alive

Tallu

lah Ren

dall

Aliv

e

Tallulah Rendall

Alive

Transducer2isbn: 978-0-9563856-1-1

Tallulah Rendall © 2010

AliveAlive

Go bathe in The Light

Underground

Under The Wire

nothing is Over

Colourblind

Ghost On The Water

back To You

Older Than The Hills

blind Like A Fool

Lost On The Way

includes DvD Featuring

Music videos for each song

interviews with Guest Artists

Footage of recording sessions

alive hard back cover.indd 1 30/11/10 21:23:55

3

Alive

Alive

Go Bathe In The Light

Underground

Under The Wire

Nothing Is Over

Colourblind

Ghost On The Water

Back To You


Blind Like A Fool

Lost On The Way

DVD featuresMusic Videos for each song

Interviews with Guest Artists

Footage of recording sessions

1

You

can

allow

your

mind

to

run

wild

with

imaginings

and

sometimes,

very

occasionally,

even

your

most

ambitious

of

dreams

comes

true...

2previous page: photo by Richard Ecclestone, taken at 40 Winks

front cover and opposite page: photo by Yusuke Miyazaka, taken at Cafe De Paris

Contents

Introduction 5

Ghost On The Water 8

Alive 12

Go Bathe In The Light 16

Under The Wire 28

Soundforms 32

Blind Like A Fool 34

Colourblind 38

Hookend Studios 42

Pledge Music Campaign 48

Lost On The Way 50

Back To You 54

Underground 60

Older Than The Hills 68

Nothing Is Over 74

The Band 80

Artist Biographies 82

Credits 88

Acknowledgments 89

5

Introduction

The idea of collaborating with other artists was born in 2009 with

my first album "Libellus", the name given to a small book of poetry

that comes to life in a novel by Iris Murdoch. "Libellus" was presented

as a book, its pages filled with stories and poems as well as Beshlie

Mckelvie's ethereal paintings; one for each song. I released the album

on my label Transducer Records in June 2009 and, as we toured across

the UK and Europe, people's responses were incredible. They seemed to

love the idea of a songwriter extending an album into a book and my

collaboration with other artists.

I have often felt that the time and love taken to create an

album is not reflected in a CD or a download, so, with "Alive" as with

"Libellus", I wanted to be able to hold something beautiful whilst also

inviting the reader further into my world. However, it was during our

tour in 2009, at an unlikely gig at a pole dancing festival in Surrey,

that the idea for taking this concept a step further first laid seed.

From the side of an articulated lorry our music carried out across

the fields and into an old barn filled with scantily clad dancers. It

was here that I first met aerial and pole artist Amy Richardson-Impey.

On finding out about this bizarre event, set amidst lamas, alpacas, emus

and horses, Amy had flown across the seas to dance for three days. Her

performance was breathtaking and by the end of the night I had decided

to perform with her and to include New Zealand as part of our winter

tour. Five months later I arrived in Auckland with cellist Joanna Quail

to begin a run of shows with Amy dancing in the air above us, whilst we

6

sold copies of Libellus to keep us fed and on the road.

It was during this tour, as I watched Amy dance, that I decided I

would create a book for my second album. However rather than working

with one artist, why not have a different artist for each song? Allow

them to have complete creative freedom but to use the song I chose as

their initial source of inspiration. An image of their final piece would

then be used to represent the song in the book.

What follows is the seven months it took me to complete this album

and the stories of the people I met along the way.

Amy Richardson-Impey by "Nix"

8

Ghost On The Water

With this newness and possibility all around, I felt a sudden

urgency to capture all that had happened since completing "Libellus".

So by February 2010, after touring in Australia, New Zealand and Japan

I arrived back to a wintry and unwelcoming London with a new set of

songs ready to record and with a plan to collaborate with twelve or

more artists. I had also decided that I wanted to document on film each

artist's creative process and use this footage to make a video for each

song.

So now I needed a cameraman and editor!

I approached Steve Teers, who I had met many years ago after

playing a gig on Eel Pie Island. Previously we had created a couple of

stop frame animation videos and I knew that Steve would be able to deal

with my disorganisation and a project of this scale. I also knew I needed

someone reliable, trustworthy and low maintenance. I am practical to a

point but there was no chance of any real planning before any of the

filming; Steve would be lucky if I gave him the right postcode and date.

Nevertheless, he had enough faith in me to begin this possibly over-

ambitious and certainly disorganised project.

With a long-suffering cameraman in tow, I now just needed to

find a way to fund it all. To record Libellus, I set up my label

Transducer Records which was backed by Rebel Penfold-Russell, producer

of "Priscilla Queen Of The Desert", for whom I had previously written

film music. With this album I had to look at other options. It was at

9

this point I came across Pledge Music, a company set up to help unsigned

artists finance records. Through their website it was possible to offer

fans the opportunity to help raise funds to cover the cost of the

album by offering them various incentives (everything from an advance

copy of the album to spending a day watching us record). There was no

guarantee that we would raise enough but there was no other option.

The fund raising would last for two months, but if I didn't reach my

target I wouldn't receive any of the money, which was nerve wracking to

say the least. Nevertheless, with this set up I returned to my little

studio to finish polishing songs and begin choosing artists with whom to

collaborate.

I had demo-ed thirty songs on tour and now began sifting through

and choosing the strongest ones. "Ghost On The Water" immediately stood

out and the combination of cello and swirling vocals made me think

of Amy's performances in New Zealand. After sending her a rough home

recording, not only did she agree to be involved but she decided to fly

back to the UK so we could film her dance. In April 2010 we returned

to Surrey, where Ben Turner generously allowed us to run free in

his home/pole-dancing centre (www.tothepole.com), surrounded by an ever-

growing entourage of alpacas, horses, goats and now egg-laying emus!

Amy performed for eleven hours straight. She danced en pointe,

from her lyra (hoop), on the pole, suspended in silks, that hung from

the ceiling, and finally by a lake. All her movements were improvised

and completely mesmerising. I feel totally honoured that she chose to be

a part of my album. She even donated a performance and a pole-dancing

lesson to the pledge campaign to help raise money.

extracts from video footage of Amy dancing by Steve Teers

11photo by Steve Teers

12

Alive

My first album "Libellus" was a monster to complete. It took three

years and three studios. I knew that my heart would break if this

second album was as fractured. I have never had management or a label

offering me advice, so with "Libellus" I made some unwise decisions.

Nevertheless we finished the album and I am hugely proud of what we

achieved.

With "Alive" I wanted to capture the rawness of the songs and the

true live sound of the band. Since 2006 I have been playing with the

same core musicians: Joanna Quail (cello), Jay Hart (guitar) and Tom

"Robbo" Robbertson (bass). From our nerve-wracking first gig at Shirley

Bassey's 70th, it's been a long and wonderfully curvy road. They have

stuck by me through all kinds of adventures and have truly become

family. Rather frustratingly we have not been so fortunate at keeping

drummers. I am normally to blame for this! Anyhow at the beginning of

June we were a drummer down. Fortunately it was not long till I found

John Blease, and after a couple of meetings over fine ales, Robbo and I

decided we had found our perfect companion.

