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Flinging It with Fancy Lad
Fancy Lad is a skateboard collective who are making a big splash worldwide, but the only thing to take seriously is their stupidity. With roots deep in the dirty water of Boston, these guys take their vision of foolishness to the next level. Their full-length film ‘Is This Skateboarding’ is 52 minutes of creative insanity, and with collabs with the likes of Adult Swim, Fancy Lad is making the skateboard industry snap at the neck. Here’s what Nick Murray had to say about the team.
ho is Fancy Lad?
Fancy Lad is the cavity in the mouth of society on the tooth called ‘skateboarding’. It would never have manifested itself had the collective consciousness not indulged too much. Perhaps our videos are just a way of filling the void. It is a new self-defining genre that is more of a movement in skateboarding than a company. It offered a new ideology, that ‘there is no trick too stupid’. With this boundary broken down it opens up an infinite amount of doors to what can be done. Fuck the monotony of uniformity, we offer a one-of-a-kind unique experience. We on some next level shit! It kind of makes sense that no-comply variations seem to be a signature for Fancy Lad (since you guys don't comply to anything—except having fun). How do you guys stick out in comparison to other teams or movements in skateboarding?
Well, we are the only bunch of sick fucks that will stop at nothing to reach the very peaks of what is possible with a skateboard, no matter how absurd the outcome. As far as the no-comply related tricks, I myself am known for stepping onto the ground while sending my board on a wild ride; we call them ‘flings’. It is an approach to skateboarding that has not been explored too widely. An operation of pure chance of whether you are going to land and not being sure what will happen before you do. This is my manifestation of ‘abstract’ skateboarding. Who on the team has the most sponsors?
Eric is sponsored by Goya Beans, which is the top sponsor, but as far as quantity over quality, Abe takes the cake.
As a matter of fact he is sponsored by Entenmann’s, Skater Socks, Tracker Trucks, Cindy Lauper, extra-small Magnum condoms, Max Hesh Skateshop, Pornhub, Yahtzee, 50’s music, competitive figure skating, hugging, and of course Fancy Lad Skateboards.
Tony Hawk game?
You've been getting a lot of exposure on Thrasher/Skateline and Adult Swim. Is it time for Fancy Lad to move out of Boston and into a bigger pond?
Which skate team would Fancy Lad challenge to an apple bobbing contest?
No, if anything we are waiting for the day we fall victim to gentrification and have to move to a smaller pond, once our house of squalor gets torn down to build a luxury condominium in its place.
What projects are you guys excited about in the coming year?
Most of the team lives together, right? What is the first thing you see when you walk into the Fancy Lad house/asylum?
A big ol’ clown ready to give you a rub down, cat shit, boards as far as the eye can see and the ceiling falling onto the top of your head. Richie Jackson is to bell bottoms as Fancy Lad is to...?
Mismatched socks. Life is too short. If the team were to get matching Chinese character tattoos, what would you get?
The majority of Fancy Lad team members do not have tattoos, we like to keep a pure, undesicrated account of our bodies, aside from our scars. Although the Blair Witch symbol as a stick-and-poke has been catching on among the crew. Is Abe Dubin the reason that 'orange is the new black'?
Wearing orange is man’s last desperate attempt to say, ‘hey, look at me’ -Oscar Wilde I know you've mentioned this before, but explain again to a three year old how you guys almost ended up in the new
Well, if you are three years old, you shouldn’t be playing video games, let alone trying to dissect the inner working of the skate politics that lead someone to be immortalized by The Birdman himself.
Oh, we’ve got a lot of things coming up: staring at the wall, crying leaning against the wall, punching a hole in the wall while yelling incoherently, and a lot of other stuff too. I mean, where do we go from here? We’ve already made the greatest video of all time (’Is This Skateboarding’). Next stop, Fancy Lad global takeover! Board games, action figures, we’ll slap our name on any product as long as it is non-GMO. Come at me, potential sponsors! Any last words?
Protest against the rising tide of conformity! Buy Fancy Lad products!... Until people start to conform to us! Then buy something unsaturated!
Wearing orange is man’s last desperate attempt to say, ‘hey, look at me’
ey Mike, what’s the Growlery?
The Growlery is an artist residency program, a live/ work/show space in the Upper Haight district of San Francisco. It is located in a converted 1892 Victorian home nestled directly in the heart of the city. It is a place for culture and creativity, a safe and welcoming place dedicated to the creative lifestyle and spirit. Where did the name come from?
The founder of The Growlery, Jean Chadbourne, was hip to the word ‘growlery’. Apparently Charles Dickens coined the term and it is an indoor place of respite. It is similar to a library, den or smoking room. A retreat from the hustle and bustle, a place to be with one’s creative thoughts and to be guided by them.
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PH OTO G R A PH Y
How did you get involved?
I was fortunate enough to cross paths with Jean high up in the Sequoia Mountains near Skate Camp. She explained that she had this space and was looking to start an artist residency program. I was so excited I couldn’t believe my ears. I left SF in 2012 because of the skyrocketing cost of living there, and had helped launch and participated in residency programs in Paris, Vienna, Copenhagen and Illinois. It was amazing to get to return to SF and it turned out that I had been gathering the experience and training necessary for me to be qualified for this role. You’re quite critical about art. How do you decide on which artists you want to curate?
Jean and I are co-curators. She has her own tastes, which lean towards the conceptual and technological side of art.
Michael Kershnar tells us how he convinced a nice lady to open a skater-run artist residency in her house
For me it is about aesthetic truths. I like beauty and beautiful individuals. I like to show my heroes and help empower passionate emerging individuals who could really benefit from this place. Does being in San Fransisco play a specific role in how you do what you do?
SF is the perfect American city for me. Car-free living; I skate, bike or walk everywhere. We have a rich history of skateboarding, arts and music. This is the city where the Beat writers did their thing at City Lights Bookstore, the city where the Grateful Dead, Janis Joplin and Jefferson Airplane flourished, the city of Robert Crumb at his most freaked out. The city of Thrasher, Slap, Juxtapoz, Tommy G, Real, Anti-Hero, FTC, and The Mission School. I am extremely inspired by the cultural history of this city, and feel honored and blessed to play an active role in creating more culture here for the current scene and the next generation. Does what you show have to link to skateboarding?
I’ve been a skater for over thirty years so I can’t really separate my own being from the culture of skateboarding. Our first major show was a Thrasher Joe Brook retrospective with live music by Tommy Guerrero so that is pretty much as pure skate culture as it gets. However, the Growlery will have a great variety of shows here, and many will have nothing to do with skateboarding. But as an individual, all day every day I am culturally a skateboarder. Have you reached the stage where you’re saying ‘no’ to people?
It’s amazing: while we can not provide housing for everyone who applies, we BS
have been able to help and accommodate most people who are truly earnest on some level. We have ‘Wednesday Art Nights’, which is like a projectbased open house, and people start to become regulars and submit proposals to Jean. We have already had multiple pop-up shows and zine launches for artists in the neighborhood and housed international artists. We launched January 1, 2016 and I like to think we say yes to many more people than we say no to. Would you rather have fingers as long as your legs or legs as long as your fingers?
I would rather run as fast as a cheetah. How do you expect to survive as a culture institution now that San Fransisco is evicting everyone who doesn’t write code for a living?
What is unique about this place is that it is actually privately funded on money that came from tech. Jean is not trying to survive, like many galleries, on taking half of the artists’ sales. In fact she revolutionarily gives 100% of sales to the artists. One of Jean’s goals with The Growlery is to help connect the worlds of contemporary art and tech, to create dialogue, understanding and mutualism. You travelled extensively before you ran The Growlery. Has that changed?
