A yellow Porsche on a country road with fields in the background
A yellow Porsche on a country road with fields in the background

The Porsche 911 GTS is a sportier addition to the model lineup

Porsche has a unique place in the automotive canon. Its history, racing and heritage, combined with a stream of some of the most evolving and precisely engineered cars, mean it is beloved by collectors. And in recent years, the company has made approachably-priced sports cars that are still a paragon of excitement for those who cannot or do not want to stretch to the more exotic offerings. It has also branched out into family cars, SUVs and the highly dynamic electric Taycan. In a tribute to a brand which is synonymous with German engineering and carries with it a geeky spirit that appeals to those who might collect mechanical watches, in this series we review some of the company’s most interesting contemporary offerings

The greatest consumer products are not those which undergo brilliant reinventions, but those which quietly evolve while remaining seemingly the same. A Birkin bag, a bottle of Château Latour, and an iPad are easily recognisable from their predecessors 40, 20 and 10 years ago.

The Porsche 911 stands at the pinnacle of this list when applied to the automotive world. It was a bit of an anomaly when it first emerged in the early 1960s, with is engine in the back, just in front of the bumper, and a bug eyed look. Porsche had plans to replace it with a completely different model, the 928, in the 1970s. Yet 20 years later, it was the 928 that disappeared into the history books, while the 911, continually refreshed every few years.

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The 911 itself has spawned many different variants: from race specials that only ever increase in value, to increasingly mainstream standard cars that can be driven by anyone and have no shortage of supply. Somewhere between these categories, of the ubiquitous “standard” 911 and the rare GT models, is the GTS.

The steering wheel and controls inside a Porsche 911 GTS

The Alcantara and cloth interiors of the 911 GTS

To drive, the GTS is traditionally somewhere between the company’s more exotic offerings and its mainstream sports cars. The logic behind the GTS is that you wouldn’t want to drive a collectors car every day on the school run or to go shopping. Though having driven the three first iterations of the GTS since it was first introduced in 2010, we can attest that if these excellent cars were made in limited quantities, rather than as a main manufacturer run, we have no doubt that this car would be bought over by collectors in years to come.

And here is the fourth iteration: the 992 GTS, 992 being the model designation for the latest variant of the 911.

Get into the latest 911 GTS after driving the next model down, the Carrera S, and the subtle, iterative, intriguing, differences, are almost immediately apparent. The interior has touches of Alcantara and cloth, and appears more bespoke, less factory made. As soon as you go round the first corner, the steering, good enough in the standard car, feels a little bit more taut, more sharp.

Read more: Porsche Reviews Series: 718 Cayman GTS and 718 Boxster GTS

The GTS is also more responsive around a series of corners, both in its engine response and the way it handles – and the way it sounds. It’s a bit faster and punchier, has more aural sensation, has a more muscular frame, or so it seems, while still being virtually as easy to drive as the standard models. The more specialist “GT” models, in comparison, take commitment and effort, ideal if you are racing around but much less fun in everyday reality for most of us.

Meanwhile the differences with the base cars are subtle, but just like the 911 evolution, many subtle differences add up to a big difference. We think the latest GTS is as compelling as any of its predecessors and its the 911 we would be buying if we were in the market now. You can even get it with manual transmission, unlike a Ferrari or a Lamborghini, if you are a truly committed driver; or as a convertible, unlike its more “collectible” sisters. Enjoy now while we are permitted.

Find out more: porsche.com/uk/models/911

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A woman singing on stage next to a person on a keyboard with green lights above her and people watching sitting at tables
A woman singing on stage next to a person on a keyboard with green lights above her and people watching sitting at tables

Lindsey and Jorge Villon founded the The Wonder of Sound in 2019 to provide awareness, funding, and support to Auditory Verbal (AVUK). The Wonder of Sound 2023 Gala marked the 4th anniversary of the musical event in aid of AVUK and was held in London at BAFTA in Piccadilly

This year’s Wonder of Sound Gala raised almost £400,000 through the generosity of guests from the art, music, film, finance and philanthropy world.

The talent performing at the event included Reuben James, Karen Ruimy, Sophie-Rose Harper, Khaya Wiyaala and Fine Young Cannibals.

Jorge and Lindsey Villon started the charity after experiencing first-hand the work of AVUK for their daughter, Grace, who was born profoundly deaf.  Today, Grace speaks and interacts like any hearing child due to AVUK’s unique approach to auditory verbal therapy and their dedicated staff.

Through AVUK’s highly specialised, intensive early-intervention programme, as many as 80% of deaf children who spend two or more years on the programme achieve ‘age appropriate’ language skills.

three people speaking at a table and the woman in the middle is wearing a blue dress
An auctioneer going round tables with a microphone
A man in a suit holding a drink next to a woman wearing black dress also holding a drink

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A woman playing the guitar with spiky red and black hair
A woman with short black hair wearing a red puffy off the shoulder dress giving a speech
A woman DJ behind decks dancing with headphones on
Two ladies dancing, one in a yellow dress and one in a nude coloured dress
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Joel Isaac Black, a.k.a. Hazy Pockets, is the curator of the legendary playlist for Zermatt’s eco-chic hotel CERVO. In the panoramic terrace and restaurant of the hotel, which is decked out entirely in vintage market finds including a well-travelled camper van, guests and visitors will hear tunes from Benin to Bolivia. Isabella Sanai speaks to Black and photographs him in his adoptive hometown of Berlin.

