01

& Found
www.WeAreLostAndFound.eu

1. Love is
2. Do We Really Need?
3 & 4. Jimmy Edgar
6 & 7. Trellick
8 & 9 Reviews
10. Sebastien Tellier

LOST AND FOUND

ISSUE 1
For more info, submissions and
proposals please contact the editors.
wearelostandfound@gmail.com
www.WeAreLostAndFound.eu

Love is

words - D.Schmitt pic - Mark The Greek

do we
really
need
travel guides?

had been in Barcelona

about 2 months before the inevitable
happened. Some fully paid up local
member of the chav family (Moroccans)
with a bike faster than my legs robbed
me blind. I tried in vain to catch him but
alas two wheels are most certainly better
than none. Four are even better; Id have
run him over. So there I was without
cards, money, passport, ipod, bag, shorts,
sunglasses, all the things best left at home
after a cocktail of cheap cava, whisky and
calimotxo, when I realised hed also robbed
my time out travel guide. Now Im not one
to pine after the Time Out but for some
reason I didnt like the idea of having
to buy another, I presumed insurance
companies dont cover books.
It suddenly occurred to me that I knew too
much about Barcelona, or at least I thought
I did, as a result of this guidebook. My
stay had been dictated too by this so-called
friend. Without so much as a thought, my
deluded romanticism had decided that I
was seeing the real Barcelona, disinterested
in the fact that it had been following the
advice given by a couple of old Hampstead
media cronies. They had destroyed my
somewhat outdated spirit of adventure.
Very few of my discoveries were accidents
as each place had been carefully formatted
to fit A6.
Yes, this is all fairly obvious; we buy travel
guides because they tell us where to go.
No shit Sherlock. But we shouldnt. They
sell us the idea that theyll help us find

somewhere special, somewhere to call our

own. They wont. With them we can call
nothing our own. Its theirs. Not all travel
guides spin the same stories though. Id
like to think that my Time Out was the
best of a bad bunch, catering to a more
discerning audience than the Lonely Planet
for example, which seem to generally
serve 3 main purposes: toilet reading, post
bathroom hygiene and most commonly, as
a tool to be used by curious ghetto children
to aid the decision making process of theft.
I began to become more and more
suspicious. I dont know why, it was all
rather irrational. Just why is the lonely
planet called the lonely planet? Where is
this lonely planet? Can I buy a ticket? Do
Easy jet fly there? Has anyone ever been
anywhere lonely listed in the lonely planet?
Do they give a money back guarantee?
Does this lonely place exist without the
same curious ghetto children after your
stuff? All I can guarantee is that youll be
lonely when they find you. Theyll leave you
penniless believe me. No money back, no
guarantee. They take no prisoners. Where
will the lonely planet be then? Rolling their
dollars up on a beach in Miami I suspect,
ready to pollute some poor unsuspecting
21-year-old blonde on the ways of the
media or signing another disclaimer that
reads things change, remember our
guides can never be up to date, if its full
of Preppies trying to get laid, dont blame
us, cheers. Like all good travel guides we
welcome any comments, suggestions or
recommendations for our future editions.

Jimmy
Edgar
This year as we stumbled through Sonar by
night with chompers to the left of us and gurns
to the right our balls dropped when we came
across a young man who goes by the name of
Jimmy Edgar. He embodies all we love. Jimmy
produces hotel sex sounds from Post-Industrial
Detroit very F.f.f.f.f.reSH And SexY. We
asked him if hed like to share a few words
about his music, luckily, he said yes.
Imagine if youd been at Mozarts first recital.
Imagine if you will, Mozart had grown up
in 1980s Detroit, was into Prince and liked
drugs (he probably did but the Hacienda was
a twinkling star). Imagine if hed owned a 303
fed through a Mac. Imagine if he danced like a
maniac dirty ghetto boy into B-Boy house.

Hes definitely got talent; genius might be an

overstatement, prodigy an understatement. It
will become clear, Ill leave it open, you read
on and decide.
Color Strip has a new sound, its tight but
deconstructed, its a polished collection striped
down to the primal elements of music, almost
minimalism gone wrong, Aesthetically, it feels
like a glazed concept, a dystopian view at
straight-lined modernism. To pull this off you
need confidence, some sort

The story in short: Detroit, Michigan, 1984.

