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ALICE.D ISSUE 4

PLUXURY

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“THAT’S WHE KNOW YOU H FOUND SOM SPECIAL. WH CAN JUST SH FUCK UP FO AND COMFO SHARE SILE - Mia Wallace 6

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EN YOU HAVE MEBODY HEN YOU HUT THE OR A MINUTE ORTABLY ENCE.” ALICE.D

BAKER BOY

photographer sam wong stylist kristie klein hair + makeup xeneb allen assistant niall allen

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JACKET BY GESTUV FROM THE WOODEN HANGER

PLUXURY Photographer: Marie Lourier Model and Stylist: Salavat Kypere

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OVERCOAT: ROMA UVAROV DESIGN, SHOES: ZARA, EYEWEAR: LESPECS, HEADCLOTH: VINTAGE

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A SERIES OF MAN PHOTOS 44

Photographer Laura Biziou

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This series was shot over the course of last year, in many locations including Berlin, Baltimore, IJmuiden, Amsterdam and Reno. All shot on black and white film and processed by hand, they reflect a stillness, a silence borne of the absence of humans, animals, often the images are devoid of anything alive. Yet the subject matter is always the result of human activity, industrial or commercial structures. Often, they are traits of an industrial past, or indeed an industrial or commercial present that most of us don’t spend much time thinking about, beyond our own narrow personal interaction with it. Abandoned or unloved places are a consistent theme. We are reluctant to engage with the manner in which manufacturing is conducted, or the workings of the infrastructure we rely on and generally take for granted. Or indeed of the workings of our society, of our economy. I often seek out industrial areas, partly because I love the aesthetic of the industrial landscape, partly because it is interesting to see the relationship industrial zones bear to the rest of a city. The stillness of these mostly deserted areas is unnerving when you’re used to cities, an uncomfortable silence. An abandoned Baltimore industrial building gives no indication of what it was, or why it’s boarded up. A bunker in Schoneberg, Berlin, has housing built around it, as though whoever built the housing is wilfully trying to ignore the existence of the massive WWII-era concrete structure, which remains because it is too robust to demolish. For the photos taken in more populated areas, the structures are decontextualised, the focus is on the form, as opposed to the function. Images of casinos in Reno yield no indication the buildings are filled with people. The structures featured loom over the viewer in an imposing manner. Some of them are relics of a bygone age, crumbling with the weight of a story they cannot tell except in the broadest way. Others are presented as something like that, silent and still, perhaps a glimpse of what’s to come when they, too, are abandoned, relics of another era, of history few concern themselves with. ALICE.D

TORA

16.01 Interviewer: Ryan James Interviewee: Jo Loewenthal /Â Tora

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I’m Ryan James from Alice.D Magazine and I’m sitting down for a moment with Jo from Tora. Thanks so much for your time man. Just wanted to say a huge congratulations on the success of your second album Can’t Buy The Mood. Are you loving the response you’re getting from the industry and your fans? Yeah, it’s been overwhelming at times but we are super pleased with how the album is received. Not only in Australia but Globally as well, we have had pretty amazing result looking over Spotify, Apple Music and Instagram stats and seeing that we are starting to reach people in places we weren’t expecting. Can’t Buy The Mood has been on repeat in my household since it was released in August and Deviate being one of my favourite songs of 2019. What is the song about?

Deviate is basically a reminder to humanity to not forget or lose what’s important. In moving into this world of misinformation and everybody is getting into their own worlds online it’s becoming easier to manipulate society, so it’s about being aware of that and making sure we use technology to take things into a positive space. And you’re releasing a deluxe version of Can’t Buy The Mood on the 24th of January. What was the inspiration for wanting to release a deluxe version? Well we know that our music took some time to feed out to the world in the past, it’s always been 6 to 12 months after the release of body of work to see the real impact. With this album we wanted to wait a bit longer before we went on the world tour and so we thought it would be a great idea to revamp this extended version of the album, so everyone has had time to absorb the music and really get it. The deluxe album is an extended album of what we have already done. The crayon remix of paramount is a real sick summer tune. How did the collaboration with Crayon come about? Crayon has been a mate of mine for a few years now. I met him in Paris when he come to one of our shows, we were chatting and we become mates immediately. Whenever I’m in Paris or he’s in Amsterdam we try and get together and jam. I was in Paris earlier this year in his studio listening to some music and sharing our ideas before the album was released and he said he loved paramount and that he really wanted to remix it. So I sent him the track and that’s what he did. ALICE.D

DESIGNER JAKE

DESIGNER KURT

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DESIGNER YUKI

DESIGNER KIM

DESIGNER KURT ALICE.D

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KYRAN X KLEIN 06.11

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