LUX: When did your interest in music begin?
Joe Isaac Black: My father is a fantastic blues guitar and harmonica player, his organic sounds permeated every moment in my childhood home. Some of my very earliest memories include positioning a small stool in front of a quite temperamental vinyl record player, stepping up and learning to balance coins for weighting on the tone-arm, and dropping the needle on a remarkably diverse collection of records. Hearing the dusty crackle of the needle in the groove, and sprinting to the sofa to perform an improvised dance routine in my underwear was where the lifelong musical love affair started. I suppose I am still reliving this moment to this day.

A restaurant with barstools and high tables and copper lamps hanging from the ceiling

Bazaar restaurant at Hotel Cervo Zermatt

LUX: You describe seeing music in 3D spaces/shapes – what does that mean?
JIB: I would describe it more as my ability to project myself into hypothetical sonic spaces, to really “hear” and “feel” what it might be like to be in a certain room with certain music or sounds. I can often slip into my own imagination, and have a very powerful and tangible gut feeling of what needs to fill these spaces.

a man pulling a record out of his bag

I essentially audition a few prospective musical ideas with quite a bit of clarity and specificity with this process, and usually end up manifesting versions of these ideas with clients in my music curation activities. In some regard, every artist has some parallel practice, however, mine is this well-honed sonic voyage.

A man with a moustache and black hair wearing a black jacket and white shirt

LUX: You mentioned you were first drawn as a child to the geometry of percussion. How did your affinity with rhythm evolve into music curation?
JIB: This can be understood in a bit more of a dry and scientific manner. I am a drummer, DJ, and dancer, all pastimes that at their best have an inherent coordination and swing to them. Symmetry, repetition, the quiet spaces in between … This rhythm is an essential human energy, a level or mood that affects every individual in a room whether they know it or not.

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The architecture, dimensions, and materials of a space reflect the sounds and music, and are factors in that basic rhythm. Curating music is an imperfect attempt to match that geometry with a beat that makes everything feel just its proper place.

A man sitting on a bench next to plants wearing a trench coat

LUX: What do you think makes a DJ successful?
JIB: The right song at the right time is the most powerful tool in the universe. Knowledgeable channeling of shared moods meaning more right songs at the right time helps with the success. I sound like a grumpy gate-keeper, but a deep understanding of music genres, strains, traditions, and histories allows one to make those choices. Also, personality, character, and presence sell the songs, but in the end, it’s elemental synchronicities lining up that make a DJ magic and thus memorable and hopefully building momentum to a crude definition of success.

A factory with pipes

Along the Rummelsburger Bucht, a few minutes walk from Black’s first studio

LUX: Do you feel your music taste is influenced by your surroundings?
JIB: Absolutely. I am a compulsive integrator, imitator, absorbing everything around me and consciously or subconsciously mixing this up with all of my older instincts.

A man wearing a white shirt, jeans and a denim jacket over his shoulders standing by a willow tree

LUX: You mentioned your involvement with Allah Las. What do you think of this rebirth we’re seeing of psychedelic rock?
JIB: I was close with them from their infancy as a band as we were colleagues at the record store. The boys are just sweet and genuine west coast surfer golden children. Rock and psychedelic are slippery words these days. Kids are becoming more genuinely open-minded, factually-driven, and informed about altered states and beneficial psychedelic experiences, and thus they really need the right soundtrack. Set and setting. The bold experimentation and indelicate purity of 60s rock psychedelia and guitar music must be very very appealing to kids coming of age in an era of digital overload.

A man wearing a blue jumper and jeans standing with his hands in his pockets

LUX: Are there any new projects on the horizon?
JIB: I am dedicated to launching my agency, Wild Mountain Honey, a unique address for sourcing and building immersive music experiences and collaborations for the finest luxury hotels, restaurants, and unique clients world-wide. It’s really an exciting culmination of my music curation and event-building activities, a highly-refined expression of all of my network and skills, a chance to work with incredible talent from live music, to DJs, to culinary stars, and create unforgettable magic moments.

Read more: Henry Lohmeyer on the impact of words and photography

My work with my home base, True Blue Music Berlin continues to provide thrilling soundtrack, sound-design, and studio production undertakings…and as the germans would say, I am a ‘Rampensau’, a shameless slave to the stage, so my live band Tegel Boys will release new music and tour, while my true love, my endless DJ voyage continues as Hazy Pockets.

A man wearing a denim jacket looking up at the sun

LUX: What advice would you give to young creatives?
JIB: Own your talents and flaws, and refine and shape those into a form that is irresistible to your patrons and clients and still fulfilling. Unhitch the trailer of ‘giving a f*ck’ what peers, competitors, or critics think of you and your work. Repeat it. The show must go on!

Find out more:

www.wild-mountain-honey.org

www.instagram.com/hazypockets

Photography: @sheherazade_photography

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