality perfectly, filled with attitude and intimidation. The moves, the faces, the drumming, I just think every scene is brilliantly MØ.

BLOG: LANA DEL REY NEW ALBUM ULTRAVIOLENCE

After much anticipation, dreaming and drooling, Lana Del Rey's new album "Ultraviolence" was officially released yesterday. A full 16 tracks in the deluxe edition, I have to say it was a big deal, perhaps the biggest of them all, to set myself for the first play. We'd heard four of the tracks before, coming in quick succession on the tracklist after the near-7-minute opener Cruel World, which kicks off with the raw, rough guitar sounds that sets the tone for the Dan Auerbach-produced record. I think the pace of the record is considerably slower, dreamier, sexier than "Born To Die" and her vocals grander and even more sultry.

Money Power Glory is one of my favourites, as is title track Ultraviolence, really expressive in her dark, twisted conviction — a different sort of confidence in her singing that's really attractive to find myself absorbed by. Accompanied by the most fitting of black and white photographs, the entire record evokes a sense of emptiness, nostalgia and history that I could, and will, listen to over and over. It's a very welcome sound and Lana will forever continue to fascinate me, thankfully.

MAG: JESSIE WARE NEW SINGLE TOUGH LOVE

Jessie Ware sounding great in her new track Tough Love. I think it's the first new material since her beautiful debut album. She really shows off her vocals in some simple, clean production that has an air of Banks — always a good thing for me. There's a bit more punch compared to the hushed, breezy qualities of "Devotion" and perhaps a sense of confidence and swagger grown.

DIARY: THE GREEN SOCCER JOURNAL ISSUE 7 LAUNCH

I should have posted this earlier, but with all the World Cup action and late nights around my work schedule, it's been quite a busy time. Disappointed for England and Japan respectively, but we have Thursday to turn it around. I believe.

But I'm likely not as disappointed as the Spanish, as I watched them capitulate against the Netherlands in the lower ground of Shoreditch's Forge & Co for an evening with The Green Soccer Journal. The football lifestyle magazine were celebrating the launch of Issue 7, an edition featuring the likes of Per Mertesacker, Phil Jagielka, Victor Moses and, so ironically, Iker Casillas. It was a night to forget for the Spanish captain — though one he will most certainly remember, possibly his final game ever as far as I'm concerned — as a packed out exhibition space watched the Spain side get demolished by a rampant orange attack force. Arjen Robben was simply ridiculous and Van Persie's equaliser outrageous.

Perhaps the perfect sort of game for a bunch of English neutrals (still with hope and optimism, remember) it was a great occasion and highly enjoyable surrounded by quasi-indie-hipster football fans. The month-long tournament is only a few days young, but boy has it been brilliant so far. The launch exhibit remains open until Wednesday (presumably with the television screens still on) so I might treat myself to another game or two there.

DIARY: JUSTIN TIMBERLAKE LIVE AT THE O2

Tuesday night was an incredible night, a night with Justin Timberlake at The O2. Of course, having paid no less than £70 for a ticket (way up at the top), I knew it would be amazing and it wasn't a drop short of what I expected. An absolute masterclass in musicality and showmanship, the man was on stage for over two hours drawing tune after tune from his unbelievably high quality archive. He didn't miss a single song that I could have wished to see.

But as I say, none of this was a surprise. In fact, I've watched countless times his recent live sets, from the epic medley on Jimmy Fallon's show to the iTunes Festival in London to, of course, that VMA performance. I've seen all that and I knew what JT and The Tennessee Kids can do. But over the course of Tuesday's concert — incidentally the final leg of the European tour — I was just blown away by the whole crew's production. Yes, Justin's vocals were good, the instrumentalists, the chemistry, the dance moves, they were all superbly on point, obviously, but it was their musical ability and nous to arrange the whole thing, I think, that stood out most. To know exactly what role each song, each segment, each note of the song plays, as cogs of the bigger machine (for want of a better metaphor), and to be able to identify them and enhance them how they did was just amazing. I'm talking about the breakdowns, the timings, the shifts and the story. Utterly perfect. And I genuinely believe he is unrivalled as an artist today to have such sense, as well as talent. Which, for me, made every penny worth spending.

MAG: LA ROUX TROPICAL CHANCER

More groovy shit from La Roux. Album out in July, now, keep it coming.

BLOG: GOLDSMITHS BA DESIGN DEGREE SHOW MATTER

One week ago, we held our degree show to celebrate the end of our undergraduate programme and to showcase the work we'd achieved this final year, at the Loading Bay Gallery, Old Truman's Brewery on Brick Lane. I really didn't know what to expect from it, particularly given how little thought I'd afforded it having been preparing for the exam just a week before, but I have to say it was one of the most enjoyable and gratifying things I've done in recent memory. Of course, that was largely made possible due to actually completing my work and having a project to display in the first place, but to be there, amongst all these interested, enthusiastic people and surrounded by other magnificent pieces designed by my peers, it felt quite great.

I presented my own print publication called Comma, a title dedicated to the hardworking commuter. The biggest challenge I faced was to give print a more tangible function, more so than just linear content provision. Print has been a fascinating topic for me and the most intriguing aspect has been to identify its purpose within today's so-called digital age, with the belief that print can and ought to sit side by side with digital, each serving to their respective strengths. And there is so much that print is strong at; the calm stillness of printed paper still has so much to offer. Comma aims to bring the commuter community closer together by providing the platform to share everyday stories, meet like-minded people and enhance the unique gap, or pause, between home and work. Its production is participatory, inviting the commuting readers to contribute their own subject matter — a magazine for you, by you. It helps to enable potential opportunities and conversations with, say, the anonymous person sat opposite you on the train or cycling beside you on the street, who I believe hold the most relatable and inspiring details of realistic aspiration that we can learn from.

