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T H E A R T I FA C T Anytime on snow is a chance to get a clip. From backyard jibs, to sidehits to the burliest rail in town, there’s an undeniable push to get the shot. The team favorite Artifact is built for exactly that. Whether it’s Ozzy Henning front boarding a big drop in Japan or Jeff Hopkins lapping the Brighton park, the positive cambered Artifact locks in on rails and has enough snap to ride away from deep landings. First tries, epic battles and everything in-between, nothing beats getting clipped up.

Photo: Pat Fenelon






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It isn’t too hard to find a whole lot of people that will tell you exac tly how to do “x” and how to be successful. Sometimes though adhering to such advice can mean surrendering your s e n s e o f s e l f. I t ’s a d i l e m m a f o r t h e m o d e r n a g e; h o w m u c h a r e y o u w i l l i n g t o g i v e u p t o get ahead? This issue comes to you f illed with people who decided to f ind their joy by forging their path on their terms; regardless of if that happens behind a Mac Book, a video camera, or the wheel a camper van. Nick Russell is one o f t h e m o s t j o y o u s p e o p l e w e k n o w. W h e t h e r it is solo riding adventures through the rarely documented mountains of Mexico or merely s tanding in the spray of a plow as seen here, his smile is both constant and infec tious. Nick has learned the ar t of joy on his terms. Smile. B e g r a t e f u l . H a v e f u n . B e l i ke N i c k R u s s e l l .

- Arkade

Location: Camera:

Andrew Miller Ta h o e

C a n o n EOS 1D -X


Photog rapher:

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7 - 8 :


9 - 10 :

Opening Act Ta b l e o f C o n t e n t s

13 - 14 :

Cover Story

15 - 16 :


17 - 18 :


19 :

Graphic Story

21 :

P r o d u c t To s s

23 - 28 :

Holden Retrospect

33 - 39 :

Cosa Nostra Photo Essay

41 - 4 4 :

Artist Profile

45 - 48 :

Musician Profile

49 - 54 :

Photographer Profile

57 - 63 :


65 - 66 :

Heavy Metal Shop

67 :

Sound Check

69 :


71 - 72 :

End Credits

Skater: Location: Photog rapher: Camera:

Erik Anthony

Salt Lake Cit y Paul Bundy

Nikon D810

Cheers to Skateboarding

Skateboarding is in the Olympic s, but never forget the real meaning of skateboarding isn’t in number crunching and decimal point algorithms that declare “ w i n n e r s .” T h e r e a l m e a n i n g i s r i g h t h e r e o n t h i s p a g e . H a v e f u n , d o i t y o u r w a y, d r i n k b e e r, m a y b e b r e a k a f e w m i n o r l a w s . L e t t h e s q u a r e s w o r r y a b o u t t h e i r “r o u t i n e ” and gold medals; we will jus t be over here living life with smiles on our faces. -Daniel Cochrane

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Andrew Miller

Wo r d s :

Jake Malenick


A f t e r t w o s t r a i g h t w e e k s o f s n o w, t h e s k y o p e n e d u p o v e r R e v e l s t o ke , B C . W i t h s u n l i g h t s p a r k l i n g o f f t h e s u r f a c e o f t h e u n t o u c h e d p o w d e r, t h e A b s i n t h e c r e w, c o n s i s t i n g o f B l a i r H a b e n i c h t (p i c t u r e d) , J a s o n R o b i n s o n , A u s t e n S w e e t i n , B o d e M e r r i l l , Wo l l e N y v e l t , f i l m e r s J u s t i n H o s t y n e k a n d S h a n e C h a r l e b o i s , a n d p h o t o g r a p h e r s O i l G a g n o n a n d A n d r e w M i l l e r, s e t o u t t o m a ke t h e m o s t o f t h e i r d a y i n E a g l e P a s s a n d e n d e d up coming back with one of the mos t jaw- dropping cover photos we’ve had the privilege of printing. This photo is the epitome of capturing a unique, spontaneous moment. Being a bonus session af ter some serious time was s p e n t o n a p r e - b u i l t k i c ke r, t h e m o o d w a s a l r e a d y h i g h a n d o p e n f o r w h a t e v e r m i g h t h a p p e n . W h e n a s ke d h o w m u c h t i m e and planning went into the shot, expec ting to hear of the trials and tribulations that one would expec t to go into a photo of s u c h e p i c p r o p o r t i o n s d e e p i n t h e b a c kc o u n t r y, M i l l e r s i m p l y responded, “None” before adding, “Mos t of our crew had never been to this zone and this was shot at the las t hour of daylight c r e a t i n g s o m e e p i c s h a d o w s .” W i t h n o n e e d t o p l a n , i t o n l y m a ke s s e n s e t h a t i t a l s o t o o k a m e r e o n e t r y. “ B l a i r s e s s i o n e d t h i s p e r f e c t n a t u r a l k i c ke r m a y b e f i v e t i m e s ,” m e n t i o n s M i l l e r. “ H e s t a r t e d o f f w i t h t h i s m e t h o d a n d w e n t o n f r o m t h e r e .” We k n e w t h i s s h o t w o u l d b e p e r f e c t f o r o u r s p r e a d c o v e r, b u t M i l l e r ’s c o m m e n t o n h o w h e c a p t u r e d t h e p h o t o p e r f e c t l y explained why we loved it; “I was shooting t wo c ameras, one hand held and one remote to get t wo totally dif ferent looking shot s, one tight and one wide. I love to shoot wide compositions where the rider is small and the landscape is power ful and really gives a good perspec tive on what they are riding. This day there was some amazing light and clouds and a rad featured landscape that made it per fec t to really create some layers and depth to t h i s i m a g e .” W i t h o u t p l a n n i n g a n d t h e n e e d f o r o n l y o n e t r y, i t m i g h t h a v e sounded easy for anyone with a c amera to c apture this photo on a passing, end- of-the - day session with friends, but the fac t of the mat ter is that what you see before can only happen when t a l e n t s o f t h e h i g h e s t c a l i b e r, b o t h b e h i n d a n d i n f r o n t o f t h e lens, are combined.