When I was traveling the last few years I received tremendous hospitality and support from beautiful individuals around the globe. With The Growlery, this is a chance to shine that light back and create opportunities, culture and hospitality for others the next few years in my favorite American city. I am very grateful to be here.
Saul Williams is undeniably a teacher with much wisdom to share. A modern renaissance man harnessing his talents as a musician, poet and actor, he delivers substantial and engaging content to his fans worldwide. Along with a graphic novel that will soon be published, Williams is about to embark on a global tour for his album â€˜Martyr Loser Kingâ€™. He took the time between rehearsals to call and school us about everything from creating music for activists to having a dance party with Prince.
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A RT WO R K
Patrick (Paco) May
here is a lot going on in the world these days; what was the last thing that made you say ‘wow’?
The death of Tupac’s mother, Afeni Shakur. That kind of shook me, especially since it came so close after Prince’s death, which also had me in a state of ‘wow’ in terms of all the amazing voices that are moving ahead this year. It’s kind of crazy. Prince once said at an award show, ‘Like books and black lives, albums still matter’. Do you agree with that now that you have your new album ‘Martyr Loser King’?
I never bought into the fear when people go into momentary lapses and think stuff like ‘we only need to sell singles now’, or however that works based on the excitement in the market at any given time. Or 10 years ago, people thinking we all have to use the pay scale model online with streaming. But I find that with so much music available, there are also a lot more ears interested in an experience. And I think music, like design, is experiential. And so on one hand you can have music that fits into the pop format, the Macklemores and the Top 40s. But on the other hand, look at the rise of vinyl right now. That speaks directly to the fact that people are also interested in having an experience with an album, like a film or a novel. And to me, that’s always been part of the allure of an album: that it can have that same sort of experience like when you go to a movie theater and everything goes black and you sit facing one direction as light comes from the screen. Or as you curl up with a book, an album is always going to have that strength. And people who don’t experience that, it’s more like their own loss, or the artist’s loss, who doesn’t invest in being able to deliver that experience. It’s really a beautiful thing. I’ve never had a fear of it disappearing though, but it’s true that things of popularity go in cycles. Martîn Adan wrote in his book, The Cardboard House, ‘Is it sane to become lyrical when life turns ugly?’ What’s your take on this?
Lyricism in those regards is not an attempt to be lyrical. It is a way of seeing things. It’s a way of placing things, placing words, and arranging/aligning/expressing thoughts, ideas and the ideology behind them. My so-called lyricism is often punctuated by a lot of ‘fuck that’, and ‘motherfuckers’, and middle fingers, and the whole nine. But I think the goal of
lyricism, in my case at least, is to not only present ideas that people have like ‘speak truth to power’, but I’m looking at lyricism as coding. I’m looking for an algorithm. I’m looking to streamline ideas and be able to express them in ways that speak directly to the core and essence of something that we all already know and that we are already connected to. That allows us to go ‘fuck yeah!’ or ‘fuck this shit’. I’m trying to push buttons at times, and when things turn so ugly, that becomes crucial. It becomes urgent to be able to speak right to the core of something. To be able to shape words or ideas into lance-like bullets that punctures and punctuates a moment, that can inspire or incite something in someone. And allows them to flip that switch and go, ‘You know what? This is bullshit. What the fuck am I participating in? What the fuck is going on here?’ I think trying to do that is very admirable.
Well to me it’s not so much that. It’s more like, ‘What the fuck else is there to do?’ You use your talents for what is in front of you. These are the times that I live in. And this is what is fun to me. I enjoy the things that I lean towards; the things that I love in language, and the exploration of beauty in sound. These things speak to me. They are the light in the face of all the bullshit that is going on. It seems like the world needs Saul Williams now, and the album seems to fit very appropriately in our present situation. You’re not only gaining traction in your music and poetry, but as a voice for the nation, whether you’re speaking openly about politics or releasing artwork on your blog.
I used to have that experience with Radiohead and Bjork where I really felt like their shit came out at times right when I really needed it. But it’s always been my intention to speak to a much broader audience. I always felt that I was more than the things that were allotted me. I look at someone like James Franco, who is now releasing books of poetry and novels, and trying to do art films. He is trying to make sense of the privilege that has been afforded to him by his position as a movie star. And I think of the choices I had when ‘Slam’ came out. What else was there really to do? Either I was going to jump into this thing, like where I studied to be an actor so now I’m willing to take all the opportunities that come up to play a doctor or a lawyer on TV, and really acting is just a 9-5 so I should take those roles and shut up. Or,
Music, like design, is experiential... [like when] you curl up with a book, an album is always going to have that strength.
have some fucking fun. And my goal has been quite simple: I am trying to fuel something that is already happening. Something that is already moving in a particular direction. But I feel like activists, and all these people, need something to listen to as well. Shit that inspires them. They need to know that there are artists that are engaged and thinking on perhaps some of the terms they are thinking in. And that is important for me, since I grew up inspired by artists like that.
And then Prince comes up to me and is like, ‘So Saul, when are you going to come to my house so we can talk about how we are going to change world with music?’[Saul has a flawless Prince impersonation.] And of course I’m like, ‘Yo! Whenever!’ And so I got a call a month or so later saying he wanted me to come over for dinner that night if I was free. And I did. And we were supposed to talk about how to change the world through music, but once he picked up his guitar… It was like he changed my world. Because now I got to sit a foot away from Prince watching him play his guitar in his living room.
Speaking of having fun and artists that inspired you… Don’t you have a crazy Prince story?
I know you’ve been doing a lot of interviews, but they seem to be using pull-quotes that don’t make any sense for the title. I thought maybe we could collaborate on this. I was thinking ‘Class Dismissed’, as a pun for you dropping knowledge on me, and if we got to a conversation about inequality.
I was friends with Prince’s DJ, DJ Rashida. She and I had a band together before ‘Niggy Tardust’. We never released anything but we were rehearsing a lot. She called me one night at one in the morning and was like, ‘Prince is having a party and wanted me to invite you’. So I go and I get there, and no one is there. It’s just Prince, Penelope Cruz, Rashida and a few people I brought with me. And that was it. So it was like six of us dancing in a circle for like two hours.
I like that, I like that. Otherwise I would probably say, ‘Keep Christiania Free’.
Vinyl Moon puts the excitement back into getting post. Their simple concept based on mail-order vinyl mixtapes is taken to a level of craftsmanship youâ€™ve not seen before. The man behind popular music blog The Burning Ear, curator Brandon Bogajewicz hand picks artists and graphicians to create an outstanding monthly package that will make you more excited than your momma to see the postie.
ow did you come to consider this project and what were the motivations?
It all started because I collect a lot of 7" singles from bands I love who are just starting out. And I was getting tired of having to get up and flip the record every 3 minutes. I thought it would be cool if someone took all these singles from new bands and put them on an LP so I could sit down longer.... And then I realized that that ‘someone’ was going to have to be me. Are you still running The Burning Ear?
Yes. Posting every day (kinda). Why vinyl?
For me, vinyl is about taking time away from my computer and phone screens, and listening to music without those distractions. Plus it makes a completely different kind of music discovery than streaming because you can't skip, shuffle, etc. Plus the music is stripped of digital context, like play counts. I love that we live in an era of streaming and I love that we live in an era where vinyl is coming back. It’s nice to have options. Tell us about the focus on high-end print processes.
I see a lot of vinyl releases that were clearly not designed for the large format of a record jacket. Things like oversized tracklists and lots of negative space work may for a small CD cover, but to me, just enlarging that for a vinyl release is both insulting to the LP medium and the customer. Vinyl is a huge canvas! My feeling is that if people are still buying vinyl these days, then let’s make the coolest damn vinyl we can. And that means pushing the envelope of what is expected from vinyl packaging. Also, I want Vinyl Moon to be difficult to put back on the shelf. I want to fight for space on the coffee table. I want people to love the jackets
so much that they share them with friends and get back to the days of music discovery through record lending. Does it allow you to communicate with artists better? What’s the reaction been from artists?