One of the first songs we worked on together was "Alive". We had

been playing a run of shows in Berlin, a city Jay, Robbo and I love,

and after an adrenalin-fuelled gig we wrote this song together. What

I love about Berlin is its sense of possibility. And I think "Alive"

not only captures this, but it is also a good statement of intent for

the album as a whole. A couple of months later I came across a painter

called Kilford a.k.a. The Music Painter at The Social in London. Kilford

13

sees colours when he hears music and, as well as painting with bands at

gigs, he curates his own monthly installation called "One Love" where

he invites musicians to have their musical portraits painted live. The

concept fitted completely with the new album. Watching Kilford paint, I

decided that "Alive" would be the perfect track for him; a song fuelled

by adrenaline and passion needed an artist who could mirror this.

I wanted the painting to be created in a garden surrounded by

trees, sky and swirling sounds, so to my mother's garden we headed, into

a web of bamboo and hanging candles, where, as Jo and I serenaded him,

Kilford painted our music. His painting is so full of movement and

emotion, that to me he has wholeheartedly captured the essence of this

song.

photos by Steve Teers

14this page: extracts from video footage by Steve Teers

opposite page: painting by Kilford

16

Go Bathe In The Light

Searching for the right producer can take months, sometimes years.

With Tristan Ivemy it was effortless. One phone call and within hours

of meeting he had agreed to produce my record. His enthusiasm helped

to give me the confidence that this album could be all I hoped for. So

with the band's line up now complete we spent a month rehearsing in a

windowless, un-air-conditioned room, during a heat wave. It didn't matter.

It was fantastic. We worked hard fuelled by cheap iced buns, strong

coffee and a lot of laughter. I have spent many years playing music and

this experience eclipsed them all: a group of friends, playing music and

loving it, a far cry from the experience of the last record.

Whilst rehearsing, the pledge campaign was picking up speed and

I couldn't believe the response. There are many benefits to being

an independent artist, but when it comes to funding and marketing

an album there is definitely a part of me that wishes I was signed.

Finding people to believe in you is hard, asking people who already

support you to help fund you is plain uncomfortable. But people's

response completely took me by surprise. Many with very little gave

enormously and I am truly grateful from the very depths of my being

for their generosity and support. Every single person wrote to me

encouraging me on and each message did exactly that.

To add to the growing pledge pot I had squirrelled away money made

during our winter tour and at this point I decided the time had come

to sell Nina, my beloved camper van, who had carried us across England,

Ireland, Scotland and Wales, from festival to festival and from tour

17

to tour. I found her a new home and happily added a wad of cash to the

album fund.

Soon after selling my van, I saw Patti Smith play at the Union

Chapel. Patti, for me, personifies all that I love about creativity

and every time I see her perform I write a song. On the last album

there was "Hope Tonight", this time "Go Bathe In The Light". I watched

mesmerised as clad in black she strode across the stage, guiding the

white light that shone down. All eyes fixed. Afterwards my words

tumbled effortlessly on to the page. In my mind I also made the decision

that the artist for this song had to be a woman: strong, passionate and

uncompromising. Two women stepped forward from the ether. Bex Rox, a

wonderful red-haired Minorcan jeweller and writer Danaë Brook, who had

recently pledged for me to sing in her rose garden. The two set to work

interpreting this song. Months later they returned, Bex with a necklace,

Danaë with a short play.

Once Bex had designed and made her piece of jewellery, she then

decided to extend her involvement by collaborating with photographer

Christian Banfield. Their final piece is a photograph of Bex's necklace

taken by Christian, merged with a picture of me taken by Yusuke

Miyazaki at Cafe De Paris.

1818this page: extracts from video footage by Steve Teers

opposite page: final piece by Bex Rox and Christian Banfield

20

Inspired by the lyrics for "Go Bathe In The Light" and Patti's book

"Just Kids", Danaë had a written a play to accompany the song. In the

Seventies she had interviewed Patti, going on the road with her band to

Berlin. This, and her new love of play-writing, led to her creating the

following mini-play:

SONG: GO BATHE IN THE LIGHT

"LIGHT"(A STORY OF PATTI SMITH

AND ROBERT MAPPLETHORPE)

FOR TALLULAH

(CONT'D)

By Danae Brook

© Danae BrookLONDON, AUGUST 2010

GO BATHE IN THE LIGHT

PATTI SMITH STORYFOR TALLULAH

(CONT'D)A MINI-PLAY

By Dana² BrookLONDON, AUGUST 2010

© Danae Brook

ë

ë©


PATTI SMITH STORYFOR TALLULAH

(CONT'D)A MINI-PLAY

By Dana² BrookLONDON, AUGUST 2010

© Danae Brook

ë

ë©

21

SONG: GO BATHE IN THE LIGHT

"LIGHT"

(A STORY OF PATTI SMITH AND ROBERT MAPPLETHORPE)

FOR TALLULAH

(CONT'D)

By Danae Brook

© Danae Brook

LONDON, AUGUST 2010


PATTI SMITH STORY

FOR TALLULAH

(CONT'D)

A MINI-PLAY

By Dana² Brook

LONDON, AUGUST 2010

© Danae Brook

ë

ë©


PATTI SMITH STORY

FOR TALLULAH

(CONT'D)

A MINI-PLAY

By Dana² Brook

LONDON, AUGUST 2010

© Danae Brook

ë

ë©

22

SPOTLIGHT ON CENTRE STAGE

TWO FIGURES, ONE SHADOWING THE OTHER

(THIS IS PATTI SMITH AND ROBERT MAPPLETHORPE)

SKINNY GIRL IN WHITE SHIRTSLEEVES, RED BRACES, BLACK MEN'STROUSERS, WITH BASS GUITAR

Behind her a man in a black felt fedora

She seems to be light, he the shadow

Soundscape : "Because the night belongs to lovers".

(Patti Smith single)

PATTI SMITH STEPS FORWARD, PICKS UP GUITAR, ADJUSTS STRAP, LOOKS UP TO SPEAK TO AUDIENCE

PATTISeize the sea of possibilities

MANSurf it

PATTISurfeit of what?

MANFeeling

PATTI STEPS TOWARDS THE MIKE WHILE BEHIND HER THE MAN IN THE HAT TIPS THE BRIM AND RAISES THE CAMERA SLUNG AROUND HIS NECK. THE FLASH POPS.

MAN (CONT'D)POP!

PATTIFLASH!

MANHarry?

PATTIPOP

MANRock you mean

2.

23

3.

PATTIFrighten rock?

MANPop Up Patti.

PATTIWhatever you say.

Spotlight on PATTI, flashbulbs flashing, fireworks fizzing (catherine wheels)

Behind the silhouette of the two figures she with her skinny limbs and heavy guitar, he with his black hat and restless camera ( polaroid ) - there is a torrent of light.

PATTI steps back and swipes at THE MAN's camera.

They tussle.

MANAesthetic thieF!