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Wo r d s :

Mark Seguin

Your favorite snowboarder is standing on top of a mountain, ready to drop in for a couple of thousand ver tical feet of untouched, pristine powder. That scene, followed by some stellar turns, is usually the one that ends up as the shot in some of our favorite snowboarding films. Hit rewind a bit, and there’s a lot of work that goes into get ting to that moment. Whether we’re talking about Nicolas Muller on a heli ride to the top of a peak in B.C., Jeremy Jones split ting his way up the Himalayas, or one of the hundreds of split boarders in the Wasatch ever y week, there is a common denominator: avalanche education is a must. Here in Utah, we are tremendously for tunate to have the Utah Avalanche Center at the hear t of avalanche education. Many will be surprised to learn that from 1980 to 1990 what eventually became the UAC was par t of the Forest Ser vice. In order to raise the necessar y funds to operate the center, a non-profit por tion was formed. Although there were some name changes along the way, it moved for ward as the Utah Avalanche Center and Friends of the Utah Avalanche Center. Fast for ward to 2017 and the center exists as a par tnership bet ween the Forest Ser vice, and the non-profit and is now known as the Utah Avalanche Center or UAC. As Mark Staples, Direc tor of UAC, puts it “This par tnership allows us to leverage the best qualities of both a government agency and a nonprofit.” Mark continues, “We have incredible suppor t from the Forest Ser vice, Utah State Parks, Depar tment of Public Safet y, and Salt Lake Count y. Of course the non-profit does an amazing job. It just hired a new Executive Direc tor, and it is doing more than ever regarding education; creating videos and programs that reach people across the world, and helping us save lives.”

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Trent Meisenheimer is a forecaster at UAC. On top of forecasting, he has been vital in producing many of their educational videos. If you’ve seen the Know Before You Go (KBYG) videos, or been to one of those presentations, you’ve seen examples of how Trent and UAC have been able to spread the word to people who other wise might not have any avalanche awareness at all. In the more recent KBYG videos, Travis Rice has even been featured sharing the impor tance of avalanche education and his experiences. One such lesson is when Travis was caught in the Four th Phase avalanche; he reached out to UAC to ask if they could collaborate to create an educational oppor tunit y from the close call. That kind of backing has helped give Know Before You Go it ’s own brand which is the gateway to more advanced avalanche education. These videos, combined with the increasingly limitless boundaries of social media plat forms, have exposed people who t ypically wouldn’t seek out avalanche education.


The men and women who make this whole thing work are truly unique individuals. They have found a way to harness their passion for the outdoors and focus it in a way that benefits the entire winter recreation communit y. Discussing what it is like working in a physically demanding and potentially mor tally dangerous job, Staples expresses, “We save lives and that's incredibly rewarding. It's hard to measure those success when ever yone comes home. It's much easier to measure the number of accidents.” He continues, “The good news is that the number of fatalities has been flat despite tremendous grow th in the backcountr y. More and more people are flocking to the backcountr y yet the number dying is staying the same (and maybe slightly decreasing) - this tells us that the rate of deaths is going down. What we're most excited about is that for the first time in 26 years, no one died in an avalanche in Utah despite a huge snow year. There may be a bit of luck in this statistic, but no one lost a brother, father, mother, sister, etc. That's wor th celebrating.” That is a huge win for the entire snow loving communit y locally and beyond. For all that this incredible organization does to keep us safe, the UAC asks for surprisingly ver y lit tle in return. On what the public can do to suppor t UAC, Mark states, “The easiest way is to go to our website and click the ‘DONATE’ but ton. We also hold a major fundraising event ever y September and appreciate ever yone that shows up for that.” While you might think that you have nothing to contribute since you dropped all your dough on that new split setup, you are incorrec t. Staples continues, “Another key thing the public can do is to submit obser vations. We have an obser vation form on our website (it's straight for ward if you are on the mobile version of our website). You don't have to be an avalanche exper t. Just tell us what you saw in the backcountr y. Any avalanches? How much new snow? Any wind? Take a pic ture, write a shor t note, and send it to us.” While so much has changed from the time of relying on landline phones and paper for the sharing of avalanche forecasts and obser vations, to the current wealth of life saving data only a few taps away on your smar tphone, the constant is, and always will be, that the Utah Avalanche Center has one goal: Keeping you on top.

Subjec t:

Jim Harris

Tr e n t M e i s e n h e i m e r


Photog rapher:

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Cole Navin

Wo r d s :

Daniel Cochrane

2010 / It’s late in the snow season and, through a mud-soaked middle school field, Ashbury intern Jon Stark is pulling his first bungee. Louif Paradis and Johnny Miller both labor next to him helping with the endeavor as Mikey Leblanc waits at the other end for the trio to cross the distance and hand over the bungee. The janitor on duty is starting to become an issue, and Mikey is getting antsy. Louif says a few calming words and Mikey propels himself towards the defining moment in Videograss’ Bon Voyage; a 44-stair double set to flat. Mikey stomps it and Stark runs down the stairs joining the crowd of elated riders congratulating Mikey. Being part of this camaraderie is what Stark has been searching for, and he knows what he must do; the next day he quits Ashbury.


2017 / Jon Stark sits at a small table at Publik Roasters in Salt Lake’s 9th and 9th district. He’s already at least one cup deep when I arrive a fashionable 15 minutes late. I’ve been working overnights and I’m running on about 4 hours of sleep in the last 48. I’m in zombie mode. Stark, on the other hand, has just come back from a European trip with Cole Navin and Spencer Schubert. He’s finished his edit at his PDX home, hit SLC for a few days (his second home), and is heading out this very night to Italy to start filming a project with Bode Merrill. He is wideawake, alert, and smiling. I need to up my game. We begin talking snowboarding in general touching on what’s going on, who is doing what, films, etc. It’s important to note that the conversation never drifts into the negative or mundane aspects of the industry, and to be honest I’m not sure if it ever would when talking with Stark. More than anyone I’ve met in recent years Jon Stark is so 100% stoked on what he is doing. It’s a rare thing for someone to be a decade deep in this industry and still maintain that level of happiness. It’s probably because Jon’s journey through snowboarding was never as clear-cut as a lot of others, and for that reason, he has never taken it for granted. Stark took up snowboarding young after being introduced to the sport by his older cousin who discovered it on a Tahoe vacation. He would go to his local hill as much as possible, his mom faithfully holding it down in the lodge as he ripped the one-time garbage dump that is now known as Pine Knob. Somewhere along the way however that focus on snowboarding changed. “I kind of lost myself in High School,” he explains. "I went all in for team sports. Looking back on it now I see it was an odd thing to do. When so many kids are looking to break out, I was looking to fit in. I’m not sure if it was peer pressure or just where I was as a person I just thought being a sports guy and all of that was the way to go, and so that's the way I went.” Admittedly it’s a weird detour and a story rarely heard, but for Stark, it may have proven pivotal to his long-term success. After high school, he moved out to Colorado and lived the typical snow bum life. He worked odd jobs including being a lifty at Breck, and he instantly fell in love with snowboarding all over again. It was during this period that he started to embrace all of what snowboarding had to offer; watching every edit, studying the magazines, and even daring to think about filming an edit. That is until he received a 12-day hospital stay and a lacerated kidney courtesy of getting broke off on day one of filming. That turn of events led to Stark blindly reaching out to Ashbury about an intern position, which as noted earlier, came to fruition. 2010 / Stark settles in LA as an Ashbury intern and becomes a Bear regular meeting all the locals; shooting them on a portable handy-cam, making what he considered to be horrific edits. Near the end of the season, he and the Ashbury crew are in Bear for the second Ashbury demo day. It’s the Sunday after the event and while at the Skatepark they catch wind of an epic session going down involving Mikey. The crew rolls down to the middle school to support Mikey, and we all know the result. The team rolls back to the hotel where VG mastermind Justin Meyer edits the shots and celebrations ensue. “It was just this moment where all of my favorite snowboarders were there; all the Ashbury guys were there, it's just this craziness, and we are all celebrating. We go to the bar, and we party all night. Mikey covers the tab for everyone, and it was that night where I thought this is it. This is what I want to do, I want to make snowboard videos, and literally the next day I quit Ashbury to go back to Boulder and enroll in film classes.” Stark used the tuition money earmarked for his second semester to go to Minnesota and film the first “Working For The City” movie, living in Jonas’ closet affectionately dubbed “The Blue Lagoon.” Although he says he was flying by the seat of his pants, and learning on the fly, Stark successfully made two Working For The City movies, and from there he was off. Since that time he has been a part of summers at High Cascade, Colt Morgan’s DAE, The Capita movie, his own Rendered Useless, VG’s Half Off, various Real Snows, and this year's Snowboarder film; The Pepper Video which was his first chance to head a major release. 2017 / Jon Stark is at the world premiere of The Pepper Video in Salt Lake on a chilly October evening. The venue is sold out (actually it's oversold but hey who is splitting hairs) as SLC’s snowboarding faithful have come to see many of their local favorites on screen. In the crowd is Mikey Leblanc and through the course of the evening, the two find each other. For Stark, it's a profound moment as he shares with Mikey that everything he has accomplished in the past few years began on that spring day on a muddy schoolyard with a 44 stair double set. It's a series of events that have come full circle, and on this evening all of snowboarding is the better for it.