I don't think Vinyl Moon would be possible without The Burning Ear and the site's history of supporting bands. In the early days that was key in getting bands to trust that this project will be something cool. Now that Vinyl Moon can speak for itself I think that the jacket design and high production value are definitely appealing to bands that would otherwise be struggling to put out their own 7" on a tight budget. How do you choose who to work with?
For the bands, I just go with my gut and find songs I love that I think deserve more ears. Then I thread ten of those together into something I feel makes a great cohesive tracklist. For visual artists, having a voice and a personality in their work is the most essential. But I also look for artists who I feel could translate well to the printed medium. Record jackets are interesting because they are a 2D item that exists in 3D space, so there are a lot of interesting ways to play with that. Is the exclusivity important?
No. I never ask for the music on Vinyl Moon to be exclusive. I want these songs to go far and wide in the world and these bands to get the most recognition they can. Coming from the music blog world, it’s refreshing to see a song that I perceive as huge (Hype Machine #1, half a million Soundcloud plays, etc.) be very unknown to the general public. It’s a good reminder how small a corner of the world music blogs are and how much bigger an audience is out there. People who still love discovering music but don't feel like digging
around the Internet for it. How much do you hate post services and logistics companies?
Haha, well that depends on whether any of them are reading this. If I've worked with your shipping company before then know that I'm not mad... I'm just disappointed. Is vinyl just hip?
In some ways, yes. But the vinyl resurgence itself is simultaneously harming the core audience that kept it alive during the lean years. Vinyl's current ‘hipness’ is why every major label is clamoring for cash and reissuing records that already exist on vinyl. This crowds the world’s few vinyl presses and creates huge delays for indie labels and small bands. So it’s an exciting time, but a weird time. Like watching your dad discover Snapchat... 3 tips for amazing music we should know?
1. DYAN is a brand new band who just released their first song, ‘St. James’, but I've heard the whole album, Looking For Knives. On repeat. A lot. It’s fantastic. Kind of like Beach House for people who don't want to fall asleep. 2. Gourmet is an artist/band/dude from Cape Town who has a weird and wonderful album called Cashmere that deserves many listens. Like if Yeasayer wasn't so social all the time. 3. Pr0files are a band for anyone who loves the 80’s, dancing and being heartbroken. Preferably all at once. Their debut album, Jurassic Technologie, is out now on cassette even (speaking of hip!)
W H AT I S
Poetic Collective ?
Straight out of Sweden’s southernmost city of Malmö is Poetic Collective, bringing an artistic visual universe to their legit core origins. With so many heavy-league skaters coming out of Malmö we linked up with Poetic’s co-founder, Tom Botwid, to ask him what’s in the Skåne vatten. PHOTOGRAPHY
John Nordh & Sarah Meurle
Hey Tom, what is Poetic Collective?
Hi Bitchslap! Poetic Collective is first and foremost a skateboard company but it is also an art project and a group of friends. Is it like a regular gang where you have a gang leader, some senior pushers and regular members?
Haha no not really, we have a flat structure where everyone can contribute with ideas and thoughts. Then the final decisions are made by me and by brother Paul. So no big boss! But we have a regular crew and then some people old and young that we help out a bit. So who is in the crew?
Right now the official collective members are Danny Westin, Klas Andersson, Peter Johansson , Sarah Meurle, Simon Källkvist , John Nordh, Nils Lilja and then me and my brother Paul run the ship. There are so many crews coming out of Malmö. What’s in the water over there?
Well we have people in Gothenburg and Stockholm as well but the base is in Malmö I guess. Malmö is amazing in what the city does for skateboarding, building new parks, supporting the scene and including skateboarding in the city planning. There is so many good kids coming to Malmö every year to start at the skateboarding high school at Bryggeriet as well. Then of course everything that Pontus did and does with Polar pushes the scene and puts it in the spotlight.
TOM BOT WID
White Black Colour came out a while back. I’m very down with your tempo, it is refreshing. Tell us about your approach to making stuff.
Thank you, I appreciate it! We try to look outside of skateboarding and find inspiration to take back into skateboarding. A big part of the skateboarding world just looks at other parts of the skateboarding world for inspiration. I think that becomes repetitive quite fast. We try to make things that we find interesting that stick out visually and conceptually while still being a core skateboard company. You guys also do a lot of conceptual stuff, playing with shapes, motion and movement. Where is the line to ‘too arty’?
I think there is no such line, but if you want to remain a core skateboard company of course you have to include some skating but if you don’t then it just transitions into a pure art project. Which isn’t bad either.
How does something like Poetic Collective resist society’s grasp?
I don`t know if we have to resist something. As long as we do things that we like and can stand behind society can grasp it as much as it wants. Having a brand and a following, people are obviously going to want to represent your stuff. How do you navigate the commercial side of the project?
Like I said I feel that the most important thing is to do things that are true to your own believes I’m just happy if people like it. Who am I to say who can and can not like what we do? BS
Scott Cooper DUPER
The bro Scott Cooper spills the beans on why he bailed Copenhagen to paint nudes in Aarhus.
How do you describe your artwork at your wife's company julefrokost?
A good entryway would be the materials I primarily use: india ink and liquid acrylics on stretched paper—essentially watercolour painting. I'm really interested in composition, like a form coming off the edge of the painting or just flirting with the border. Subject matter is secondary to that. Then I probably wouldn't get too philosophical about it ‘cause nobody cares at a julefrokost. Would you say living here in Denmark has had an effect on your creative process and output?
I've been here for almost four years in total. It's perfect for me here; it sucks being away from family and friends back in San Francisco, but I'm a fan of both Copenhagen, and now, Aarhus (I just made the switch). Denmark has had a huge effect on my work. All the dark days in the winter really help me focus, and the Danish minimalist aesthetic resonated with me. Also there's a whole slew of Danish artists from the past and present that inspire me: Hammershøi, Vilhelm Lundstrøm and Tal R to name a few.
O N LY O N E P I Z Z A B O Y ' S G O T T H E G O O D S
Liquid acrylic on paper. 40x50cm
Does it come easy for an American like yourself to get into the Danish art scene?
In general it's really hard to get recognition from the art world. I do think being a foreigner helps because it's interesting to see what an outsider contributes artistically, but it takes time to get your work seen. Instagram really helps with getting your work 'out there' and also to see what others are doing. But yeah, it's important to me to establish myself in Denmark as a ‘Danish convert’. I still mostly show and ship my work to the US.
C O N V E Y E R B E LT
India Ink on paper. 40x50cm
You've been painting a lot of naked ladies lately. Have you got a subscription to the naked modeling classes, is your wife helping out, or is it mostly late night internet surfing?
I've done some figure drawing in the past and I love doing it, but I actually prefer drawing straight from my head. It's important to me to have a basic idea of anatomy but not be limited by it. In that way I reclaim the figure as my own, not someone else's idea of it. What interests me in the this 'naked lady' theme is its historical relevance, as a nod to art history, since the female figure has been part of painting since the beginning. It's also just an interesting form to work with in terms of shapes and composition. The wifey helps by just giving me moral support, not so much on the modeling side.
I N S P I R AT I O N S H E L F
Liquid acrylics, watercolor, india ink on paper. 30x40cm
9 RECLINING LADIES
India ink on paper. 30x40cm
A lot of artists that come from skateboarding make that connection very obvious. Have you consciously veered away from that?
Skateboard graphics have definitely been a big influence especially Gonz and Ed Templeton's work. In 2009 I actually tried my hand at making skate graphics, Tony Vitello hired me at Street Corner Distribution for a quick sec until the whole thing tanked. The way my work has been developing over the years my style naturally veered from the skate graphic look into it's own thing. I hope it still has some skate steez in it though.
