“Do you have a name for the studio?” - Bill Drummond

“No, too busy with building the thing.” - A La Fu

“How about Studio 23?” - Jimmy Cauty


And so it goes.

After many months of meticulous planning and impatience, Va Va Records are pleased to announce the first project recorded and edited at our new studio headquarters with would you adam and eve it, pop music’s greatest provocateurs Bill Drummond and Jimmy Cauty, aka The Jams, aka The KLF, aka The Timelords (to name but a few handles). 

Our man A La Fu has been working with Bill Drummond on a handful of projects over the past few years and after being asked to perform at the closing of Drummonds 'The 25 Paintings' exhibition they even duetted together with a version of ‘Will You Love Me Tomorrow?’ by The Shirelles, naturally.

As you may know Cauty and Drummond have completed their 23 year moratorium this year and returned as The Justified Ancients Of Mu Mu. To celebrate they have written a book titled ‘2023’, a trilogy described by the governors as a “utopian costume drama, set in the near future, written in the recent past”.

It is the audio version of the book that has been recorded and edited by A La Fu and narrated by Daisy Campbell in the brand new Cauty christened, Studio 23.

Keith Hopewell Paris Exhibition


Now showing at Galerie Celal M13, 13 Rue De Miromesnil, Paris, France

23 rd March – 22nd April. 2017

“How far can one’s hand stretch out, until it reaches the edge of reality?” Archytas

Extension & Motion, is the first solo exhibition in France by British born artist Keith Hopewell, exploring the boundaries of contemporary colour language in an age of digitisation, through a new series of gestural paintings.  Each work is conceived with a minimalist palette of either two or three colours, as Keith physically obliterates each surface with the bombardment of primal marks, ultra fine lines, points and chromatic luminosity, building up morphic fields transmitting at different spatial frequencies. Hopewell’s past work is predominantly about the transformation of materials, and sound whilst, allowing the process of activity andperformative elements to become visible, through a synthesis of deconstruction/re-arrangement of surface and object. Notable work includes his reality charged pieces, where he incorporated painting with sculptural objects, such as steel security fences, and wire mesh, to re-orientate us and affect our perception, due to the parallax nature created by the two planes. In this new show, Hopewell’s use of interspersed colour invokes physiological effects, and time delays, through the use of subjective colour, simultaneous and successive contrast, and also the assimilation effects of Von Bezold, where the multitude of point and line is worked across the compositions at high and low spatial frequencies.


There is some reflection back to Hopewell’s earlier interest in digital printer marks and CMYK, but the work in this exhibition appears to be more about the human touch, and the performative elements of painting, in an era described by Rosalind Krauss as being a post-medium condition. In an attempt to understand such a condition, Hopewell’s objective here, is to find solutions that enable painting to reach out beyond itself, and establish a self-redefinition to determine where the edge is, or locate a central nexus, in the midst of today’s massive image circulation. To question paintings specificity, in a search to find any new sustainability for such a medium, is to flow off this tension and try to both regulate or de-regulate it, by embracing painting as performative time. What we are seeing here, is the residue of events, the echoes of action and refraction, linger like the absent colours that merely exist objectively for the eye only.


For Hopewell, the essence in the act of painting is located in the movement of the body, in the stretching out of the hand, to communicate his internal mental cognition onto the fabric of the external landscape. A sort of turning outward, what is not visible at the beginning of the process. If painting can mark time, then each mark here seemingly cancels out time. In the liminal moment resulting from the repetitive application of line upon line, he is able to deliver an explicit level of accuracy of straight vectors, not normally achievable by a hand in motion. In fact, the use of the spray medium in these works, questions the very idea of human touch, due to the anamorphic nature of spray, and its release of pressurised paint through a valve system. Theres a sort of refraction at work in his ritualistic process, like an unknowable reality, passing obliquely through the interface between one medium and another. This direct presence of activated mind architecture,  resonating from the body to form a composition on the flat plane, echoes George Berkeley’s notion; “Nothing can exist without a mind to perceive it, the external world must exist within the mind of god.” Along with the harmony and contrast of spatial colour interspersions, this exhibition is really about reaching a point of purity, a sensory or meditative experience, where we can interpret painting with what he believes has the possibility of outliving itself at future points in time.