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Wo r d s :

Jake Malenick / Gray Thompson

O ur loyal readers might be surprised that we picked a brand with

arguably the most clean and simplistic graphics in the industry for this issue’s Graphic Story, but it’s the mission and ideals behind such aesthetics that proved that United Shapes was really onto something.


Every year in snowboarding, and in our consumerist society for that matter, products hit the shelves that are practically out of date before they can be sold. A slew of photos and footage go bad simply because you can see the base on a one season old board. US built a fix into their very design and brand ethos to create timeless products by simplifying the base graphics and focusing on the shapes and rider feel of each board, with a main goal to create “goods that could be ‘in season’ every season.” “First and foremost, it’s always been about the shape,” says Gray Thompson, one of the founders of US along with Steven Kimura and Peter Sieper. “From there, we develop a graphical concept that will work across our entire line, uniting all the shapes; instead of a graphic story for each model. Taking a step back and seeing the entire line come together with a cohesive look and vibe helps keep our story tight. Each season the graphic story is concept driven, whether that’s a certain tone of colors, environment, or message; we aim for a deeper meaning or aesthetic that never clouds the beauty of clean lines and simplicity.” Followers of United Shapes undoubtedly noticed that their graphics this season are the most colorful and probably busiest to date, to which Gray would beautifully respond, “We love to shake things up and play with different concepts, so developing this season’s graphic story was a lot of fun for us. Personally, I love colors. They invoke emotion and catch your eye. We wanted to approach psychedelia in our own way; how could we employ this oversaturated, busy look in a minimal, modern way that spoke to our vibe? Steve and Peter have a long time friend, Andy Gilmore, who’s a talented artist with a huge catalog of work that felt destined to live on a snowboard. A few mock-ups later we found a story that felt good, and pushed us past our boundaries just enough to keep things fresh. We are always moving and adapting as a brand. Each season provides an opportunity for new ideas and meanings to come to life. We keep an open mind to potential directions we may go, we trust the process and know that there is power in mystery and keeping people on their toes.” With more rider’s and dealer’s catching wind of US’s ethos each season, it’s no wonder the brand continues to grow and expand not only their line, but also their minds and aspirations for the whole of snowboarding. “We design our products to perform uniquely,” Gray mentions in summation. “We aren’t just throwing some funky shape on a traditional board, we focus heavily on producing boards that perform like no other. Riders are in tune with this and are eager to get on our boards, which in turn strengthens the relationships with our amazing dealers who took a chance on us, have our back, and trust our process and ideas. It has been a full circle experience, and we are excited to keep that circle spinning.”

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Rider: Tristan Sadler Photo: Bryden Bowley

251 W 12th St, Ogden, UT 84404



The latest chapter in the ongoing saga of The Photo Collec tive Studios comes in the form of a new location with an amazing amount of Salt Lake heritage. The building currently known as Clubhouse SLC was originally the home of the SLC Ladies Literar y Club until they graciously donated their clubhouse to the Utah Heritage Foundation in 2013. Photo Collec tive co-owners Jessie Jude Gilmore and Dave Brewer made the space their home in 2016 and are commit ted to maintaining its legacy of culture and learning while adding their own mix of events, ar t galleries, and studio space where the following photo was shot. Thanks a million to Jessie and Dave for the space and for continuing to of fer the many creatives of Salt Lake a place to thrive. Captia Navigator 158cm - $440 ( Capita Big Block Travel Roller 125L - $220 ( Capita Roller Board Bag 166cm - $190 ( Union Atlas Bindings - $290 ( Bern Heist Brim - $139 ( Bern Eastwood Large - $129 ( Holden Cumulus Down Jacket - $249.99 (holdenouter


Holden Skinny Denim Pants - $249.99 (holdenouter







When splitting into the backcountry or riding back down, a bombproof connection plays a big role in both climbing and the descent. The Expedition FC combines the simplicity of our Union Split System with the performance you have come to expect from our high-end Forged Carbon bindings. INSTAGRAM:@UNIONBINDINGCO WEB:UNIONBINDINGCOMPANY.COM V O L U M E 1 2



Ph o t o s c o u r t e s y o f : Wo r d s :

Holden Outerwear

Daniel Cochrane

F ifteen years ago professional snowboarder Mikey Leblanc chartered a new course


when he partnered with designer Scott Zergebel to form Holden Outerwear. Mikey didn't just start a brand he started a movement. Sure in this day and age the proliferation of “street-style” mountain apparel is common, but in 2002 the genre was uniquely Holden’s. We’ve highlighted many in this issue who have chartered their path free from inhibitions and the constraints of “those who know better,” but no one can lay claim for altering the entire landscape of the industry like Holden.