Acrylic and spray on wood panel. 55x80cm
You brother is an artist too. Since he recently got a taste of fame are you not inspired to apply some tricks to your output that might make it more snackable for a wider audience?
Yeah that's my hombre! It was really cool to see his videos go viral, it got like 5 million hits on youtube in a week, pretty crazy to see him pop up all over the internet. He's a cartoonist and animation guy, so it's pretty different from what I do, his work is intended for mass appeal - whereas my paintings are more esoteric and subtle. But check out my bro @hombre_mcsteez
I’ve seen you doing murals and stuff too. Are there other mediums you work with and what gives you the biggest semi?
Last summer I painted a public bathroom in Horsens, Denmark as part of a public art initiative put on by ArtRebels. It was my first large scale piece and gave me a fairly large semi. Also did some stuff for Trailerpark Festival in Copenhagen and Amsterdam. I usually work pretty small so it's a good challenge painting bigger and I wanna do more. Hit me up if you got a public bathroom in your town that needs painting. What's next for Scott Cooper? Your name has been popping up in more and more group exhibitions in Denmark and beyond. When and where can we expect a solo show of your work?
I'm in a cool traveling group exhibition coming up called #gotitforcheap at David Risley Gallery in Copenhagen on May 4, Steinsland Berliner in Stockholm on May 20, and at Agnes B's Gallerie du Jour in Paris on July 21. One day only at each gallery for $30 a pop! As for a solo show, hopefully soon.
Nikolaj Thaning Shoots Venice Photographer Nikolaj T haning Rent zmann teamed up wi th S pies Rejser who sent him to the end of the ear th. Well not qui te, but they did send him to Veni ce (that ’s in It al y already) to c apture the Float ing Ci t y before i t sinks back into the sea. Whi ch would be a bi t of a bummer cos i t ’s a pret t y sweet spot , and then we couldn’ t do #puddlegrams NIKOL A J THANING RENT ZM ANN
If you think about it, cruising in a gondola is like the OG version of Diddy’s yacht parties.
The island of Burano is one of the most dynamic places I’ve ever visited. Check out this adorable little nugget of an old man! With its maze-like, winding alleys and vivid colours shifting and popping off of the walls, who needs recreational stimulus?
On a rendezvous for tiramisu, through nooks and crannies run by Catholic grannies, it's all good in the Venice 'hood.
Early in the morning the streets are completely empty, except for these nuns Holy Rollin’ through San Marco Square. They give new meaning to the ‘walk of shame’ you're likely doing at that hour.
Gondolas from a rooftop. These boats are a must to try, just don’t let ‘em catch ya ridin’ dirty.
I never saw the good side of the city ’til I hitched a ride on a gondola queen. Big wheel keep on turnin’, Proud Venice keep on burnin’. Rollin’, rollin’ rollin’ on the river. Also known as the Grand Canal.
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Barnes & Monique
PH OTO G R A PH Y
BOZ BOZZERS Polly Bosworth is a graphic designer and illustrator who moved to Copenhagen in 2013 and began working for Bang & Olufsen. Like moth to flame she was soon drawn to Bitchslap’s warm glow. After her recent exhibition at Affenfaust Gallerie in Hamburg, Monique and Barnes sat down with her back in Copenhagen, broke bread and spilt a little wine in an attempt to find out more about her journey and experiences in Happy Land.
You grew up in Bristol, right?
Yeah, in the city, but I also spent quite a bit of time in Warsaw. They call Bristol ‘Trip Hop City’. Were you nurtured on Massive Attack and Portishead?
Not really, I was too young for that scene. You could say I grew up on Barry White, but I didn’t understand it, I didn’t understand much at all at the time because I lived in my own little world as a kid. Who introduced you to the ‘the Walrus of Love’?
My dad of course! From the ’60s onwards he loved going traveling around the U.S. and really got a taste for their music and culture. Did he also inspire your interest in art and design?
Totally. He worked for the London Arts Council, but really was an artist who didn’t know how to push his own work.
I’m tired from dancing to the beat of that drum. I’m guessing your dad would take you around lots of galleries and museums, immersing his young daughter’s mind in the visual arts at every opportunity?
Not really. He took me to Dunkin’ Donuts and Ikea. In fact, the first art competition I ever won was at Dunkin’ Donuts. Despite winning a box of pink doughnuts with sprinkles on top it’s a pretty shit way to start off an artistic career. Sounds perfect to me!
A creative urge has always been who I am, or a big part of me. My favourite early memories are of watching my Dad draw simple pictures with a big black felt marker pen which I would colour in. He really instilled in me a need to have colour everywhere in my life. My childhood could often seem gloomy and my dad was often culpable for those feelings. So our relationship has that contrast – he gave me so BS
much happiness, as well as being responsible for so much shit in my teenage years. So your style is the result of having a bi-polar and colour-obsessed mentor?
His method of drawing certainly influenced my style, but I studied art and have been drawing everyday since I was a teen. Eventually I got to a sweet spot where I could draw something realistically. What were you drawing?
Both drawing and painting from live models but also some still life stuff. When I felt I was good enough I began to wander stylistically. Which artists can you remember being interested in around that time?
I was fascinated by artists who combined their creativity with mathematical solution, so I focused a lot of my time studying the likes of da Vinci, MC Escher and Matisse. I found the French Impressionists significantly influential, especially Monet. Also Bernini with his breathtaking sculptures. There was something about Op art, Brutalist architecture and the willful act of never really conforming to what my professors wanted from me. It all kept me going. Otherwise I would go as far as say that old school hip-hop and soul performers, graffiti writers and skateboarders were all artists in my book and a source of great inspiration. How would you describe the working method you use now?
Drawing and sketching is always the starting point, then a vector
image. That’s essentially how I started learning graphic design, by tracing my Dad’s work in illustrator. At first I disliked the comic depictions of the characters he drew, but during the process I began to find them mathematically and visually ingenious. After I’m happy with the image I begin thinking about the printing process. I’m fascinated by printing in all its forms and the idea of improvising to get what I want. Is it that improvisation that brought you to live in Copenhagen? That, and the weather.
It’s been beautiful today, not a cloud in the sky, but yeah, I came here mostly for the people and the security I’ve found in my life here, emotionally speaking. I’m keen to understand what goals you have for your work, are you yearning to quit the day job and become a full-time artist?
At the moment I’m keen to get my designs on skateboard decks and I want to do it myself by screen printing them. So I have to find a blank deck distributor that I’m happy with and then learn the technique of applying the imagery onto the deck, get amazing at it and then get busy printing. In preparation for Polly Bosworth, Inc.?
Nah, the goal is to be able to draw everyday and travel as much as possible. Any trips planned in 2016?
Thinking of going to L.A. and San Francisco later this year and having a wander around. And getting a bit lost?
Actually not really. I must say getting lost is one of my biggest fears, certainly in terms of my mind. If someone close to me were to die—it hasn’t happened yet, but—I’m sure I’d get too involved in the grieving process and lose myself within my mind. When I was visiting Louisiana I went inside a room with so many mirrors that finding a way out became an absolute nightmare. You mean like Bruce Lee in one of the final scenes of ‘Enter The Dragon’?
Hahaha yeah kinda… it was nuts. It’s the same reason I don’t take drugs or drink too much, ‘cause that’s me losing myself and it scares the shit out of me. I think if you’re in the right frame of mind and with good people there’s a recreational drug out there for everyone. Do you drink tea?
Of course! English Breakfast Tea or Yorkshire Gold are my favourites. I’d say maybe one day we’ll all drink a mild psilocybin mushroom tea and laugh our asses off?