Anyway, it was wonderful to be able to share this project with real people, non-tutors, who were eager to listen and respond to our work. I met some valuable voices and it's an experience I can take great heart from. With that, it seems I have now all-but-officially graduated from university, ready to contribute to the real world and offer all the goodness that I feel confident I can bring. Congratulations and good luck, self.

DIARY: FIELD DAY FESTIVAL 2014

After an absolute blast of a time at Field Day last year, it was round two of the London music festival yesterday and I was not disappointed. In East London's own Victoria Park, I spent a glorious day in the beaming sunshine (albeit with two waterproofs wrapped around my waist because I was wrongly informed it would be a shower storm all day...) with good company, sufficient rounds of questionably priced but unavoidable beers and top street food to tickle our taste bids over.

Sky Ferreira, SOHN, Warpaint, Metronomy and SBTRKT were all on my list to see and essentially 'won' the scheduling, what with five simultaneously good stages to manage. For example, I missed out on the likes of Tourist, Jamie Isaac and Jamie xx, all of whom I'd have loved be at. But, nevertheless, I think our choices were good, because every set I saw was brilliant. I was most looking forward to Warpaint, having been listening to their new album a lot and with this being my first attendance for them. Front row, centre, and they smashed it. Sky Ferreira too was a first and I was impressed with the power and volume of her vocals that did her gritty pop numbers justice, accompanied by a band of raw instrumentalists and heavy bass. And, it was obviously great to see SBTRKT back with a live set, joined by Sampha and a few other members of 'band' — a perfect in-tent rave to finish the night. But the most notable of the entire event was that man SOHN, which I have to say was a surprise because I'd only just seen him a month or two ago and, whilst of course I was keen to see him again, I didn't expect to be wowed again. But I really was. I think his sheer talent, or the expression of it on stage, is something overwhelming. The sounds that he creates, the music that he makes up there live in the flesh has such an impact, so memorable, that I couldn't help but feel re-amazed. And I've said it before but his breakdown to the set's finale Lessons is just something else — possibly the best song I've experienced live ever.

So yes. Two out of two, Field Day does it again. 2015 is definitely happening.

MAG: SBTRKT TEMPORARY VIEW FT SAMPHA

Just in time for Field Day tomorrow. What a tune. Good night.

MAG: BANKS DROWNING OFFICIAL VIDEO

BANKS released this amazing, amazing video in partnership with i-D Magazine this week. I'd been waiting for it to land on YouTube (to avoid the ugly player embed from i-D) and here it is, in all its glory. Sexier than ever, BANKS moves to her steamy new track Drowning, which I've hit repeat on more than any other these past few weeks. It's a stunning tune and the visuals don't disappoint. She's nailed this rhythmic, dark motion in her clips and the cuts and angles are so on point. This one's directed by Mike Piscitelli, shot to a multi-mirror backdrop with BANKS after BANKS after BANKS, dressed in a variety of monotone outfits and looking like a fucking goddess. "Goddess" arrives in September, I have mine pre-ordered, and the excitement just continues to build.

DIARY: APARTAMENTO ISSUE 13 PURCHASE

This arrived at my door about two weeks ago but I was too bogged down, with completing my degree and all, that I didn't have the time (or energy) to open it. But today, on this sunny day, I tore through the packaging to reveal a humdigger of an issue, no less than 284 pages thick. Certainly the densest Apartamento on my shelf, it looks a beauty and I can't wait to feast my eyes over every drop of ink. Because I can. Here's to graduating.

MAG: BIPOLAR SUNSHINE DECKCHAIRS ON THE MOON OFFICIAL VIDEO

This is the video for Bipolar Sunshine's new single Deckchairs On The Moon, out on sale today. I think I caught his music on Radio 1 first — maybe this very single actually— but, a Manchester gentleman signed to Polydor, he has a great knack for a strong, summer aesthetic. I wouldn't be surprised if he's my jam for the next few months. His Soundcloud is definitely worth a spin, as a taster if you like, which includes a damn tasty version of Lorde's Team. Promising shit.

MAG: MØ JIMMY KIMMEL LIVE

Well I can't say I wasn't surprised to hear she would be performing on ABC, no less for Jimmy Kimmel's show, airing across national US television. It's a big gig, massive. And I feel strangely but greatly proud as a fan of her, also impressed by America's willingness to use TV as a platform to introduce fresh, new music to a wider audience. It's a push they need and one that just doesn't happen often enough, particularly over here on our shores. But I have to say MØ and her entourage look somewhat misplaced amidst the bright, telly lighting and the awkward studio audience (almost as awkward as how Kimmel pronounces her name), which perhaps takes away from her immense stage presence and undoubted musical talent. Context is key and without it, almost just thrown onto the set like a footballer into an exam, I think she's unfortunately lost part of the package that makes her so amazing. And, I have to say, the YouTube comments aren't a pleasant read. It leaves me with mixed feelings and it's difficult to identify what needs changing to make it seem less forced. Although one thing's for sure, Karen need not change a thing.