2002 was an interesting time for snowboarding apparel. The bagginess and bright colors of 90’s inspired skate culture were still firmly entrenched in the snowboarding scene, but a few professionals that were (mostly) centered in the Salt Lake area began to buck the trend with tighter fits peppered with regular street clothing. These professionals like Matty Ryan, Jordan Mendenhall, Jon Kooley, and Justin Hebbel were the first ambassadors of Mikey’s new brand and the first to usher in the era of street styled, eco-friendly outerwear. (Side note Hebbel made some fantastic video parts and then left the scene. If you don't know who he is, please get your hands on Love/Hate or turn of the decade Tech-9 vids, yeah THAT Tech-9). What initially seemed to be a niche market soon exploded into the mainstream as countless other brands began to initiate their line of slimmer, street-oriented clothing. By the end of the decade, Holden found itself in competition with nearly everyone. However one would think that as a trailblazer Holden would reap the benefits of its forward-thinking, but that was not the case. There’s a cliché regarding hard work; blood, sweat, and tears. Unfortunately, it’s not cliché or untrue to write that all three were, at some point, part of the Holden story. Soured business relationships, missed shipping dates, customs debacles, team turn over; it seemed that at every turn there was a new hurdle for Holden to overcome. For the less determined it may have spelled disaster, but for Mikey, there were no alternatives. Now at year fifteen Holden is as steady as it has been in years. Its initial shipments of 17/18 have sold low in stores, and the future looks bright. Holden’s tagline is “For A Life Well Lived,” but that doesn't ever promise easy. Enclosed is a collection of photos spanning the decade and a half since Holden’s inception. Enjoy looking at snow apparel history.

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Po r t r a i t b y :

Paul Bundy

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Your favorite rider's favorite resort.

Bode Merrill in the Bone Zone | Photo by: Scotty Arnold Follow us on Instagram: @brightonresort



FILMING THE ARBOR MOVIE I n t r o b y D a n i e l C o c h r a n e / P h o t o s b y S e a n B l a c k & Ky l e r Vo s

T he making of a snowboarding film is an epic endeavor, especially from a major company or media outlet. Viewers in this day and age are continuously inundated with park footage, mini edits, and homie releases on a regular basis, so when a company, like Arbor, announces their intent to produce their first team movie you know they have to bring their A-Game. The result was the release of the much-anticipated two-year project Cosa Nostra, and while the final edit is, of course, the end goal it never tells the complete story. Enclosed are moments

captured that reveal the behind the scenes story of a two-year odyssey of hard work, camaraderie, sacrifice, and ultimate glory. From the ice-covered streets of Quebec to the far reaches of Japan’s north island and all other points east and west Arbor TM Sean Black and photographer Kyler Vos were there documenting the process. This photo album is their testament to the subtle moments that rarely make that coveted final edit; the shoveling of snow in the streets, the traversing of snowy ridges, and the down days traveling between the two; enjoy.

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34 ISSUE 1

Guch summit s Mount Doane in Yellows tone National Park on the las t filming trip of the season in late May 2017.

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Old Quebec as seen from the Saint Laurence River.

Kokusai resor t on the Nor th Island of Japan is a powder junkie’s paradise.

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Quick pit s top while heading nor th on Vancouver Island to a tiny, non-profit, communit y run resor t named Mount Cain.

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Marie taking of f on a frigid, mid-winter right on Vancouver Island.

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A snowboard really is Br yan’s paintbrush, with the mountain as his canvas. Once you see him work on his traditional ar t work, you realize the parallel he draws with his approach to snowboarding.

The firs t light of the day kisses the Grand Teton in Jackson, W Y.

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ava i l a b l e

on itunes

arbor snowboards team video


frank april on the westmark camber snowboard + hemlock bindings

p :

s a m m y

s p i t e r i

C O SA N O ST R A VI D EO s up p o rt e d by




Wo r d s :

Daniel Cochrane

Looking through the images from Andrew Fairclough’s Kindred Studios is an immediate transportation to long summers and family holidays spent at my grandparent’s home in rural Alabama. There, in the days before iPhones, video games, and more than a handful of television channels, I would lose myself in the abridged classics that my Aunt, just 16 years my senior, owned when she was a teenager. These books contained full-page illustrations, usually either monochromatic or with an extremely limited color palette. They featured distressed images and heavy dot print, kind of the analog version of “pixelated” for you young folks out there. It’s no surprise then to find that these types of illustrations are one of Andrew’s key inspirations. The Australian born resident of Venice, California who claims to be “too old to skate but too young to die” gravitated towards art and design after getting a business degree. Admittedly probably not the most direct course, but Andrew’s course nonetheless. As he entered the design world, it was skate and snow that offered him the opportunity to grow and hone his craft. It’s not an uncommon story. That world has always been accepting of young artists looking to make their mark. Andrew readily acknowledges how key that was for him. “I think snow/skate /surf culture embraces DIY art culture and tends to nurture young guys and girls who put their hand up and say, “Hey, I love to ride, and I want to make board graphics, catalogs, films or do product design.” That’s not to say employers in the scene aren’t picky, but they will definitely take eager graduates under their wing and allow them to grow into talented artists, designers, directors, film editors, etc. It’s that DIY, make it good, but not too good, attitude that helps the best players in the industry maintain their authentic edge.” Here, Andrew’s process of finding his style centered on a particular formula; “Influences + Time + Practice + Failure + Endless Experimentation. Rinse and repeat.” So mainly long hours and hard work; sorry kids there are no shortcuts. After successful runs within the previously mentioned industries, Andrew’s work has been sought after from musicians to significant corporations including Adidas, Jack Daniels, GQ, Rolling Stone, Nike, and Playboy just to name a few. He has also started to create and release design tools indicative of his style via his True Grit Texture Supply Company. As Andrew’s brand continues to grow it’s safe to say that the experimentation and hard work have definitely paid dividends. It seems that business degree is going to be utilized after all.

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Josh Scheuerman

Wo r d s :

