Sebastian

The most beautiful name in the English language is Sebastian. It is a word that takes flight when it is spoken; all gleaming and crimson. Saint Sebastian, Sebastian Horsley, Sebastién Tellier, Sebastian Akchoté. It is not without reason that Sebastian was also the name Oscar Wilde adopted as his alias whilst on the run in France. A good name should unbalance you. It should haunt us and suggest ways of being and even aspects of behaviour.

‘The youngest of the martyrs here is lain,

Fair as Sebastian, and as early slain…’

SebastiAn knows this. The cover of his debut album, Total, has an obscure connection with the ethereal ‘Sebastian’ paintings of Guido Reni and the subject matter’s complete desire to consume and be consumed by the beauty of himself. Indeed, it also shares an appropriate affinity with the explicitly rich context of the artist’s name, and all the sexually perverse narcissism that comes with it. SebastiAn is not merely kissing himself; he is kissing Sebastian Dangerfield and Sebastian Venables, too. Jean-Baptiste Mondino has once again created an image of both profound style and sublime taste.

In the hooligan world of art, this connection will be understood. Had Monsieur Akchoté been called Roy or Donald... perhaps only the music therein could save him. And it is here that SebastiAn proves himself an even greater tastemaker of the past and present.  Ensuring no sacred rock is left unturned; SebastiAn’s Total is the product of someone exploring infinite possibilities. Heavy-metal dance? ‘Doggg’ alone gives me so much hope, albeit in entirely different ways, for the future of both musical genres.