I do like the sound of being with your friends to share the experience. There’s a warmth to all my friends, and they’re not necessarily the happiest people around, but one way or another they know I think they’re the best people I’ve stumbled across in my life. Which perfectly highlights the paradox for many artists, in that I do get the sense that despite needing many good people around, you’re not afraid of being alone.
I must say I do appreciate being able to close off everything, focus and appreciate things from another perspective. I excelled in mathematics at school, so I like to see the world in terms of layers, patterns and systems. That’s what really drew me to geometrical art.
A design for life?
Yeah, I guess. I’m guessing this burgeoning confidence must be mirrored in your working life at B&O?
It’s probably the first job I’ve had that I really want to get out of bed for. The senior designer is a dude from Brooklyn and many people say I’m the mini female version of him. He used to do graffiti, still skates and listens to a lot of hiphop and soul, so I’m happy with the association. A few weeks ago he asked me to attend a meeting to discuss my progress and really praised my work, but also suggested the amount of sexual innuendo I spread around the office was unacceptable. Admittedly I had been drawing penises in the notebooks of my colleagues. I now know I was wrong to think that it had become a commonly accepted occurrence. So, you ready for one last question?
Drum roll please… What’s your most embarrassing sexual experience?
Ha! Barnes you bloody perv! I’ll tell you mine if you tell me yours. No way! I haven’t got the legal consent of all the animals and minerals that were in the room at the time.
Well, if I were to refer to one specific experience I’ve had, in a more abstract way, then I’d just say combine the Bitchslap ‘Girls Are Awesome’ poster coupled with The Blackbirds’ ace hit—‘Doin' It in the Park’—and I’m sure you get my drift. Shall we go home now?
Yes. It suddenly feels like the right time. Thanks for your time, Boz Bozzers.
1.OOO D AYS AWAY Director Matt Irving on shaping his vision to create the first adidas Skateboarding full length.
I N T E RV I E W
PH OTO G R A PH Y
We need to not hide behind all these five or ten minute web clips, grow a set of nuts and deliver a 45 to 60 minute skateboard video.
10 years ago, graphic designer Matt Irving joined his buddy Brett Critchlow at Juice Design in San Fransisco to service the growing needs of an expanding adidas Skateboarding program. And grow it has: from having Gonz as the only real team rider ten years ago, to adding Dennis Busenitz early and now presenting a full squad of 23 pro dudes whose roots reach into all corners of the globe, adidas has undoubtedly gone all in on skateboarding. Last night in London I sat with Matt in a jammed bunker club to watch the London premiere of Away Days - adidas’s first full length film; a project 3 years in the making, showcasing the entire crew in over an hour of hammers and fancy footwork. The Matt Irving I meet in the hotel lobby and walk to the venue with is a well spoken, quietly confident, attentive and open cat. He’s like a friend you’ve only just met. He tells me about his day of putting out fires after someone leaked the film online. He talks of lacking sleep. But he’s positive, he’s a listener and he’s stoked to be here. Despite a background in graphic design first under the moniker Delphi Collective, then at Juice Design, Matt’s role as director doesn’t come unearned: he’s directed a multitude of films including Diagonal—adi’s European team video—back in 2009 which he says was great practise to test the waters and get into a groove. “But to me they all felt like sketches”. In order to convince the man upstairs to take it to the next level, he paired with long time collaborator, adidas global brand manager Jascha Muller and they set out to pitch the as-yet-unnamed Away Days full length. After kicking all sorts of ideas around, the name Away Days came from photographer and US team manger Skin Phillips. “We were really lucky with Away Days. When Jascha Muller and I started to pitch the idea of doing a full length it was something we’d all talked about for years and we finally got it pushed through by explaining that we’d done the web-feature thing for quite some time and it was getting a little stagnant - we needed to shift things and try something different. BS
The ultimate testament to a program is a full length. In this day and age everything is 15 second Instagram videos and the occasional web clip. We were able to focus on web clips from around 2006 and when we started working with them they were sort of new, and then in the early 2010s everyone was doing web clips, or like full parts, but solo full parts and that was one thing to act as a reaction to that. Let’s try to go back and revisit this full length thing. And for the name, for us to take the away days culture and spin it into a skateboarding thing was kind of cool because that’s what we do, we do all our work when we’re away.” For many brands the full length is still the holy grail of visual output; it’s their chance to showcase the most important driving force of brand credibility—the team—as well as present the look and feel of the brand through a holistic artistic creation. And like the album, the full length will never die. “A brand is only as good as its last movie”, I was once told. And that makes perfect sense; it puts brands and riders back on the map in a concrete way, amongst an otherwise super fluid landscape. The likes of Propellor, Holy Stokes, The Nike SB Chronicles and Polar’s I Like It Here Inside My Mind Don’t Wake Me This Time are true testament to companies’ reliance on the full length as a legit platform to stay true to skateboarding, loyal to promoting their riders, and to sing their gospel to a global core audience. How they are released and distributed has become a fine art of marketing with raw files, teasers, BTS footage, global premiere tours and extensive media pushes (you’re reading this here, right?) that resemble tightly orchestrated product releases - and essentially that’s what it is. “I grew up on full length videos, I reference full length videos specifically most of the time and there are certain parts you reference like Dylan’s Gravis part which was so damn epic, how could you not reference it? But to be able to preserve that format in my mind is so important. For sure it’s our generation but I think it can be pushed down. The biggest thing with skateboarding is that you learn from the
Miles, nollie heelflip somewhere in LA BS
Gonz, boardslide in Paris BS
What I got from making this video was a stronger bond with the team. I mean, we’re all really really close.
guy behind the shop counter who is over 20 or 30. If you come in and ask for the Wet Willy, he’s gonna give you shit for it and you’re going to walk out with a Silverstar board or whatever modern version - you get the idea. As an older generation of skateboarders, to be able to rally the package together and deliver a full length to the world carries a degree of responsibility to the kids. It’s like no, this is what should really matter, you know, when Propellor drops their video, that should really matter. Not to discredit any of the web clips, but just to preserve that because it’s something that’s really special to skateboarding. It doesn’t really exist anywhere else, you don’t get full length basketball or tennis videos. We need to not hide behind all these five or ten minute web clips, grow a set of nuts and deliver a 45 to 60 minute skateboard video.” Even in the last decade a lot has changed in skateboard video productions. Back in the day, you’d have your filmers and your editor. Throw some music at it and violá! Technology rolls faster than us and this constant development makes the previously impossible possible. What’s changed and how can we harness these changes? “A lot has changed. Now we’re dealing with 4K and 5K cameras so we have the ability to punch in and crop differently. In the old days your filmer friend was doing all the framing, and not doing any paint outs or retouching or colouring. In our case there are shots where we painted out light stands just because they’re distracting and there are a few shots in the video like that, but it’s not something you generally talk about. Fact is, the act of skateboarding looks better when there’s less clutter. So you shoot a clean plate of the spot on a tripod, guy does the trick, filmer gets out of there ‘cos he’s crowding the shot and you paint that out. So there’s a lot of fine tuning, but in my opinion it doesn’t belittle the act of skateboarding. It’s about creating a final end product that you’re proud of and you like how it looks and this way it looks better to us.”