On a projector behind them a speeded up version of Bonnie and Clyde.

PATTIHigh art.

MANHigh society.

PATTIFaust

The man puts his finger under Patti's chin and tilts her face towards him.

MANFunny Face.

They look at a huge black and white picture , first of Audrey Hepburn , then a Mapplethorpe photograph of PATTI (the cover of first album HORSES). THE MAN pulls a full length mirror onto the stage and they look at themselves.

PATTICommitting to great art is its own reward.

MANGreat.

The man rips the photograph in two.

24

MAN (CONT'D)Should art be kept in a zoo?

Patti smashes the mirror with her guitar

PATTIYou can't cage freedom.

MANHowever great the zoo.

PATTIMOMA

MANMama!

PATTINescafe?

THE MAN drops to the floor on one knee, picks up a shard of glass from the broken mirror and makes to slash is own jugular.

MANMystic pain please.

PATTINot on the menu.

MANThen I'll eat the menu.

PATTIYou are what you eat.

MANThat doesn't stop us eating.

A crucifix is etched in the spotlight.

PATTIDivine

MANBut can I divine your intentions?

The man steps back out of the spotlight into the shadows, now the spotlight is white light on PATTI's thin figure.

A beat. Then the MAN steps back swirling a Jesuit monk'scloak around his shoulders.

PATTI steps out of the light into the swirling shadow and for a moment they stand together as one.

A beat. A breath.

4.

25

5.

TALLULAH'S guitar starts slowly.

TALLULAH steps forward - behind her the couple whirl like dervishes caught in the cloak -

SOUNDSCAPE: gnaua drums (or Bauls of Bengal) leading into Tallulah's guitar

TALLULAH (SINGS)Whirling dervish on a stage, picture on fire

raven hair, raven stare she's stepping up higher.

Taking a hold.

Round and round, together within the cloak they whirl, gradually unfolding as TALLULAH sings, til by end of verse

they stand apart again.

Spotlight away from TALLULAH, on to the couple.

PATTIWhere will it all lead? What will become of us? I want to go backwards to the light.

MANBack towards the light.

PATTIBring on the night.

MANAnyway we should shed some light on this whole business.

Briskly he picks up his camera again and hands Patti her guitar. Patti opens her mouth.

Instead of Patti singing, Tallulah steps back on stage.

TALLULAH (SINGS)

"She said, go bathe in the light cos all you need is what you own she said, go bathe in the lightand nothing you can do will break these bones!"

PATTILike Maeterlink's children we loved and lived and died...

26

MANCaught in the twisted briars of our own experience.

PATTIBecause the night.

MANBecause the light.

PATTIExists only because of the darkness....

MANAnd this paradox is us.

The two stand bound together again, wrapped in the cloak as though this time it is a priest's robe in a Catholic wedding ritual.

Behind them the priest (or priestess, if Tallulah does this) raises the host, murmuring the Mass in Latin.

PRIEST (ESS)...et dominus vobiscum ...amen

As the MAN slowly removes the cloak from PATTI's shoulders he takes off the white shirt and PATTI stands dressed head to toe in black, no spotlight, but enough light to see.

The man produces a lighter.

Patti holds up a match.

The man lights the match.

The match burns down to her fingertips.

The man exits.

TALLULAH steps in front of PATTI.

TALLULAH (SINGS)"She stands by you with open soul As decades pass her byAs it was, as is now You are still there beside her Making her whole"

Centre stage Patti drops the match as the man steps back by her side. Moonlight bathes their stillness.

6.

27

TALLULAH (SINGS) (CONT'D)"Go bathe in the light Cos all you need is what you own She said go bathe in the light And nothing you can do will break these bones"

THE THREE STAND TOGETHER CENTRE STAGE

/FADE TO BLACK

7.

28

Under The Wire

With the band rehearsed, the next step was to find a residential

studio where we could record 'live', far away from the distractions of

the world. Easy if you are an artist on a major label, trickier for a

self-releasing artist on a shoestring budget. Nevertheless I set off

around the English countryside exploring the possibilities. Option

1 - recording at my friend John's house in Dorset; option 2 - a stone

banqueting hall by the sea; option 3 - back to London to a studio in

town. And then a conversation with Jo our cellist, led me to Hookend

Studios. Ignoring the shoestring budget bit, I headed down to this

sprawling manor house, deep in the Oxfordshire countryside to spend an

afternoon enjoying, if nothing else, the dream of what might be.

Ten hours later, I had recorded vocals for the owner's band, been

thrashed at ping-pong and struck a deal: we would record 'live' in the

best equipped, best sounding studio I have ever been to. So with the

studio found I returned to London with an enormous smile on my face.

During this week I went to see "Hair" with Andrew Logan, quite

simply one of the kindest, most wonderful human beings I know. He

lives in a world of colour and creativity that is truly contagious.

Our paths have crossed many times over the years. Once I even helped

him create a 12ft Cosmic Mirror Egg. I fell in love with his mirrored

dragonflies and even considered calling my last album "Libel.lula"

(Catalan for dragonfly), until I realised the whole Tallulah Libel.lula

ridiculousness. I am spoilt by his generosity. His dragonflies and 'other

worldly' creations (including a small Pegasus horse called "Death") have

29

found their way into many of my music videos and photo

shoots. Anyhow, by the end of the night we had danced

surrounded by naked actors on the stage at

"Hair" and Andrew had agreed to be involved.

So one sunny morning, the following week, our

little team (which by now consisted of my long-suffering label

intern Amanda Ryan, Steve on camera and his assistant) arrived

at Andrew's home, the Glasshouse, with the task of moving a 6ft

by 6ft piece of thick glass up three flights of stairs. Unfortunately,

both Steve and Andrew had bad backs so this mighty task, which later

took two professional removal men, was left in the hands of the three

girls. After some helpful guidance from Steve on the top step, we

arrived in the atrium and set up. I had chosen "Under The Wire" for

Andrew as its multilayered vocals and colours reminded me of him and

all his vibrant creations. Plus both this song and Andrew make me feel

anything is possible.

With Andrew ready in his orange, bejewelled Devo-esque painting

suit he began painting onto the glass whilst the song played away in

the background. I watched with a smile on my face as fluorescent colours

flowed, culminating in an enormous kaleidoscopic

flower.

30

Once he had finished Andrew handed me a paintbrush and we created

a little heart to finish it off. Andrew is a genius and living legend.

If you have never had the good fortune to enter into his world, be

prepared to be inspired.

previous page and this page: photos by Tallulah Rendall

32

Soundforms

The pledge campaign had been running for a month. We had sold

hundreds of albums in advance and been booked for gigs all over the

country. I had been to Yorkshire to sing to five people in a sitting

room, to Suffolk to sing in Danaë's rose-filled greenhouse and delivered

a little version of me singing 'happy birthday' via You Tube. But even

after selling Nina the Van, I still needed to raise more money.