A child is born by the name Edgar, Jimmy.
At 15 is performing at Detroit raves with
contemporaries and techno pioneers Juan
Atkins, Kevin Saunderson and Derrick May.
At 18 gets recording deal. Releases first album
- my mines I under alter ego kristuit salu vs.
morris nightingale. At 21 debuts as a Warp
Artist, destroys the Detroit Electronic Music
Festival. Now, alongside building own software
upon which he continues to record, also
creates artwork, designs clothes and constructs
installations.
To be honest, we thought wed heard it all
before. A Kid is born, hailed youth prodigy,
the saviour, possibly Son of God, will duly
end third world poverty and conquer the Aids
pandemic currently sweeping the East. Also
plays a bit, get girls, paints nicely and designs
too. Whats more, for all the bitter and twisted
out there, he cleverly rides hype, gets deal
and finds fame. The conventional prodigal
son story goes on to say he never delivers,
the people forget, end of story. Jimmy thinks
different. We like that.

of unnerving self-assurance. The first thing you

learn about Jimmy is hes extremely confident.
It seems he just happened to be good at most
things he tried, lucky bastard. And from this
style of egotism, comes the view that music is a
piece of introverting expressionism, a constant
challenge to keep things fresh A medium to

keep in touch with today, through your own

means, His personality is always reflected not
only within his music but also in his choice
of sleeve designs, art installations and the
fashion design he produces. The imagery of
Jimmys artwork is so strong and unabashedly
entwined with his beats that it reveals Color
Strip as something of a concept. The video for
LBLB Detroit also nods towards this. Feeling,
ambiance and colours are always as important
as a storyline to tie in music. Moreover,
common reference points are forever there;
they underline a set of principles to his work,
a sticking to themes, a working of concepts
and a proliferation of ideas most frequently
underpinned by Detroit landscapes, the
outcome is a collection of the songs Ive always
had in my head.

apocalyptic.
The music is spacious, like the city itself, a self
reflective, inward heartbeat. Tracks like LBLB
Detroit and I wanna be your STD feel like
a nasty night on bad E. Perhaps this is Jimmy
questioning the negative energy he senses
around him, negative energy translated into a
provocative sound of hyper haute couture style,
fashioned from the periphery. Jimmy says Im
not the guy Djing every weekend and trying to
make parties, music for me is about discovery
in a lot of ways and finding myself, visibly
distancing himself from crawlers, continually
asserting the importance of his personality in
music.

r
u
o
l
o
C trip
S

To us Jimmy seemed a bit of an old romantic

Im so absorbed by the city here, so its a
reflection of my environment, Im absorbed
by the atmosphereDetroit is something else,
dark and seedy in the ways of personalities,
and the negative energy from the hurting
here, which to an extent sums his work up.
Its about living your environment, creating
a composition, which may or may not be a
purposeful exploration of the surrounding
landscape, but one that will inherently reflects
it, one that naturally embodies a statement of
situation.

The atmospherics so evident in Color Strip

suggest strange things of a Detroit previously
labelled by macho glam hop and skin-tight
jeaned glitz. Thankfully leaving the trailer
trash behind to bump at midnight parties with
Eminem, Mr Edgar has recorded a stop/
start review, a staggered lonely walk through
Detroits clinically plasticine hotel belts seeking
ladies of the night, exchanging numbers in
foyers, under strip lights, meeting sordid
people youll never trust. It traverses backwards
and forwards from the ultra modern to the

Working previously under different names

appeared to be Jimmy seeking outsider
status, treading carefully as an alias without
judgement. Jimmy acknowledged that using
pseudonyms was the way I separated my
personalities, there is no reason why I should
be the guy with multiple names and projects,
its not what I wanna do anymore. The rest of
what I do musically is secretive now. I like to
be Jimmy Edgar, thats who I am, and thats it.
As Jimmy Edgar he has the gait of someone
acting as a director. Rolling a crisp apple style
with his lazy but persistent gaze, his fragile
stature manages to easily arrest attention, as a
director would. He put out Rhythm Denial,
a 30-minute beatless mix of the album, on
which, and in Jimmys words, the sound really
fucks with the rhythm. This freedom from
expectation acted as outlet for Jimmy to do
something completely different. Warp has a
history of abstract cross over acts getting off on
making a fucked up mess of contrasting genres.
They also have a history of courting acts under
expectation. As a result Color Strip is more
than just a quintessential Detroit soundtrack,
produced by a forsaken prodigy with a huge
weight on his shoulders, its the sound of a
mercurial finding and expressing his digital
soul.