The elevated ability to technically fulfil a vision, even push that vision further and bring something new opens the rabbithole for an infinitely more complicated production process, and the need for someone to steer that vision: the director. But what does a director actually do on a day to day basis? “A lot of the filming we do is still circumstantial. We pick locations and plan out groups of skaters and specific filmers and photographers and work with a network of local people to hit up spots. But not a lot of people are going into those trips knowing exactly where they want to be and which tricks they want to do, in some videos they go with their hit list and get it.” Matt explains, and continues: “One of the big things I wanted to do were these montages which pick up where we left off from all the city campaign edits that we’ve done over the last ten years. There’s always been a little bit of a city-centric focus on a lot of the content we’ve done, and people seemed to really enjoy them. I really wanted to revisit that without being so specific, so we have five or six montages from different cities that we spent a lot of time in filming and that’s the place I really felt I got to apply myself more as a director. People’s skate parts are approached more from a true skate editor’s mentality and I would chime in on that, but we have three main filmers and editors that were each heading up certain parts so I would direct those as well. But from a director’s stand point it was more the intros and montages where I felt like I got to get really involved and enjoy the end product.” Three years together with 23 riders from literally everywhere, three filmers, multiple team managers and two photographers is a pretty big family—especially if you call this work. Just putting a lowly magazine together with a couple of dudes can get the sweat beads rolling, so the pressure of having to deliver such an immense product that can literally make or break people’s view of a ‘corporate-in-skateboarding’ must be BS
Lucas, nollie heelflip in Bilbao
As an older generation of skateboarders, to deliver a full length carries a degree of responsibility to the kids. Blondie McCoy, impossible in London
quite the weight on Matt’s shoulders. But he seems chill about it explaining that a combination of his prior experience, sticking to budgets and timelines helped make the whole thing a positive experience despite last minute edit marathons and a feeling of “shellshock” after the first premiere in L.A. But, as Silas BaxterNeal comments, with a lot of creative projects, it’s a weird and often hollow feeling once it’s complete. There’s an emptiness. “I was initially over it in LA. I was too close to the screen, I hadn’t slept of well over 48 hours, nor had any of the filmers or editors or anyone who was deeply involved in putting the project together, and I think for a lot of us we were at the stage of exhaustion that we were almost sick of it. But in the same breath it was obviously overwhelming to see it projected on such a massive screen, and to see so many people and hear the reactions, and also just the team; everyone was just shellshocked, nobody was saying anything.”
Matt sounds relieved, but then reflects on his amazing time with the whole crew: “On a personal level what I got from making this video was a stronger bond with the team. I mean, we’re all really really close, but just having more reasons to be in touch, to talk about music and pick out tricks or even just giving someone a bit of a coach, helping them through tough times with an injury or some battle they’ve got going on or just personal problems. We’re all close. I text with everybody and talk with everybody and that feels good. It’s not just about results. It’s about getting those results and staying in a happy place and continuing to work with people. I don’t like seeing videos where people get pushed to their breaking point and then they never want to work together again. I want to keep working with these guys and they want to keep working with me. That’s the whole goal.”
Image by Super Future KId / SuperFutureKId.com
SYD HAVN Photography Kia Hartelius Styling Nanna Bob Make-up: Marie Dausell Hair: Kirstine Engell Models: Lo @scoop models William @scoop models Nicolaj @mate_mgmt
Jacket: Monki Top: Wasteland Shorts: 5preview Ring: Mary Lou Jewellery Bag: 2Day
Shirt: adidas Pants: Ben Sherman Socks: avour.dk Shoes: adidas
Lo Sunglasses: avour.dk Earrings: Beadhouse Dress: Gina Tricot Body: The Bodystocking William Tee: Weekday
Hat: Fila Jacket: NN07 Scarf: New Fashion
Turtleneck: Wasteland Pants: NN07 Boots: Wasteland Necklace: Beadhouse
Jacket: Beate Godager Dress: Weekday Shoes: adidas Earrings: Mary Lou Jewellery
Nicolaj Singlet: Siff Pristed Pants: Sweet SKTBS Socks: avour.dk Shoes: adidas
William Shirt: Ben Sherman Pants: Sweet SKTBS Shoes: adidas
Nicolaj Shirt: Sweet SKTBS Pants: Wood Wood Socks: Fila Shoes: Vans
Lo Sunglasses: WoodWood Neckless: Mary Lou Jewellery Choker: Monki Bikini: Wasteland Pants: Bitte Kai Rand Shoes: Apair
William Top: adidas Pants: Ben Sherman Necklace: Beadhouse Socks: avour.dk Shoes: adidas
Sweatshirt: Weekday Dogtag: Beadhouse
Nicolaj Jacket: Wood Wood Turtleneck:Wasteland Lo Blouse & Top: Beate Godager Necklace & Ring: Mary Lou Jewellery Earrings: Beadhouse
Jacket: Wasteland Polo: WoodWood Pants: WoodWood
Sweatshirt: Looky Looky Turtleneck:Wasteland
WO R DS
By Polina Bachlakova
PH OTO G R A PH Y
MEET KOSO, NORWAY’S FEMALE CREATIVES SAYING ‘FUCK YOU’ TO PATRIARCHY IN MUSIC
ine Sandbæk Jensen clearly isn’t one to sugarcoat what she’s all about. Considering how she spends most of her days, it makes sense for her to be unapologetically confident in her opinion and purpose. The Norwegian musician, producer and DJ—releasing under the moniker Pieces of Juno—is the co-founder of KOSO, an all-female creative collective meandering through various fields such as music, dance, film and art. It started out a few years back as an impromptu mind melt between Jensen and Marit Soldal (DJ Soldal), which they galvanized through their university’s radio station. Since then it has evolved to encompass a record label, a club night and a myriad of women hungry to make and do stuff together. ‘Living in Oslo, we noticed there were many people in our immediate surroundings who were working on great films, dance, literature, poetry, all kinds of things,’ Jensen tells me over a phone call. ‘So we thought about combining the skill-sets we all had in the same group of people. Since then, that’s what we’ve been trying to achieve with KOSO: we want to be a hub for different creative fields, where we can learn from each others’ talents and try new things. For example, if someone wants to learn more about music, it’s like, “Ok, come to my studio. I’ll show you some stuff and let’s work together.” We use each other in our art.’ Luckily for KOSO, that approach has consistently resulted in creative output that makes you stop and listen close. Pieces of Juno, for example, is a lush haze of trip-hop inspired production and sensual, earthy vocals; although she’s revived viscerally experimental electronica she made a few years back on her new EP, Frisson, she’s kept a signature lusciousness to her sound. Another KOSO veteran, Sara Angelica, also dips into an equally compelling trip-hop palette that straddles a slightly more melancholic universe than Jensen does. There’s Anana, whose music is an airy and billowing take on electronica, and DJ Soldal, who spins party bangers that effortlessly pull at textures and sounds from cultures spanning the globe. Those are just some of the artists involved in the collective, though; others float in and out, jumping in for a remix or popping over
to shoot a music video, and others are slowly becoming ‘official’ members of KOSO. The most recent example of this is lilleStine, a rapper whose work Jensen describes as ‘sensitive rap’, and the first musician in the KOSO roster to take the collective’s vibe away from the realms of trip-hop and electronica. In classic collaborative KOSO style, Pieces of Juno produced lilleStine’s debut track, ‘Alle Vet’, alongside another KOSO collaborator, SVANI. ‘I wanted to work with lilleStine because she suddenly appeared in my life and had these amazing lyrics,’ explains Jensen. ‘They’re very real in the sense that she shares a lot of herself in them. She’s right in your face and unafraid to say what she means. I used to work with beats and stuff a couple of years ago, and when I met her, I felt inspired to use that skill-set again.’ Although musically lilleStine may seem like an abrupt contrast from the electronica-based sonic red thread KOSO has built for itself, her honest attitude snugly fits with the intentions of the collective. As Jensen herself describes, KOSO inherently has a ‘political agenda’— although the women involved don’t feel the need to yell about it all the time, a key chunk of the KOSO essence revolves around fiercely standing up to the prejudice women often face working in creative fields.
The idea was to bring our friendships and our creative efforts together to try to make a change. ‘There is such a great imbalance in the music industry and in the world, but we didn’t want to boldly yell “WE ARE A FEMINIST COLLECTIVE”, because that’s not why we built our hub. The idea was to bring our friendships and our creative efforts together to try to make a change. As a female producer, it’s almost like people make excuses for your work—implying that you’re produced by a guy or something like that—and we wanted to change that.’