At the end of 2009 I was asked by my Russian friend George Piskov

to sing and produce a version of a 19th century Russian Romantic song

called "Kalitka". Never having spoken Russian before, this was perhaps

my most challenging project to date. I embarked on a series of singing

lessons with a baffled but extremely patient Russian singing teacher

called Evguenia Terentieva from Music Nova in London. Thanks to this

wonderful lady and my old writing partner and drummer Matt Ingram,

we somehow managed to create something to be proud of. When I spoke to

George about this album and the fundraising campaign he immediately

pledged his support. In return, I agreed to set aside a page in my book

to promote one of his projects, Soundforms.

34

Blind Like A Fool

Soon after I was approached by Dylan Walker to be part of a

campaign called "A-Z singer songwriters of London" to raise money for

the charity ActionAid. I had found myself needing somewhere to live and

an extremely kind and generous lady had taken me in. So when Dylan and

I met I was living on a houseboat on the Thames. I loved to watch the

tides come and go below vast sunrises and sunsets and convinced Dylan

the best place for a photoshoot was on the bow of the boat, with heavy

rain clouds overhead.

At the beginning of June 2010 Dylan held an exhibition and

invited me to perform with Jo at his opening. It was there that I met

Federico, Stefano and Jacopo, three of the most talented animators

I have ever met who had recently come together to create their own

company Jelly Brain Productions. To begin with I gave them a rough

recording of Blind Like A Fool. A few days later, they agreed to

be involved and Stefano sent me some sketches inspired by Dylan's

photograph.

I find the way Federico, Stefano and Jacopo work extremely

inspiring. There is no room for egos as all three collaborate on all

aspects of the animation. Stefano, for example, draws the initial image,

which Jacopo then redraws many times to create the final animation. I

find this level of trust and creative freedom very inspiring: so many

artists are incapable of relinquishing control and this iron fist often

prevents projects from being as powerful as they could be.

photo by Dylan Walker

36

Here are some of the

drawings and design stages

that Jelly Brain went

through during the process

of creating the full

animated video included on

the DVD.

36

38

Colourblind

With a week to go until recording, we went back to rehearsing

the songs. Steve, the ever-patient cameraman, took himself off to meet

Jonathan Bishop, who had agreed to do a painting for Colourblind.

Jonathan and I had been talking for a while about this track and how

he wanted to represent it. Each artist has approached this collaboration

differently. Some have totally submerged themselves in the lyrics,

others in the emotion of the song. For a few the song recalled

memories of past projects or past experiences. Jonathan's decided he

would rather create a portrait of me as a whole, than just represent

the song. Jonathan's paintings are a different take on conventional

portraiture and are built up using Ci men, characters he has created.

Rather than focusing on the outside, they aim to encapsulate all of

your character as suppose to your physical

appearance. Responding to a series of

questions, the end product is a visual

diary, an amalgamation of ideograms

depicting life, loves and hobbies.

After sketching the painting out on

canvas, the images are coloured using

oil paints. When dry, the final layer

of black acrylic is applied through a

piping bag, giving a smooth continuous

black outline. Steve filmed this process

in 2 minutes bursts and created a

stopframe animation.

this page: extracts from video footage by Steve Teersnext page: painting by Jonathan Bishop

39

Using "Colourblind" as the basis of his painting, Jonathan built up

the rest of his portrait by asking me the following questions:

'How do you treat your self or celebrate?'

'Dance! Good meal and fine wine, see

friends, lie on the grass in the sunshine.'

'What's your favourite Sunday?'

'One spent in the countryside with friends

or playing music with the band.'

'Your favourite three plants, flowers or trees?'

'White roses, sunflower, oak tree.''

'Your favourite place to be?'

'In a wood by a river.'

'Name favourite memories of you and your family.'

'On tour with cellist Joanna in Australia, Japan and New

Zealand; she is family! Playing boule on the sand in Sydney

harbour with my dad, my brother and

Colin. Riding horses with my dad in

Spain. Dancing with my mum. Dancing

at a festival with my Uncle.'

'What has been your most successful fancy dress costume?'

'A lot of white bin bags made into a white ball gown (worn for

the "Blind Like A Fool" video shoot).'

The finished painting is my personal memories on canvas and for

this reason it feels the most personal of all the art created. It's a Ci

Man diary of my life.

42

Hookend Studios

With the final week's rehearsals complete it was time to record.

I arrived on a sunny June afternoon to Hookend overwhelmed by the

reality that we would record in this iconic studio and spend a week

living like kings in this 16th century country house. I still can't

believe I pulled it off! To get a sense of what it was like check out

the DVD which includes footage Steve Teers, Jeanette Suleiman and

Evgeny Sinelnikov filmed over the week.

Added to our crew were three extremely patient engineers: Dan

Cox, who engineered "Libellus", Alexander Beitzke and Graeme Baldwin. We

had a strong team, eleven songs and six days to record an entire album

'live'. Ambitious?

But we did it. Almost! Ten songs were recorded completely "live",

all guitar overdubs, cello, percussion and all lead vocals finished.

Music sounds better recorded "live" - a magic is captured that otherwise

is lost through the clinical and soulless approach of recording

instruments one by one. Five musicians playing in a room together,

inspired by the music and the great bands that had recorded there

in the past is what it is all about. We could not have been happier.

We worked early into the morning, late into the night, days merged.

Each song would be played through a couple of times, levels and sounds

tweaked, and then we would start recording takes. Occasionally if we got

stuck, a stroll, a dip in the frog-filled pool or a viciously competitive

game of ping-pong would cure the problem!

43

The recording of this album was everything that I dreamt it could

be and leaving Hookend was hard. We'd had too much fun, music, booze and

laughter with friends. It was the first time aside from rehearsals that

we had played, slept, recorded and seen no-one else but the band for an

extended period of time and returning to the real world with its echoes

and taxman reality took a while to adjust to. Robbo even took to having

cold baths in place of the frog pool. I suddenly felt very lonely. In

hindsight I think I just really needed sleep!

extract from Super-8 footage by Nick Gordon Smith

45this page: extracts from video footage by Evgeny Sinelnikovnext page: photos by Ruban Byrne, Lilly Dell, Rob Bolton and Steve Teers

48

Pledge

By the second week of July, Tristan had the songs up and running

in his studio and I was back immersed in tracking down more artists to

work with. This was also the week that the pledge campaign ended. The

prospect of not meeting our target - and consequently not having enough

money to pay for this record - had been looming over me for months,

however by the last week of June, a few days before the deadline we

finally reached our target. Thank you so much to the following that, (on

the date of printing) have already pledged. This album exists because of

your kindness and generosity:

Toby Abbott, Michele Adamson, Mike & Leonie Alford, Carolyn

Amhurst, Richard Annetts, Katie Antoniou, Darius & Aiste Anusaite,

Kate Armitage, Al Armstrong, Olga Baby, Prady Ballan, Oliver Barnett,

Sarah Baxter, Verity Bell, Neyra Ben Attia, David Bez, Heather Bird,

Gordon Blackstock, Oliver Blackwell, Sophie Bolton, Robert Bolton,

Shelley Borkum, Georgina Bovill, Liz Brewer, Michelle Bridger, Soames

Brockelbank, Danaë Brook, Victoria Brown, Annie Bulmer, Angela Butler,

Ruban Byrne, Justin Cadbury, David Cammell, Roy Campbell, Colin Carr,

Nina Chalk, Niki & Terence Cole, John Cole, Nicholas & Annie Colquhoun-

Denvers, Gary Comerford, Emily Corcoran, Suzanne Curtis, Patti Dahlstrom,

Hugo Davenport, Ian Davis, Sabine De Greef, Lilly Dell, Fionn De

Las Casas, Chris Doig, Sean Dortkamp, Gary Doyle, Marek Doyle, Jeremy

Drew, Tracy Edwards, John Elliott, Olfat Esfandiari, Alf Fairweather,

Sally Farmiloe, Riccardo Ferrari, Marisa Flecha, Martin Franke, Glen-

Marie Frost, Simon Fyffe, Graham Galloway, Dan Garber, Kirk Goodman,

Mark Goodwin, Rodney Gorham, Caroline Graham, Angela Greenwood, Colin

48

49

Greenwood, Stuart Guy, Tim Guy, Chris Harris, Clare Hartley, Spencer

Hawes, Gareth Hayes, Priscilla Higham, Elizabeth Hole, Brandt Hooker,

Gavin Hooper, Steve Hughes, June Ireland, Cindy Jackson, Jonathan

Jenkins, Georgina Jones, Lee Jordan, Nablia Khashoggi, Izabella Kay,

Stephen Kennedy, Soussi Kerman, Jenny Kingham, Kim Titcomb, Joanna

Kornfeld, Louise Kornfeld, Atlanta Kyte, Dallas Dacre Lacy, Tania

Lambert, Amelia Lawson, Sebastian Lenain, Sophie Lenain, James Lentaigne,

Alexius Lewczuk, Rowan Livingstone, Peter Long, Kenneth MacLeod, Rebecca

Manners, Carol Marquis, Anthony Marrian, Pete May, Zoe Taylor, Peter

McGaughrin, Shelly McGibbon, Susan McNeil, John McRoberts, Camilla

Metcalf, Katie Meyer, Sam Michell, Gavin Miller, Sarah Mills, Nigel

Milne, Margo Milne, Cassandra Moore, Leslie Morris, Diana Morant, Floor

Nimmerdor, David Noble, Maria L. O'Connell, Kassia O'Connor, Oonagh

O'Reilly, Leonora Oppenheim, Jamie Page Croft, Arabella Page Croft,

Nicole Page Croft, Alice Palau, Rich Parker, Louisa Patterson, Prince

Paul & Princess Lia Of Romania, Georgios Perakakis, Karen Phillipps,

George Piskov, Reyner Plant, Peter Polycarpou, Gary Poturalski, Stephen

Proud, Clare Pugdale, Jerome Quiles, Mandy Foley Quin, Lee Radudenbush,

Henry Reid, Christina Reid, John Rendall, Melanie Rendall, Max Rendall,

Theresa Roberts, Jamie Robertson, Willie Robertson, Stewart Robinson,

Benji Rogers, Henrietta Rous & Billy Adlington, Iain Russell, Billy

Salisbury, Toby Sawday, Louise Sceats, Thomas Schulze, Angela Scott, Kostas

Sechidis, Joantoni Segui, Allarna Sharpe, Richard Sheaves, Sibel Sherif,

Paul Shields, Evgeny Sinelnikov, James Skinner, I. A. Spain, Daniel Stein,

Brett Stott, Dan Taylor, Kim Titcomb, Edward Thaw, Alexander Theodorou,

Andrew Thompson, Roland Trimmer, Alison Tucker, Frances Turner, Joanne

Wadeson, Lorna May Wadsworth, Eric Walters, Peter Wakeham, Peter Ward-

Edwards, Andy Washington, Charles Watenphul, Richard Watkins, Victoria,

Ian & Lucinda Watson, Caroline White, Christopher White, Simon White,

Jackie Wilson, Mike Winch, Juliette Wood, Clarey Wrightson, Phi Yaan-Zek

and Agne Zitkute.

www.pledgemusic.com/projects/tallulahrendall

49

50

Lost On The Way

With the album ready to mix, Tristan took a couple of days off

(he'd been working on very little sleep for weeks). I took advantage of

the lull and went to meet Joanna Czajka. As part of the pledge campaign

I added the option "pledge to be an artist". Izabella Kay an artist in

her own right chose this and asked me to include Joanna as part of my

album. I had no idea what to expect and was a nervous about meeting

her. Especially as I had chosen a song for her, "Lost On The Way",

without knowing if they were suited. I soon discovered I had nothing to

worry about. Joanna was passionate about both the song and the project.

She spoke intensely about her interpretation and led us through the

drawings in her sketchbook. In fact she became so passionate that she

ended up creating a full music video animation.

51

Joanna had interpreted the lyrics as the story of a woman turning

away from a weak man who had fallen in love with another woman. She

had decided there was no bitterness on the part of the protagonist and

consequently created an image to reflect this. When we spoke about how

she would animate her drawing, she put it very eloquently, saying she

would simply allow the main character to breathe, whilst the hands of

the second woman would be grabbing at her dress distracting the eye of

the man. She had delved far deeper than I had anticipated.

With the outline of her image drawn she then began building

up her picture using Izabella's textures from her project "Passionate

Curiosity About Blue". I feel very honoured that both Izabella and

Joanna chose to be a part of "Alive". Their involvement shows off the

beauty of artistic collaboration and reflects strongly what I set out to

achieve with this album.

previous page: extracts from sketch book by Joanna Czajkathis page top: photos by Steve Tearsthis page bottom: paintings from "Passionate Curiosity About Blue" by Izabella Kay

53final piece by Joanna Czajka and Izabella Kay

54

Back To You

The following day, Steve and

I met Nilu Izadi. Nilu and I have

known each other since we were small.

The first time I ever posed for a

photographer, aged fourteen, was for

Nilu. She made me jump into a pool

thirty six times!

Years later and Nilu's fascination with light and image has not

waned. She is an artist whose passion for experimentation, discovering

possibilities in the unknown, and stumbling upon hidden gems is

contagious. Her world is one of light and lenses, of the camera obscura

and the pinhole camera. She has travelled all around the world building

camera obscuras: out of a tent in the Western Sahara, an army bunker in

Mallorca, a silo tank in Wales and most recently in Beirut, where she

built one using a sniper's nest and a bullet hole.

In Nilu's own words:

"The source of the image, the light, is via an aperture.

2-dimensional images of the outside-in, views through and back

to you. The lens brightens and captures the image and also

acts as a mirror. Direct lines of vision, colours and images

which simply reflect."

this page and next page: photos by Nilu Izadi

55

She lives in London in an apothecary of light, filled with lenses

of varying sizes, handmade cameras and wooden boxes. Having spent the

previous day in Joanna's world of digital technology it was a dramatic

contrast to be suddenly plunged into Nilu's analog world; and no less

impressive. I spent the afternoon learning how to position pieces of

glass, so that the light would reflect images onto her bedroom wall. The

pictures conjured were ghost like, surreal and in some cases reminiscent

of soft watercolour paintings.