Daniel Cochrane


As the sun lowered on a late fall evening in downtown Salt Lake City a small but growing crowd huddled for warmth outside The Depot. They gathered to see arguably one of the most important bands in the recent rebirth and revitalization of the psyche rock genre, The Black Angels. Hailing from indie music mecca Austin, Texas the fivepiece formed in 2004. Since that time they have toured as the backing band for Rocky Erikson, released albums that have charted in the top 50, and somewhere along the way even managed to find time to help found the all-important Austin Psyche Fest (now Levitation). This past summer they released their newest effort, Death Song, and hit the road for a round of U.S. tour dates. Known for the mind-altering visuals of their live shows this latest stop in Salt Lake did not fail to live up to the hype. As the band took the stage and launched into one of their newest singles “Currency” the stage turned into an ever-evolving collection of pulsating colors and patterns, those who are seizure prone take warning. As vocalist Alex Maas questioned, “How are they to spend us next? Do you want a stake in us?” the band answered by creating a masterpiece of emotional sonic landscapes buoyed by the ever-present pulsating rhythms of Stephanie Bailey’s thundering drums. The hour-plus set weaved its way through the band’s back catalog with all of their albums, from 2006’s debut, Passover, to the aforementioned newest album Death Song well represented. Throughout the set, members exchanged instruments to help recreate their studio works for the hungry audience who were scarcely afforded time for applause as the band flowed from one song to the next. With a precision that only comes from a decade-plus of honing their live presence, the group effortlessly wove musical highs and lows sometimes bringing the energy down to explode into the next number with full sonic force suddenly. Members of the audience could be seen mentally checking off their favorites including “Sniper At He Gates Of Heaven”, “Black Grease”, “Death March”, and “Comanche Moon” as colors and patterns bounced were reflected in their upward gazes. Finally, the twang of Jeff Garcia’s guitar announced the end of the evening with “Young Man Dead.” As Alex Maas' tambourine rattled he belted out the bands goodbye “Run for the hills, pick up your feet and let's go. We did our jobs, pick up speed now let's move. The trees can’t grow without the sun in their eyes. And we can’t live if we’re too afraid to die," and with that, the night concluded.

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K E A L AN Wo r d s :


Jake Malenick

Viewing the world through a photographer’s eye is a unique perspective. Viewing

the world through the raw, gritty lens of Kealan Shilling is an entirely different reality. The small, mundane moments suddenly become rich with meaning, while the wild, often regrettable times turn into moments to be missed; yearned for like the past days of youth. Kealan undoubtedly possesses the rare ability to capture his surroundings as only he can see them.


Growing up going through the family albums, Kealan was destined to get behind the lens. “I used to stare at my parents photo albums a lot as a kid,” he reminisces. “They both took beautiful analog photographs. I started picking up their cameras when I was in high school, and was always borrowing different friends cameras when I’d travel. I don't think I owned a camera of my own until I was almost 24.” Since those early days in Salem, MA where the lingering wiles of witchcraft began to influence his work, Kealan’s career has gone through many stages, morphing into the style and previously unpublished photos you see before you. “In the beginning it was just shooting friends and other snowboarders when we traveled. I never planned to do this for a living. Eventually I started selling some images to some of the mags and a few brands, and that kind of sparked the idea that I could potentially do it full on. Since then it’s been 100% in trying to work and progress. I still shoot snowboarding occasionally but it’s more out of passion with friends or cause a brand hits me up to go on a trip or something. These days I’m more focused on portraiture, creative fashion, or travel projects and the music scene in LA.” Much of his work has a strong sense of spontaneity. His best photos display a recurring theme of capturing moments; fleeting instances that many wouldn’t give a second thought. “Sometimes things just start happening that are way beyond what you would have tried to produce or come up with,” says Kealan. “That’s always the best.” No matter where his photos go next, what subject matter he focuses the lens on, we are sure to be anxiously watching as Kealan’s career continues to unfold, forever chasing those moments of purity that tell life’s complex story.


Canon Elan 7NE


K o d a k Tr i - x 4 0 0 B & W

C a n o n A1


Contax G2


Contax T2

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50 ISSUE 1

Early morning sur f check in the Van at Swamis. California Winter 2017

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Big Cot tonwood Canyon. Late Oc tober firs t snow. 2009

Nienke Lit, Somewhere out side Death Valley. December 2016

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Brendan Gerard on my couch at the Truckee house, 2011

52 ISSUE 1

Early Morning... Tahoe winter 2011

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Fif t y plus rolls of 35mm film and polaroids af ter spending 30 days on the road driving cross countr y through the south. July 2016

Ceremony at The Sinclair in Cambridge MA . 2014

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54 ISSUE 1

Eric Messier, Mt. Bachelor Oregon, March 2014

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Interview by Forest Shearer Photos by Andrew Miller


Intro by Daniel Cochrane


lthough the notion of the wandering adventurer has exis ted culturally for hundreds of years, it was Bruce B r o w n ’s s e m i n a l s u r f m o v i e, “ T h e E n d l e s s S u m m e r ” t h a t merged the idea with what would ultimately become “lifes t yle s p o r t s .” F l a s h f o r w a r d d e c a d e s l a t e r, a n d y o u c a n f i n d a s l e w o f “ v a n l i f e ” t h e m e d I n s t a g r a m f e e d s a n d w e b s i t e s . Ye a r s a h e a d o f t h e c u r v e, C a l i f o r n i a n a t i v e t u r n e d J a c k s o n l o c a l , A l e x Yo d e r h a s b e e n a d e v o t e e o f t h e l i f e s t y l e f o r a d e c a d e p l u s . We a s ke d f e l l o w a d v e n t u r e r a n d p a l F o r r e s t S h e a r e r t o pick the brain of his friend about adventuring, snowboarding, f i l m p r o j e c t s , f i n d i n g h i s p l a c e i n t h e i n d u s t r y, a n d t h e p o t e n t i a l u p s i d e t o a n e xc e l l e n t q u i n o a r e g i m e n . H o p o n b o a r d a s w e t a ke a g l i m p s e i n t o a d v e n t u r e w i t h A l e x Yo d e r.

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INTERVIEW 59 FS: Aloha, this is Forrest Shearer and Alex Yoder and we are doing a Yoder interview. Alex: This is a perfect time to chat; I’m just chopping a little cauliflower. FS: Cauliflower? Nice, What’s your favorite food? Alex: Probably soups and smoothies? FS: Does quinoa fall into the soups and smoothies category? Alex: No not really? But I do have some steaming here; it just needs a few more minutes. FS: Nice, I thought I’d bring that up because I know you are famous for your quinoa in the Drink Water community. Alex: Well you know how that came about? When I first started hanging out with those guys which was the first year of the Rat Race we’d be camping and everyone would be eating hot dogs or whatever; easy gas station type food. Well I’d be on my tailgate making some nice organic quinoa with veggies, avocado, the whole spread. Everyone would be done and they’d kind of make fun of me because I’d still be making dinner. So I started getting a lot of shit for eating quinoa. FS: Hey you never maybe that kind of influenced those guys to eat better. Maybe they make a little spin off from Drink Water called Eat Quinoa. Alex: Not a bad idea, it’s a bit less essential than drinking water but its still not a bad thought. FS: Well you know you need the water to make the quinoa so they kind of go hand in hand. Alex: At one point, I think it was someone on Instagram or an interview said I had inspired him or her to eat better, which is crazy.