Jensen’s last comment comes as no surprise; it’s common knowledge that the scoffing attitude towards women in music she refers to has long been a stubborn and unfortunate stain on the music industry. Just do a quick scan of music reviews for female artists and you’ll surely notice a steady pattern of comments on their looks, or shout-outs to the males involved with their music. Even Björk, whose legacy and worldwide respect shatters that of most current musicians, was recently forced to give clarifying interviews after an embarrassing number of media sources incorrectly claimed that Arca produced her latest album instead of her. If that’s what it’s like for somebody at Björk’s level, just imagine how infuriating it can feel to be an emerging female musician pigeonholed as a female first and foremost.
If you aren't a feminist today, then you're just plain stupid ‘As a female in the music industry, you’re constantly reminded that you’re a woman,’ Jensen confirms. ‘I’m always reminded that I’m not a producer or an artist; I’m a female producer or a female artist. That’s a continuous problem, and it’s not just men who are doing it—it’s other women, too.’ BS
KOSO is based in Norway, a country applauded worldwide for its forward-thinking stance on gender equality. You’d think that gender inequality in creative industries would be less of an issue there than in, say, the US, or rest of Europe. Although Jensen recognizes that, indeed, things are better in Norway, she nonetheless feels like Norway has a long way to go before female musicians get the respect and independence they deserve. ‘We’re more conscious about inequality in Norway because the dialogue in society is more explicit about these things,’ Jensen explains. ‘However, I wish that gender didn’t still have so much to do with it. It makes us insecure, rather than thinking about what we’re creating or the values we have as people. The good thing is that when we talk about these issues more openly, it’s easier to realize that those perceptions aren’t because of you—it’s because of society’s way of looking at women.’ It makes sense, then, that talking about these issues is key to keeping the KOSO spirit alive and thriving. Although everyone in KOSO is united by a focus on artistic collaboration, everyone is also only human: discussing the stuff that sucks about being a woman in music is just as important as finding solutions through creative output.
‘It’s very good to have a place to vent when you experience shitty things,’ Jensen tells me. ‘You can let off some steam and have the support of women who have experienced some of the same things. When you are more people and you aren’t just alone in your solo thing, you feel like you have more power and can build together. It’s great to have a safety net.’ When Jensen talks about a space to let off some steam, she isn’t just talking about the physical spaces KOSO embodies, either. In the past few years, online networks connecting female collectives have exploded. In particular Jensen praises The Sister group, a network founded by Swedish producer Toxe, whose medley of glitchy beats and apocalyptic vibes have solidified her sound as electrifyingly new and furiously untameable. ‘The Sister group has been a big thing, and it’s been a good place for other women to post their music, or start a collab or something like that,’ Jensen elaborates. ‘With the Internet, it’s now easier to find other likeminded women who want to achieve the same things, and that’s really motivating.’ Despite this, connecting outside of the digital landscape is what keeps the KOSO spark going. Although they don’t have a massive space, they pop in and out of each others’ apartments and studios—and, in a way, this DIY attitude they’ve
held on to is perhaps what’s behind the KOSO collective’s intimacy and organically tight-knit relationship to each other. ‘All of us in KOSO need to have spaces to work together, learn together and not be discredited or ignored,’ Jensen continues. ‘So when you say you’re in an all-female collective and label, nobody can make excuses for you—they can’t exactly say that you’re made by your male manager.’
Every artist should be respected for what they are: they’re an artist—and we don’t care if they’re male or female That said, Jensen is quick to point out that taking a stance for female creative agency is not the same thing as rejecting male influence altogether. ‘What we’re all working towards is creating cool art—not art that’s polarizing,’ she explains. ‘For example, we’re dropping a remix series right now, and half of the producers and musicians who worked on it are male. Every artist should be respected for what they are: they’re an artist—and we don’t care if they’re male or female.’ BS
LAURA BERGER We tap in to the inner workings of the Chicago based artist and her masterfully brushed world of storytelling centralised around human characters.
CROWDSURFING acr ylic & acr ylic gouache on wood panel 11"x14" | 2015
TAKING SPACE acr ylic & acr ylic gouache on wood panel 12"x16" | 2016
ho is Laura Berger and what is your story?
I grew up in a pretty small but liberal town in Wisconsin, in the midwest of the US. There are a lot of cows in Wisconsin. Cows and cheese. My mom was a nurse and my dad was a salesman. I don't remember a lot from my childhood, but I do recall it as being pretty creatively driven — my friends and I made our own magazines, costumes, board games, stuff like that. This was before the internet in a fairly small town, so that's just what you did for fun. I spent a lot of time outside, too, especially in high school. Hanging out in nature, hiking, learning to channel my inner hippie. All of this still informs and feeds my work today. And how long have you been making art by now?
I've loved drawing for as long as I can remember, so for my whole life, in that sense. My mom had a real natural ability with art, so maybe she introduced me to art? My dad also was hilarious and really fostered our creative expression in every way. So I guess I would credit them both. In college I studied theatre, and I got thrown into the fire to paint some huge backdrops for some productions with pretty much no experience. So that was also really helpful in learning some technical stuff, even though it was stylistically completely different than my own work. I really started working at my own thing after my dad died — I was 27. My long-term relationship had also ended and I was so deeply depressed. I was trying to find a way to distract myself and I just started painting every night to get through it. Everything sort of evolved from there.
ILLUMINATION acr ylic & acr ylic gouache on wood panel 12"x16" | 2016
What does your typical day in the studio look like?
It's pretty random. Self-employment is a blessing and a curse in that you have no structure, but sometimes it's kind of nice to have some structure! I should probably work on that. But I usually wake up, ideally do some kind of meditating or yoga first, then I make coffee and answer emails for an hour or so. The rest of the day is spent doing whatever is on the docket — filling online orders, sketching, planning shows, laying out paintings, updating my website, painting, social media stuff, ordering supplies, packaging things,
WEAVING acr ylic & acr ylic gouache on wood pane 12"x16" | 2016
ISLAND LIVING acr ylic & acr ylic gouache on wood panel 11"x14" | 2015 BS
PERSONAL MOUNTAINS acr ylic & acr ylic gouache on wood panel 12"x16"| 2016
running errands. I I'd love if I could just paint all day every day, but there's lots of other administrative-type work that ends up filling a lot of hours. I usually do my best creative work at night, so sometimes I end up working pretty late. What kind of materials do you work in mostly?
I use acrylics and acrylic gouache on wood panel. I'm pretty loyal to Holbein paints and brushes from Trekell. I love the smoothness and solidness of the wood surface to work on; the lack of texture allows me to paint really small details. And the type of paints I use help me to achieve a clean graphic look with really even, smooth color fields. What's the scene like out in Chicago where do you live now, what are your thoughts on the city?
It is really small for sure. I'm mostly alone a lot. As far as people appreciating and respecting the arts, that is definitely on point. People here have a great love and respect for the arts, and I have always felt really supported in my work and lucky to have that.
DIAMOND SPRINGS acr ylic & acr ylic gouache on wood panel 5"x7"| 2016
Do you work full time as an artist?
Yes, I've been full-time as an artist for 6 years now. How is it to make a living off your art in the United States?
It's hard in the sense that I've been working pretty much constantly since I went full-time, and you have to do things like buy your own health insurance and plan your own retirement. But I'd say that's true for almost anyone here who's doing something entrepreneurial or something that feeds a passion. Plus if it's work you enjoy doing, then it's not all work, right? I'm really just insanely grateful to get to do what I love for a living. There is a lot of nakedness in your work, but it never gets explicit or in your face. What is it about the naked body that makes you paint it over and over?