“Locke & Descartes became convinced that the knowledge that comes to us through the senses is deceptive. Behind what we perceive as colours, sounds, and odours, nothing exists but extension & motion. Or at least, the substance of reality was believed to lie therein…” Claude levi-Strauss




Remi Rough (London, 1971) is one of the greatest exponents of abstract and urban art. Engaging in the UK art scene of the 80s, he has pursued his research both in the gallery space and through public interventions. The artist combines the purism of avant-garde movements such as Suprematism, with a totally modern expressionistic energy to create powerful abstract compositions. His synthetic yet dynamic lines and neat geometric colour forms, whether on walls or on canvas, acquire an almost sculptural dimension. Remi Rough has exhibited in important international institutions and events such as the Biennale of Street Art in Moscow, the Museé Mohammed VI in Rabat, the MB6 Marrakech Biennale, the Urban Art Biennale at the Völklinger Museum, the Museum of Fine Art of Santander and the Maison De L’Architecture in Strasbourg.

Symphony of Systematic Minimalism, Remi Rough’s first solo exhibition in Italy, explores the relationship between visual art and music. With an experience in music production of over 20 years, Remi’s artistic and musical expressions have always been intrinsically linked. As music’s abstract language, the visual elements in Remi’s paintings become a chromatic system of pure forms. His works colours, lines and shapes are modulated as visual “chords” in musical composition, resulting in a dynamic and precise structure where nothing is arbitrary and everything is in it's right place. Each painting, along with the musical composition created especially for it, acquires a temporal dimension, evolving in time and becomes an experience. 

For his show at Wunderkammern, Remi Rough will present large scale works on canvas together with music written and produced by the artist. He will also present artworks on paper along with a site-specific installation in the gallery. On the occasion of the opening, the book #RoughSketches Volume 01 will be presented, together with a limited special edition created by Sandra Varisco.

Remi has produced a 9 track album as an exclusive release with us that directly correlates to the paintings within the show. This is the first time Remi has explored the natural connection of his artwork and his music making.

The 9 songs reference his artistic and musical influences from as far a field as John Carpenter and Aphex Twin to Futura and Marcel Duchamp. 


Ltd Edition Music & Print

Sound In Print is our series of releases that partner choice musicians, singers, songwriters, bands and producers with artists, painters, photographers, illustrators and designers to create a piece of music and artwork respectively.

The fifth in the series is a collaboration between young producer Willis Ellmore and design house TRY Industries.

MUSIC – Willis Ellmore –  'Rhythm & Repitition' EP

ARTWORK – TRY Industries – Watermarked & numbered 250gsmArcoprint Indigo, 280mm x 280mm.

More info here


Ivan Smagghe and Nathan Gregory Wilkins present 'Channeling', a fortnightly window into their musical world. This episode includes 'Care Home' by our own Jacob Yates & The Pearly Gate Lock Pickers, an unflinching Dub that stares into the abyss, a walk through the dark corridoors of the human mind. Listen again here.


We are very pleased to announce that we will be presenting the new Jacob Yates L.P. entitled ‘GOTHS!!!’ The release will include the singles ‘The Gospel According To The Selfish Gene’ and ‘Care Home’. We’re just waiting for the final mix and master and we’ll then post the release dates as soon as we have them in place.

In the meantime, to celebrate we’ve managed to secure some copies of the much sought after and long since out of print first album ‘Luck’ in both vinyl and CD formats as well as the debut 7″ singles ‘Can’t Stop’ & ‘When You Left Me’ that were released on Re:peater Records. You can find them on our shop page here. But be quick, limited numbers only.


This wee film puts together a visionary, an architect, an entrepreneur, an engineer and a club owner. The music for the film is produced by Va Va Records beauties A La Fu and Zubuntu.

Part two of the short films shows us ‘The Power Of Dance’ on the aforementioned sustainable dance floor. Music by A La Fu on this one… still not sure about that ‘Techno’ dance though.