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FS: Well there you have it. That’s a great thing to inspire in people. OK so let’s really start this thing. Where did you grow up? Alex: Well I grew up in Marin County California just north of San Francisco. Brother, sister, mom, dad pretty typical and we moved to Jackson, Wyoming in 2000. FS: I heard you grew up with Charles Post (co-founder of The Nature Project) in Marin, you guys knew each other when you were young. Is that correct? Alex: Yeah so when I moved to Jackson I was 11 and didn’t really have those super strong lifetime type friendships yet so I pretty much lost touch with everyone I knew. Then a few years ago Charles started dating a girl I knew and we crossed paths again and we found out that as adults we had become pretty compatible people and really started hanging out again after seventeen years of not seeing each other. FS: That’s pretty cool. Alex: It’s also trippy too to think about what kind of person could I have been if I remained in California. Charles and I have kind of talked about this. We came from a very well off area of Northern California where a lot of kids we knew have a lot of money and very little responsibilities. We talk about how many of them just kind of get into drugs and really just don't do anything you know. FS: Yeah for sure that is kind of the same as where I grew up in Southern California where people just get stuck in their ways and kind of end up on this bad path. Alex: Yeah it’s gnarly man; I feel like a “luckiest man alive” type thing to kind of escape that possibility. FS: So you end up in Jackson and you’re roughly the same age as Travis? Alex: He is six years older than me, so right as I was just starting to get into snowboarding was when he was really starting to make his mark in the industry via Absinthe videos and all of that. 60

FS: So for you he was more of someone to look up to than someone in your peer group? Like local legend kind of guy? Alex: Yeah, I mean Travis he is really the guy here you know and I think more than just to younger people I think even the older guys really look up to him and what he has been able to do. Here there is such a dialed scene you know; McMillon, Kingwell, Pitman, Gooch, and all those guys doing Bluebird and Illuminati stuff and then Travis is the young buck getting all this notoriety outside Jackson. FS: Right because before then that Jackson scene was really under the radar right? Alex: Yeah man totally. The guys in Jackson that came before those guys I mentioned were just those old-fashioned snow bum kind of guys that were ripping and could have been pro but were really more about riding every day and not worried about sponsors. They just want to huck into Corbet’s you know. FS: What’s the sickest thing you’ve hucked into Corbet’s? Alex: Haha … I think the sickest thing I’ve done into Corbet’s is jump over you. FS: What’s that other line called right next to Corbet’s? Alex: S&S I think is the one you are referring to. I ‘ve never hit that one. FS: Is that a goal? Alex: Well maybe, I dunno. It does line up better for goofy footers than regulars so I guess I got that going for me. It has this weird 90-degree redirect. It is kind of a novelty more than anything. I’m sure I’ll scratch it off one day. It’s one of those things like The Grand Teton or whatever that has this name and mystique but honestly it doesn't entice me as much as the countless bumps and stuff around the mountain that you can get insane air off of you know. FS: How many season passes have you stacked up at Jackson now?


Alex: I was just thinking about that the other day. I ‘ve been riding there since I was eleven and I’m 28 so seventeen.

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FS: Do you collect them? Do you have them all? Alex: Oh yeah, I have one from middle school where I have frosted tips so that’s pretty chill. FS: For sure chill vibes … so Jackson really set you up for riding crazy terrain, but let’s talk a minute about you leaving Jackson and living in your truck on the road. What was that motivation? Alex: I think it was more out of necessity. My parents split up when I was in my mid-teens and my mom moved back to California while my dad kind of bounced around so there wasn’t a strong home base for me in my late teens. I traveled for snowboarding and for enjoyment so I just got used to that transient lifestyle. Also rent is pretty expensive here and when you’re gone for long stretches it’s hard to justify that financially. So instead of rent for twelve months I figured I could just put a home on the back of the truck and be mobile you know. It’s pretty much been a camper or truck-bed for like seven years. Sometimes I’ll post up for a minute in an apartment, but yeah for the most part it’s been seven years of vagabond life. FS: So you’ve had a few campers, but I want to ask about this ride you picked up in Europe. What is that thing? Alex: Oh yeah, so that is a 1995 Volkswagen LT 4x4 Turbo Diesel. FS: And just to be clear that's a camper van.


Alex: Right, so obviously it is unavailable here in the U.S. It’s a larger version of the Vanagon/Westfalia that most people here are familiar with. It’s 25% larger so it has a bit more space. I got it off this German couple that bought it and then cut the whole back off and put a customized camping shell on it. So it’s a tiny New York apartment in there. It has a shower, toilet, 2-burner stove, fridge, water heater, two beds and a kitchen table. There’s even enough floor space to lay down a yoga mat. In my mind it's the Holy Grail of campers because in addition to being 4x4 with good gas mileage it is big enough to live in comfortably but you can still park it in a normal parking space. FS: To be able to minimalize enough to where you can get around efficiently and not have too much stuff. Alex: Yeah, and that has been the beautiful lesson of living out of a suitcase or a truck or whatever for the last however many years. Which is that you can’t really bring that much with you. Everything you bring is something you have to deal with which in turn interferes with your enjoyment of the traveling you know. It sort of makes you realize you travel with what you need not what you want and you don't really need that much to be happy. FS: In the words of Foster Huntington fellow traveler, van enthusiast, minimalist asks in his first book “what would you grab if your house was burning down” … What would you grab? Alex: Lucy the dog, external hard drive, and I guess a I have a few cameras that are sentimental and some journals. If I could get all of that out that would be great. FS: That is a pretty sparse list, and for those out there that don’t know lets introduce them to Lucy. Alex: Lucy is my dog and we had her DNA tested and she is 65% Australian Shepherd 27.5% Dalmatian and then the rest is just random. FS: I can always track you with #travelswithlucy to see what adventures she is getting into with you. Alex: Well, her mom Pepper was one of four family dogs growing up on the ranch. Typical stuff horses, dogs, and cats that sort of thing. Pepper had a litter and Lucy was one of those so I’ve had her since I was 14 years old. FS: You mentioned your cameras, are you still doing a good bit of photography and posting that to the blog? Alex: Well like any Millennial Hipster I like to shoot film, I just find it more fun and it looks better. It makes you take time when you have to set up a shot vs. just being able to fire off digital shots. FS: What do you like to shoot? Alex: Mainly nature stuff of course. I do like to shoot people but not action shots as much as just random pictures.

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FS: I like your shots you should shot and share more of them. Speaking of shots let’s talk about the movie projects you have been involved with recently. You did a feature titled “Foothills” in Turkey with a Wrkshrt a group out of Jackson. What was that about? Alex: The goal for us was to just go there and experience that culture. The subtitle was “The Unlinked Heritage Of Snowboarding”. These guys were riding snowboard-esque pieces of wood for transportation for hundreds of years. I don't think it directly inspired modern snowboarding because it really was in these isolated areas of the country but it’s cool because its this activity that unique to this small village. If you watch the piece it has a really crazy origin but in many ways it does parallel what we see as snowboarding. FS: So what is your newest project from Scotland? Alex: Well that one is called Right To Roam. So the Volkswagen is currently living in Europe because I cant bring it to the U.S. for a couple more years. I haven’t really explored Europe much and it’s interesting to me and Scotland was on the list. We kind of kept tabs on their winter and they were having a bad winter, bad as in no snow. We had the trip planned already so we went and hoped for the best and we got there and ended up having a little bit of snow and the mild winter gave us some sunny days which probably helped at that point. FS: So that's available on Vimeo and through Patagonia right?