Songs are always open to interpretation; people's responses depend

on their own experiences. Nilu felt "Back To You" was fuelled by anger

and blame, whereas in my mind it was a song of courage, reflection and

self-empowerment. This difference of interpretation is why I wanted each

artist to have free reign over his or her creation. However, even with

our own ideas in mind Nilu and I got lost in colours and experimenting

and ended up creating images that neither of us anticipated but both

felt reflected the song well.

58

Whilst playing with lenses and talking, I also discovered that "Back

To You" resonated strongly with Nilu's Beirut project, titled "The Yellow

House". In her own words:

"The Yellow House has seen Beirut through her grandest

and bloodiest turns. Commissioned in 1924 by the Barakat

family, the picturesque set of grand apartments, affords views

onto the street from every room in the building through

windows, verandahs, doorways into windows beyond and onto the

city. When the war started in 1982, the Yellow House found

itself positioned exactly on the demarcation line, which

divided East and West. Due to its strategic positioning, facing

their enemy to the West, the Christian militia reappropriated

the interior spaces and views through to build bunkers

and snipers nests. Representing a valuable step in Beirut's

architectural heritage, this building took on a very different

value during the war. The worlds of the architect and sniper

were intertwined, the latter taking the building's exceptional

layered vistas as a source for voyeurism, protection and mass

murder. The gunmen could nest in the bunker's dark recesses

while commanding the street corner from virtual obscurity.

The remaining scars of war left by the billions of bullet

marks on the walls are a chilling reminder of the terror of

conflict.

Using one of the outside bullet holes which have pierced

through the stone walls, I converted one of the rooms of The

Yellow House into a camera obscura installation bringing

the projections of the front line back into the heart of the

sniper's nest. The same aperture, which was caused as a result

of war, is now turning itself back on itself. People walk

across the mass bullet ridden walls, clouds move silently over

the rubble and devastation left by war, images are turned

back onto themselves, the outside now looking in."

The Yellow House, Beirut. January 2010

opposite page: "The Yellow House" photo by Nilu Izadi(turn the book upside down to see the city)

60

Underground

With Tristan still away, Steve and I continued our travels to the

rolling hills of Devon to visit Beshlie Mckelvie. As I mentioned in

the introduction, Beshlie's paintings were used for my previous album

"Libellus" and were part of the inspiration for opening up this project

to multimedia collaboration.

60

61

I have known Beshlie since 1999. We met on a woodland dance floor

amid wide-eyed dancers and rumbling bass lines. She is a true kindred

spirit and someone for whom I have the greatest respect. She creates not

only vibrant paintings but also designs fabrics and jewelry to be made

in far away lands. She travels on her own and has a strength that I

truly admire. This album would feel incomplete without her.

61

62

Beshlie's studio lies in the heart of a verdant valley in the

depths of Devon; it is a wilderness of colour and life where every

breath oozes creativity. I love it here. She has converted a barn into

a studio where amidst oils, watercolours and wax crayons she paints and

designs.

Over the past few weeks she had created not one but thirteen

paintings for "Underground", she had also just received a shipment of

new designs. I decided the best way to capture the essence of Beshlie on

film would be to wear one of her colourfully designed dresses, grab one

of Lilly, her mum's, handmade embroidered hobby horses, an umbrella, pop

the paintings in a bag and head off down the river.

previous page and this page: photos by Sophie Boltonopposite page: photos by Steve Teers

63

Along the way we found dragonflies, bridges, an old metal birdcage,

finally settling by a small bench by the riverbank near a lovely old

swing. I sung as Beshlie tied a small piece of string between the trees

and slowly began to hang up the paintings, creating a washing line of

painted colour. Finally we sat quietly and watched the river and the

trees around us. It was a unforgettable moment and a very special day

to spend with a very dear and wonderful friend.

65this page and next page: paintings by Beshlie Mckelvie

68


Whilst I was in Devon filming Beshlie, Tristan had begun work on

the mixes. I love the subtly of mixing records. Finessing bass drum

sounds I leave to Tristan, but the process of creating colour and

feeling by sculpting and placing sounds is a wonderful part of making

an album and one I love being involved in. I believe songs can really

live and die depending on how they are mixed.

Everything was sounding fantastic except for, "Older Than The

Hills". Previously I had recorded a demo version with Matt Ingram in

Urchin Studios (where I recorded most of "Libellus"). I loved the demo, as

did Tristan and the band, but my guitar was out of tune and the vocal,

weakened by a chest infection, was only supposed to be a rough guide. I

had recorded my vocal in the control room, using a drum mic with the

track blaring in the background; I had always intended to re-record it

but simply never got around to it.

extract from video footage by Steve Teers

69

At Hookend we decided not to re-record the whole song, but just the

main vocal and guitar. That done, we felt this new recording just lacked

something. The vocal was too clean, too strong; it lacked the fragility

and vibe of the original. This faced Tristan with an enormous task as

the original guide vocal had a huge amount of background noise all over

it. To make it usable, Tristan would have to spend hours painstakingly

removing these noises; somehow he managed it.

I had written "Older Than The Hills" for Jim Kroft, a friend who

has walked by my side since I was fifteen. He encouraged me to write

poems and in return I like to think I inspired him to write songs. When

he moved to Berlin some years ago I wrote this song as a little gesture

of our friendship. When I was thinking of an artist to collaborate with

I had in my mind a black and white photo, and decided my friend and

photographer Charles Moriarty would be perfect.

I first met Charlie in 2002 on a shoot in London's East End. It

was freezing and as day fell to night our noses became redder and

redder as we scampered about in near zero temperatures. I had just

chopped off my hair and was feeling self-conscious, but Charlie's gentle

way completely relaxed me and gave me confidence. We have continued

to collaborate over the years; you can find two of his photos in

"Libellus". We share a passion for foraging through books, music and

images, becoming fixated on a theme until it is absorbed, distilled

and spat out, for me as songs, for Charlie as images. I knew that if I

gave him a song, the pages of his mind would flicker and some bizarre

and wonderful ideas would emerge. And they did. Charlie decided to

delve into the world of medieval, time and illusion creating a really

intriguing and playfull image.

70

We had planned to meet

early on Hampstead Heath, but

I had been ill in the night.

I think the enormity of this

album; the pledge campaign and

the aftermath of excitement

from Hookend had got the better

of me. So I arrived late wishing

I were curled in bed. Charlie's

passion is contagious and not

put off by my tardiness he had

set about creating a set around

an enormous dead tree. I was

dressed in a black cloak, given

an enormous old dagger and

marched into position. A little

confused, I did as instructed. I

was then quickly removed from

the set and place behind the

camera. I love photography, but

I am not a gifted photographer.