K
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or Leeson. Our reward is a downgrading/

privatisation of Britains urban space to
match the priorities of some real estate
oligarch. Goodbye city, hello country.
Trellick on the other hand, a building
conceived from Modernism, stands as a
relic to a time when longevity was valued.
This is not to say that the building has
stood without problems. As neighbours
from hell go, its basically a mouthy single
parent with three underfed kids. The
design has two fingers for its
immediacy. This could be considered
something of a norm for modernism.
Designing in context seemed an alien
concept for many of the architects. Having
your building dominating the horizon
let the world know you exist, it reflected
an ego, and especially for mass housing,
seemed to be the architect cradling some
personal attention.
Hungarian migr Erno Goldfinger
was pretty proud of his baby though. A
structurally elegant building with character,
the faade is brutalism in all its glory. To
most the concept is ugly, uncompromising,
cumbersome. That remains only a faade,
a faade we believe is beautiful, a faade
with depth. Brutalism is not a clever
derogatory wordplay; it is a name derived
from the French adjective brut, the
term for raw. At Trellick this translates
as functional living units designed with
consideration for the inhabitants. Effective

use of space, as far away as possible from

the sardine tins we see today, crammed
with creative spatially conscious design
ideas to maximise liveability. Its about
streets in the air. Every three stories lay
an external walkway where the lift stops,
with each storey designed as a vertical
settlement to promote integration between
residents along the lines of Victorian
terraces.
The 80s were generous in many ways.
Nostalgia evokes many things. Maggie,
Scargill, Bananarama, Pushpops, post
industrial decay. At Trellick nostalgia
is mainly smack, rape and theft which
= demolition. It survived for two
reasons. One, the problem was with
mismanagement, not the inhabitants or
the design. Neglect from the local council
was sinful. Two, fashion and times change,
great design, though not always recognised,
stands the test of time. Trellick is proof of
the power of a great idea. Simple beauty.
Love this building. Its something of a last
stand for high-rise social housing. It means
something more than kitsch urban renewal.
It has belief, inner beauty, and a purpose.
Words & Photo: D. Schmitt

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Sebastien
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Shadow

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De
words:

If this is nothing
new then why are
we walking around
ignoring it?
A 15 flight to the
continent quickly
highlights just how
different our cities have
become. EVERYDAY
LIFE, the kind with
teeming sidewalks,
distinctive local flavour,
street culture, and a
diverse intermingling of
shapes, sizes and ages
of people have become
clips from black and
white films.
Our street life has
been superseded by
the mega mega mall
and gated communities
on the other side of
CCTV guards. Or its
dolled up as a theme
park, complete with

IMAX theatres, TFI

Fridays, the obligatory
superstores and free
parking. Go on... go
walk round town at
7pm when the shops
shut and the pub crowd
hasnt got going yet,
whos out there with
you?
No one.
The causes of this
death are as numerous
as the authors who have
addressed it. Blame
corporate franchising,
cars, the eclipsing
of the public by the
private sphere and the
fear-of-people bias of
UK culture blame
ourselves.
What public spaces
we do have are created
(big thanks, really) by

late night shopping

campaigns and multiuse-sites. Weve
created a landscape of
alienation; a landscape
where groups of
people just stood still
is just way too hard to
comprehend. They
must be dodgy. All of
our cities now house
these sanatized places
that welcome you in
with a warm smile and
name badge, just so
long as youre spending.
What ever happened
to the village green,
the streets or any form
of community that
isnt based on shared
consumption habits?

es

We wantthtoe mtaarlkgiabnsou. Idt peeaops thleatanwedreplaconce

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We are neither revo
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We
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just want to make a sta
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