Alex: Yeah, the cool thing about the trip was that it really isn’t about snowboarding. Snowboarding is just something we did on the trip. We utilized this law in Scotland called “The Right To Roam” which is a legal trespassing law. It is pretty much the exact opposite of our trespassing laws in the US. You can walk on anyone’s land for recreational and educational purposes. So we’d drive the camper and just head into the woods if we saw a good line. It was really cool idea for land access and the ideas of public land, which is a hot button topic in the U.S. at the moment. This trip accidentally offered us this cool story to tell that ties into our life in the United States.

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FS: Speaking of snowboarding you’ve been working with Gentem Stick for a few years talk about that. Alex: Yeah it is a totally different snowboarding culture and experience that exists in Japan. I wasn't really aware of it until I went there. At that point in my life I was really on this path that I thought I could thrive in which was the kind of stereotypical career of video parts every year, bigger/better that whole thing. I was really getting hurt; concussions, knee injuries and that were really making me question that path. I had a particular concussion that put me out for a couple of weeks and during that time I was really doing some thinking about that existence. So then I went to Japan with Drink Water for Pathology, and although we were having a good time overall I just got frustrated that we were in the amazing place and we were just dialed on “tricks” you know. Like on my own personal level why am I here in paradise but wasting my time being frustrated. I thought there had to be another way. The film trip ended, but I stuck around and headed to Niseko where Rip Zinger introduced me to Taro Tamai and the Gentem crew. Taro let me borrow some boards for the week, and unbeknownst to me Rip had hit Taro up about me joining the team and so that whole week they were kind of feeling me out. It just felt right to follow that path, and its been a great path ever since. FS: Speaking of style in riding and these little moments that change everything how would you compare free riding and contest riding stylistically. Like how do you acknowledge style in both of those mediums? Alex: Well I think in any athletic, for lack of a better term, pursuit the ultimate goal should be moving meditation. You’re doing something that takes so much focus that you cant also be thinking about what you need to get at the grocery store. Its authentic and real … wait … here’s where the concussions come in because I just lost my thought.


FS: Well where I was going was more about the different types of snowboarding from contests to filming parts to just big mountain pow lines. Like how do you or anyone find the beauty in that variety? Alex: Hitting a huge jump and doing a big spin is a great feeling. I love watching it and I loved doing it when I did it. It’s an amazing feat to master your body that way. It is total super hero stuff. I mean hitting a super pipe and going twenty feet out at top speed and moving your body in those ways is insane too. I think today however you are really starting to see people respond to stuff that is way more relatable. My whole youth the media was always about the gnarliest, biggest whatever. I think you reach a point where there is over saturation so anything deviating from the norm becomes attractive and that's why you see the shift you see today in snow media. FS: So what do you get out of snowboarding? Alex: Oh man that's a big question. Fresh air? For me it doesn't take much to be happy any more I just want it to be smooth. It doesn't matter if its crazy terrain I just want it to be without chatter. FS: So what’s next? Alex: No tickets booked yet but I think we got to get up and get some adventures. I think the van needs some more trips on her and I just have this bug to go out and adventure and bring back stories to share. FS: Where can people follow your adventures? Alex: I think the Instagram @yoderyoder is probably the best since I link everything through there. Most of my adventures are on Vimeo as well and as we mentioned Patagonia is hosting my latest two films from Turkey and Scotland. FS: Thank yous? Alex: I think the cool thing we have is that snowboarding in its raw form is a pretty small community and so I can’t thank everyone but I will say everyone I’ve ridden with has influenced me in some way. Obviously thanks to all the family, friends, and sponsors. I can honestly say I am PROUD to ride for the companies that I ride for, and that is a pretty big deal.

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p: Tim








Paul Bundy

Wo r d s :

Cory LLewelyn / Daniel Cochrane

Behind an unassuming single door covered in show posters, tucked into a small alley off of State Street in downtown Salt Lake City is iconic record store The Heavy Metal Shop. Shop owner Kevin Kirk founded the store thirty years ago as merely; CD Shop. After a couple of years of tweaking the stores brand and inventory (let's be honest no one wants to sell contemporary Jazz CD’s) it was redubbed with its now world-famous moniker.


Over the years, at various locations around the city, Kevin has maintained his devotion to heavy metal. A quick chat with him in store and he will let you know he believes (rightly in our opinion) that heavy metal started with Black Sabbath stating only “they were the first band to start playing heavy music.” Other bands from the era such Zeppelin, Rainbow, and Deep Purple get a nod from Kevin for their work as well, but its Sabbath’s heaviness and dark imagery that he believes define the genre. When metal music was in its heyday, it was not unusual for Kevin to host in-store musical appearances and autograph sessions from bands that came to town. These events were an oddity in the 80’s and 90’s for “Small Lake City,” and musical appearances usually ended up turning into municipal appearances as well when the cops would arrive to see what was going on with the crowds of manic metal faithful that were spilling into the streets. When asked about some of his favorite moments of those days Kevin recounts two specific appearances within the store. First was having Rob Halford, frontman of iconic metal band Judas Priest in the store for an intimate performance and autograph session. The second incident changed the direction of The Heavy Metal Shop forever. In the late 80’s Kevin arranged for Slayer to do an in-store during a tour stop in Salt Lake City. During the event, he gave lead singer Tom Araya a heavy metal shop t-shirt. Much to Kevin’s surprise and amazement, Tom decided to wear the shirt for a cover shot session of acclaimed metal mag Kerrang. Suddenly metalheads all over the world knew about Kevin’s shop, and ultimately it became a brand unto itself. As the world moved digital in the late 90’s and early 2000’s Kevin, set up a website for the store, and to this day it still features only shop merch. Sales of HMS merchandise eventually exceeded the sales of actual music within the shop. His most recent logo design comes from his son Joey, a well-loved artist, skateboarder and adventurer who tragically passed away only a few weeks ago. It is a fitting and everlasting tribute to Joey and the shop. As trends continued towards digital, it was Kevin's stroke of luck and foresight that kept the shop going. Nowadays, with streaming services and the ease of pirating it’s that long-standing brand that keeps Kevin’s shop afloat. However, the recent resurgence of vinyl has helped the store regain some of its momenta. Nowadays the in-stores are a little more toned down, but that doesn't mean the shop has lost its edge. In SLC owning a Heavy Metal Shop tee is about as close to a requirement as it gets to be considered an SLC “local,” even if you aren’t a typical metalhead. Get yours from Kevin at 63 Exchange place.