Nevertheless, I was handed the

reigns as Charlie, with the

help of Steve's assistant Evgeny

Sinelnikov, spent the next

hour or so leaping about this

scorched naked tree. To find out

more about the world of Charlie

and why he has an umbrella,

two pheasant feathers, a

silver skull up a tree we have

included a little interview on

the DVD.

71this page and previous page: photos by Steve Teersnext page: final piece by Charles Moriarty

74

Nothing Is Over

With Charlie down from his tree we had one artist left to film.

Steve and I set off one last time into the wilds to find the cartoonist

and painter Gray Jolliffe.

Gray lives on a hillside looking out across fields to the river

Thames, surrounded by woodland, deer, butterflies, William the cat and

Ralf Ralf the dog. It is idyllic. Next to his house he has a studio shed

and meditation house, both of which I am coveting.

photo by Steve Teers

75

Steve and I both grew up

reading Terry Pratchett books and

giggling at Gray's cartoon strips,

so were excited about the prospect

of spending a day scampering about

Gray's studio and looking through

his collection of old drawings. We

were not to be disappointed.

Summer danced all around as we sat drinking red wine and telling

stories whilst Gray produced his drawings. We had spoken regularly

about his song, "Nothing Is Over" and like many of the other artists

involved, he wanted to fully interpret the lyrics. Beginning with a

cartoon strip he ended up changing style and finally settled on a

series of extraordinary paintings that reflect the song's relationship

with time and the fragility of love.

page top: cartoon by Gray Jolliffepage bottom and next page: artwork by Gray Jolliffe

79

With all the artworks and mixes completed, the songs were ready to

be mastered. This was the one part of the album I would have to sit out.

It was little nerve-wracking, after months of work, to leave the final

stage to an unknown set of ears. However, taking Federico, Stefano and

Jacopo's mentality on board, I stepped aside. I am glad I did as Andrew

Baldwin definitely did a fantastic job of completing our handiwork.

So another album lies finished. I hope you enjoy the songs, the

stories, the videos and the pieces of art as much as we all enjoyed

creating them.

photo by Alice Armstrong onboard Radio Caroline

80

The Band

80

81Photos by Joseph Lee 81

82

Artist Biographies (in Alphabetical order)

Jonathan Bishop - "Colourblind"www.jonathanbishop.net

The figures of Jonathan's paintings belong to an

optimistic sort of utopia, but one that needn't be an

anachronism, as they never purport to be anything more

than paintings. His work is precisely unconcerned with communicating

a verbal ideal, but is, rather, a humbly ambitious ideal in itself.

That people see and respond to beautiful aesthetics is all that the

characters of Jonathan's creations ask of you. Aesthetics are their

language.

Danaë Brook - "Go Bathe In The Light"www.countryroses.co.uk

Danaë started writing at boarding school, she went on

to model in London and at the urging of photographers

Terence Donovan and Brian Duffy, entered and won a

competition for new writers at Vogue. She wrote for Vogue, the Telegraph

and the Express, where she stayed for several years, apart from a brief

break when she joined American theatre company, the Living Theatre,

sparking her lifelong passion for theatre. She helped start Private

Eye, wrote for Oz, Spare Rib and Rolling Stone in California, going

on to write for almost all the UK magazines and national newspapers,

83

including for the past 12 years, features for the Mail on Sunday.

Her published books are "Naturebirth", "To Be A Redgrave", the book

of "Quest for Healing" to accompany the documentary shown on Discovery

Channel. She has a Masters in Literature: Creative Writing, is currently

studying for a PhD and has written a trilogy of plays Making Art.

She also runs a rose growing business, Country Roses, and first heard

Tallulah sing "Go Bathe in the Light", as part of a charity concert

performed in the Country Rose greenhouse. A fan of rock poet Patti

Smith, whom she met and interviewed in the Seventies, Danaë was inspired

by the combination of Tallulah's imagination and Patti's musicality.

Joanna Czajka and Izabella Kay - "Lost On The Way"www.joannaczajka.com - www.vernissage.co.uk

Joanna Czajka received a First Class BA in Graphic Design and Animation from the Polish-Japanese School of

Computer Science in Warsaw, Poland and in 2010 completed

a PGDip Character Animation Course at Central Saint

Martins in London. She also exhibited at the AAF New

York Fair in 2010.

"I deal with animation, illustration and photography. Nothing in this

world brings me more satisfaction than communicating with people

through my pieces of work."

Izabella Kay obtained her MA on the subject of "Export of Polish Art" in 1981. She trained at Heatherley's

School of Art and later in the studio of Polish artist

Ewa Gargulinska. She has exhibited internationally most

recently exploring the "ever changing relationship between

colours and texture and the emotions that they evoke

as well as rules that can be bent or broken". Izabella has also set up

Vernissage, an organisation dedicated to the promotion of Polish Art in

the UK and beyond. Providing an international platform and commercial

exposure for young outstanding artists.

84

Nilu Izadi - "Back To You"www.nilufar.co.uk

Nilu Izadi is a freelance photographer with a background

in Fine Art who specialises in documenting the Arts.

Her Camera Obscura installations have been commissioned

worldwide by private clients, museums and galleries.

Jelly Brain Productions - "Blind Like a Fool"

www.jellybrainproductions.co.uk

Jelly Brain

Productions is a

brand new independent

company based in

London, UK.

Stefano Tambellini, Federico Parodi and Jacopo Lanza are three

creatives with freelance experience in video production, animation

and illustration. Been working for the past three years on shorts,

commercials and TV series for clients such as Saatchi & Saatchi, MTV,

Cartoon Network, Primefocus and the Kelly Gang LTD.

Gray Jolliffe - "Nothing Is Over"

Gray Jolliffe spent most of his working life in

advertising as a copywriter and Creative Director of

a large London agency. At the same time he was doing

cartoons for magazines and newspapers, and illustrating

books. He did "The Unadulterated Cat" with Terry Pratchett and the

"Wicked Willie" series with Peter Mayle. Now a full time cartoonist and

painter, his latest books "Learn Chess Quick" with Brian Byfield and a

compilation of his Daily Mail strip cartoons "Chloe and Co." will make

really excellent presents!

85

Kilford - "Alive"www.themusicpainter.com

"When I feel the music I see colours, this is what I

paint."

Kilford paints music live alongside musicians during their performance;

he is the first painter ever to paint live onstage at Knebworth and has

painted live alongside many of the worlds greatest musicians including

Iggy & The Stooges, Black Eyed Peas, Paul Weller, Buena Vista Social

Club, Damon Albarn and Robert Plant.

Andrew Logan - "Under The Wire"www.andrewlogan.com

Andrew Logan belongs to a unique school of English

eccentrics. One of Britain's principal sculptural artists,

he challenges convention, mixes media and plays with

our artistic values. Since its beginnings, Andrew's work has depended

on the inventive use of whatever was to hand. With flair and fantasy

he transformed real objects into their new and different versions.

His artistic world includes fauna, flora, planets and gods. His love of

travel provides the bases for several series of work.