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CHECK WITH D I A B O L I C A L R E C O R D S [ @ d i a b o l i c a l s l c] 2 3 8 S E D I S O N S T, S L C , U T 8 4111




The Tissues

Human Leather

Kelly Lee Owens



Lazy Karaoke


2 0 17


Cercle Social Records

Smalltown Supersound Records

Angus Andrew goes solo for this album, TFCF, which stands for “Theme From Crying Fountain”, which is about the end of his band mate relationship with Aaron Hemphill. There is a certain amount of loneliness and isolation that emanates from the album as a whole. The album plays like a single long song rolling between highs and lows, varying in speed and notes, as a story told packed with isolated emptiness and moments of intense action. Electronic experimental sounds are at it’s core while still having rhythmic pop vocals and lyrics that keep your interest and are close to danceable.

Kristine Nevrose (vocals), Jerry Narrows (guitar), Bianca Ayala (bass) and Colette Arenas (drums) put together this fast-paced, art post-punk album from Los Angeles. Theatrical, poetic and straight up punk, this album has an authenticity and energy you can feel. Los Angeles has been known for its psych music for quite some time, making this album especially exciting and vital for the west coast regarding sound and style.

We are officially in another golden age of new wave music. It’s a glorious and splendid time to be sad, so you can fully appreciate how great these new bands are. One of the most exciting groups started off by two friends sharing ideas they couldn’t use in their other projects and come together to put out a stunning debut. Admittedly Adam Klopp and Chaz Costello are dear friends of ours, and play in our shop quite often, but believe me when I say that there is no nepotism at play here, this album is INCREDIBLE.

I don’t know if an album hit me as hard as Kelly Lee Owens debut album did in 2017. Sitting at a record shop listening to music all day, sometimes the music just drifts into the background as you work. This album does not allow such passive listening. The mix of dream-pop, techno and ambient music is breathtaking even before she starts singing, then her vocals kick in, and you’re in a trance.

“Starting at Zero” has a deep continuous pulsing bass. The beat is good but slow, drawing you in slowly with its repetitiveness. “No Tree, No Branches” is musically off, which is what makes it so interesting and reinvigorating. It is fast paced, upbeat, and dark, and makes sense considering the album was conceived while Andrew was in Australia alone. “Cred Woes” is the most upbeat the album gets and is a little tongue in cheek, hence the sound. “Ripe Ripe Rot” is so sparse and beautiful; it speaks to the heartbreak that comes with having to change. TFCF is worth checking out if you are looking for a catchy album that also touches a chord. It may take a few listens to make sense of it, as it’s electronic and folk combination moments do not sound natural together at first. The melding of genres is done well and deserves to be heard.

“Red Light” has screaming vocals and a moving rhythm that grabs your attention unapologetically. “Your Own Crime” continues with in your face lyrics, a powerful approach to such an important issue. Morning Light” takes an airy, laid-back pace bringing a hopeful close to the album and is reminiscent of 90’s shoe gaze or alternative rock. Kristine’s vocals have an incredible intensity making it the star of the album, showing a range of style and skill. Colette drums energetically, and on point throughout the album. Jerry offers diverse riffs to each song, and Bianca brings an intrigue and depth that leaves you wanting more. An absolute must to see live, this album provides a much-needed punch to your day to take it from average to full of meaning and intent. The Tissues are worth keeping your eye on to see what comes next from this talented crew.

Adam has a few other projects, Choir Boy and most importantly Puck (holidaypuck.bandcamp. com). Chaz has been fronting Sculpture Club and Fossil Arms for years while shredding guitars with Baby Ghosts. Human Leather has the potential to outshine these other projects, but all are very deserving of spotlights. Lazy Karaoke is heartbreak fully realized. Both members’ vocals rip right into your soul, and you end up singing along trying, impossibly, to match note for note with their voices. I have favorite tracks but would more just recommend starting from track1, getting comfortable, and enjoying the next 30 minutes. Just let one of Salt Lake’s best albums of the last decade take control. - Adam Tye

- Alana Boscan

- Alana Boscan A R K A D E M A G A Z I N E . C O M

If there’s any way you get through the first three tracks without being fully absorbed, there’s no getting past Anxi. featuring Jenny Hval. It begins with a Kid A style intro but quickly shows the more techno elements with hypnotizing rhythms and subdued vocals. By the time she says, “this is the narrative of reality” your mind has fully expanded, your pupils have dilated and remember to stay hydrated. The bass kicks in heavy after that. A few minutes later, as the song fades, you’re met with beautiful strings that glide you into the next track. There’s no hope, give into KLO’s magic. If you’re a fan of Grimes, Boards of Canada or LCD Soundsystem I cannot recommend this album more. - Adam Tye

I N S TA H A M 69

ROW: 1. 2. 3. 4.

Holden Heavy Metal Shop Kindred Studio Kealan Shilling

@holden_outerwear @theheavymetalshop @kindred_studio @kealanshilling

A R K A D E M A G A Z I N E . C O M

IF YOU SMOKE, YOUR PET SMOKES. Long-nosed dogs have a 250% higher risk of nasal cancer. Quit now.

All featured tobacco products are computer-generated imagery.



Editor & Advertising Cory LLewelyn cor Editor & Photo Editor Paul Bundy Editor & Online Editor Daniel Cochrane Layout & Design Editor Jake Malenick


Contributing Photographers A n d r e w M i l l e r, J o s h S c h e u e r m a n , Cole Navin, Sean Black , Kyler Vos

Contributing Writers Mark Seguin, Jake Malenick, Cory LLewelyn, Forest Shearer Distribution Cooper LLewelyn, The Norm, Laramie Patrick

Proudly printed in S a l t L a ke C i t y, UT

Arkade Magazine 127 S 8 0 0 E S T E # 37 S LC , U T 8 410 2

w w f Tw i t t e r : @ a r k a d e m a g a z i n e Ins tagram: @arkademagazine

A R K A D E M A G A Z I N E . C O M

Location: Camera: Fi lm:

D e n g Te a r

Paul Bundy

Salt Lake Cit y Nikon FE2

Por tra 800

72 ISSUE 1

Skater: Photog rapher:

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December 2017  

Issue #12.2 - Alex Yoder, Kealan Shilling, The Black Angels, United Shapes, Cosa Nostra, Andrew Miller, Jon Stark, Mikey LeBlanc, Holden, Ut...

December 2017  

Issue #12.2 - Alex Yoder, Kealan Shilling, The Black Angels, United Shapes, Cosa Nostra, Andrew Miller, Jon Stark, Mikey LeBlanc, Holden, Ut...