Born in Oxford in 1945, he qualified in architecture in the late 1960s

and has worked across the fields of sculpture, stage design, drama, opera,

parades, festivals and interior design. To him "Art can be discovered

anywhere". Andrew crosses cultures and embodies artistic fantasy in a

unique and unprecedented way. His work is the art of popular poetry and

metropolitan glamour. Check out "British Guide To Showing Off" due for

release 2011; a film about his "Alternative Miss World" for a glimpse

into the spectacular.

86

Beshlie Mckelvie - "Underground"www.beshliemckelvie.com

Beshlie Mckelvie, great granddaughter of the influential

designer William Shand-Kydd, spent her childhood

surrounded by artists, carpenters and gypsies. Rambling

workshops were filled with old artifacts bought back from far away

places. Attic's filled with old textiles from Afghanistan and Central

America. As a child Beshlie was fascinated with the stories that

surrounded these cloths with their frayed edges, motives, patterns and

smells of exotic places.

Beshlie studied fine art at Falmouth College of Arts and specialized

in print making. From here she travelled extensively through South

America and Spain to further her textile and print making journey.

Later leading too a collaboration as "Artist Of The Season" with

Savannah Miller of Twenty8Twelve.

Her belief in the importance of projects that support craft traditions

and women's hand work in places such as India and South America are

integral to her way of working. This has hence led to two textile based

projects in small co-operatives of artisans. She works closely with block

printers from Rajasthan, SEWA, (Self Employed Women's Association). As

well as working closely with a group of Aymaran weavers from Northern

Argentina and Bolivia.

Charles Moriarty - "Older Than The Hills"www.myspace.com/charlesmoriarty

Charles Moriarty is a photography degree graduate

from L.C.C. University of the Arts. Although initially

involved in the film industry, it was still photography

that ended up being his career path. Early work was with Island records

and Simon Fuller's 19 Management, where he shot the cover of Amy

Winehouse's first album "Frank". Charles then began to specialise in

medical photography, but seeks to keep the more creative elements alive

in his fine art and portrait work. His work often focuses on the subtle

87

incoherences that can exist within reality, that which is false but

seems to be real.

"Photography allows a space where reality and the imagination can

intermingle, my work addresses this space. It allows me to create

an existence that rotates outside of that, which is known to us.

The imagination lets us see beyond that which is possible. The work

lays bare a reality that is hidden. Identification is symbolically

represented and questioned in spaces derived of the imagination.

Photography acts as a tool for transmutation."

Amy Richardson-Impey - "Ghost On The Water"www.polerevolutionz.weebly.com

New Zealand born, Amy is an international performing

artist and has been teaching, choreographing and

performing on and off stage for well over a decade,

performing her first show at the age of 14. While most prominently

dancing throughout New Zealand, she is internationally acclaimed and

well known for her work in the pole dance industry. She is well versed

in all disciplines of dance, and has most recently been teaching the art

of pole across New Zealand, Australia, England, and Jamaica.

Bex Rox - "Go Bathe In The Light"www.bexrox.com

Bex Manners, a Balearic Island native, has combined

her exposure to nature and culture along with her

instinctive sense of design and style to create a unique

brand of jewellery that has become sensational in different parts of

the world. While based in London, she has travelled around the world,

using these influences to promote an individualistic take on her

artwork. Her exclusive, limited edition pieces are now sold in retail

outlets in Europe, North America, and Asia.

88

Credits

All songs written by Tallulah Rendall

Performed by:

Tallulah Rendall: Vocals and Guitar

Jason Hart: Guitar

Joanna Quail: Cello

John Blease: Drums and Percussion

Tom "Robbo" Robertson: Bass

Tristan Ivemy: Additional Guitar and Piano

Matt Ingram: Wurlitzer on "Older Than The Hills"

Recorded at Hookend Studios; additional recordings at Urchin Studios

Produced by Tristan Ivemy

Engineered by Dan Cox

Assistant engineers: Alexander Beitzke and Graeme Baldwin

Mixed by Tristan Ivemy

Mastered by Andrew Baldwin at Metropolis

DVD created by Steve Teers

Footage shot and edited by Steve Teers; additional footage by

Jeanette Suleiman, Nick Gordon Smith and Evgeny Sinelnikov

Photographs by Yusuke Miyazaki, Steve Teers, Richard Ecclestone,

Nix, Dylan Walker. Ruban Byrne, Lilly Dell, Sophie Bolton, Alice

Armstrong, Jospeh Lee and Jesse Telemacque.

Hair and Make up by Zoe Taylor

Book Design by Joantoni Segui

89

Acknowledgments

Thank you to the following:

To everyone involved in the pledge campaign for making this a

reality. To Andrew Logan, Beshlie Mckelvie, Nilu Izadi, Jonathan Bishop,

Stefano Tambellini, Federico Parodi, Jacopo Lanza, Amy Richardson-Impey,

Gray Jolliffe, Joanna Czajka, Izabella Kay, Charles Moriarty, Kilford,

Danaë Brook and Bex Rox for their belief and willingness to throw

themselves into the unknown. To everyone at Hookend (hookendstudio.com)

and Urchin (urchinstudios.co.uk), especially Mark Collins for fighting our

corner and to Mark White for his generosity and kindness. To all the

wonderful musicians who played on this album. You are the source of my

greatest happiness: Jason, Joanna, John, Robbo and Matt. To Tristan, Dan,

Al and Graeme. To the Camera crew for being prepared to be involved in

chaos. Steve (divapix.co.uk), thank you, I could not have done it without

you. Thank you Jeanette for helping Steve edit and sync footage. To

Zoe Taylor (zoetaylor.com) for all the glitter and hairspray. To Yusuke

(yusukemiyazaki.com) for your fantastic photos. Also to Ruban, Lilly, Alice,

Jesse, Sophie, Joe, Nix (clickbang.co.nz), Richard (eckie.co.uk) and Dylan

(dylanwalker.co.uk) for your pics. To Brian Stein and Andrew Birnie at

Cafe De Paris for your support. To Karen and Kerry Hamer. To Tina &

Eliza Beattie for giving me a home. To Amanda Ryan and Dylan Prill,

my fantastic label interns. To Big Machine Media and Jamie Brewer

for helping get my ideas into the world. To Peter Ward-Edwards for

supporting me time and time again. To Ben Turner and George Piskov. And

an enormous thank you to Joantoni for putting this second book together.

And to my family and Colin for your love and never ending support.

90

The Pachamama Alliance

As part of the pledge campaign we also gave 10% of the

money raised to the Pachamama Alliance (www.pachamama.org).

Their mission is: "To preserve the Earth's tropical rainforests

by empowering the indigenous people who are its natural

custodians. To contribute to the creation of a new global

vision of equity and sustainability for all."

91

w w w . t a l l u l a h r e n d a l l . c o m

This book, CD and DVD © 2010 by Tallulah Rendall

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted

by any means electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher.

Unauthorized duplication is a violation of applicable laws.

92photo by Jesse Telemacque

93photo by Jesse Telemacque

alive

Documents

album libellus

amy dancing

amy dance

alivealivego bathe

artist biographies

different artist

introductionthe idea

small book of poetry