Initially, I was just trying to simplify the image and color fields — to make it very clean and just focus on the body positions and composition without adding the extra details
LIBERATION acr ylic & acr ylic gouache on wood panel 12"x16" | 2016
of clothing, so I wasn't really thinking about nudity on a conscious level. But as I've gone along, I think the idea of nudity enhances the sort of freedom and playfulness that's happening in a lot of my work, and those themes of pure connection to self and complete freedom from any sort of barriers or restriction. Looking at some of your earlier work you can see a clear shift from the work you made back then and now. How would you describe this evolution in your work?
I think the themes are still similar, but I was using these sort of weird characters instead of humans, which (if I may psychoanalyze myself) I think was a way of distancing myself and playing it safe. Like I wasn't including my "self" in my painting, even though I really was. As I continued to work, I started throwing some people in with the other characters, and then eventually I was just painting people. I had some traumatic years in my life and a fair amount of stuff to work through, so I think it's just reflective of how grounded and open I've felt at different times. I also think it's just natural that work evolves and changes, both as we grow as people and also as we learn technical skills and what materials we like to work in. I feel much more solid in all of that now, but it took many years of experimenting to get there. We're all putting out stuff on the internet from Day 1 now, so our learning process is just totally exposed for everyone to see. Mortifying.
SHELTER acr ylic & acr ylic gouache on wood panel 6"x6"| 2015
If you had to define a sort of 'stage in your career' moment for yourself right now. Which moment are you in?
It makes me feel good to always think that I'm just starting.
TIDES acr ylic & acr ylic gouache on wood panel 14"x14" | 2016
ALEJANDRO MELO’S STICKER TIME MACHINE To delve into Alejandro Melo’s sticker collection is to relive the past. His seemingly endless sample of small inanimate vinyl die-cuts evoke feelings and recollections so real, it’s almost as if they’ve finally invented that fucking time machine we’ve been asking for. Alejandro has been collecting for almost 20 years, but some of his stickers reach further back than that. It makes me think back to a time when almost every board graphic would have a series of sticker versions. Some designs even transcended brand logos—just think about that for a second. Artworks like Jim Phillips’ Screaming Hand or the Powell Ripper were versioned so many times, and despite that, easily outplayed the official brand logo.
The fists sticker came from talking with artist Donny Miller back in 1993, we were discussing the trend of knuckle tattoos and thinking about ideas for a Toy Machine logo. He said lets add fingers! And that was it! I drew it up.
- Ed Templeton
The Elephant’s name is Louie, I designed him in 1988. He is based off an old thrift store painting of a funny little elephant sniffing a flower. Care free and fun and individual creativity is the idea. Always looking for a good time! It’s our Life Support! - John Lucero
Obviously paying tribute to the Powell skeleton ripper, Yuck Fou was a character I came up with to kind of make fun of all the cartoony graphics that were coming out in the ‘90s. I named a small corp this. Yuck Fou, Inc. It’s funny to hear my CPA people and non skate business people when they call me to talk about, Yuck Fou, Inc. I don’t think they even notice. - Tod Swank
"The essence of this design is based on the passion we have for making tricks, it is frustrating to learn new tricks and has us screaming more than once! At the end of the day that passion and energy leads us to land tricks! I drew this screaming face to inspire the Simsâ€™s designers, this was just a draft, to my surprise they used it ! That was a shock to me!"
- Pierre Andre Senizergues
This was from my Neptune graphic which I really love to this day. Jim Phillips drew it from a xerox of a tattoo Mark Mahoney did on my back in 1987. I wish it was on my buns because then it would be fun to show people.
- Jason Jessee
Frame of Reference exposes skateboarders’ unique perception of urban spaces from the viewpoint of internationally recognised skateboard photographers on their local turf.
F R A M E O F
R E F E R E N C E
RAMON ZULIANI Ramon Zuliani lives a short drive from Venice, Italy and was introduced to his world of photography when he entered his father’s 2 by 2 meter darkroom in the late ’90s. He closed the door and never left. His images are ‘stolen’ and fixed on film from different circumstances he finds himself in on his travels, with friends and on the streets. Having worked with various Italian and European skate titles, we’re now proud to share his work for Frame of Reference.
SPEEDY BS SMITH UP THE STAIR Venice, Italy
In Italy, not only in big cities, but in every small town there is at least one church, often more, and mostly Catholic. Each one of them reflects in some way the town where they were built. Next to this church thereâ€™s a modern square with marble flooring and huge iron planters full of plants and flowers. This spot is very often difficult to skate during the day, because of priests, guardians and the police headquarters right in front of it. We have been kicked several times from this spot and risked being fined many times. The best option, although the riskiest, was to go there at night. BS
5 0/ 5 0 P O P O U T Ve n i c e, I t a l y
Along a busy road that leads to Venice but immersed in the plains and surrounded by greenery, thereâ€™s this tall, difficult flatbar, the ground is rough concrete and full of holes. The inhabitants and the passers-by stopped to see what was happening. Some came down from their cars â€” jamming the traffic, others opened the windows of their houses and watched bewildered. Many shouted at us to leave, some applauded, and others asked us why we ride skateboards. Those who saw the situation from the outside would have thought it was a scene from a movie. Immediately after getting the trick, we had little time to unmount the flash, get in the car and drive away before the police showed up. BS
F S B A LL R I D E Ve n i c e, I t a l y
This is an unusual spot hidden in a small fishing village near Venezia. There is no explanation as to why this giant iron ball was placed there. Itâ€™s a raw and difficult to skate spot, inside the parking lot of this old building from the late â€˜80s with almost futuristic architecture and fully painted in various shades of yellow, now abandoned and fallen into disrepair. BS
R E A D T HE SE R E V IE W S OR DIE T RY ING
YO U ’ L L H AV E I T O N R E P E AT F O R H O U R S AND THINK ABOUT F L OAT I N G I N T H E CLOUDS, I PROMISE YO U .
Julianna Barwick Hallucinator From First To Last
Will Dead Oceans
Let’s go back to the beginning of Skrillex: Before becoming a widely-known DJ and producer, a very young Sonny was leading one of the most progressive metalcore/screamo bands of the mid 2000s. ‘Heroine’ is one of my favorite records he made—it consists of songs that are strong not only in terms of composition but that also have catchy choruses. Their radical energy as well as Sonny's unusually pitched voice and use of vocal melody is beautifully dynamic, especially for the genre. In the end Sonny had to drop out due to massive problems with his vocal cords, and one can’t help wondering if he would have otherwise continued on this path vs. the electronic. On a funny note, Wes Borland plays the bass on the record and actually did some European touring with them. Go back and listen to this little gem when needing of a bit of power.
Dark drum 'n' bass Italian entities Hallucinator unleash their second vinyl release for PRSPCT Recordings—and what a varied outing it is. 'Contamination' features those familiar Italian hardcore hook lines, but in a toneddown manner that thankfully avoids the pitfalls of cheesy mainstyle hardcore themes. 'The Desert' is a collaboration with Holland's finest export, The Outside Agency, resulting in a rather interesting combination of TOA's fear-inducing ambience, garnished with their superior flair for picking the right samples and the boot-shaped-country's penchant for kicks à la carte. The title track, ‘Satanism’, is where all hell breaks loose: a ceremonious intro with choral voices, chirping melodies and regurgitating robot voices firmly placed on a crisp base of resounding rave excellence. Hallucinator succeeds in creating a hit derived from the lowest common denominator and, truth be told, this is truly wherein the art form lies.
Bit of a morbid start here: thinking about death usually sucks, on the grand scheme of life-related things. Emphasis on ‘usually’, because when you hear Julianna Barwick’s latest record, Will, you realize that a) she must be some sort of magic angel creature plucked from the sky and masquerading as a regular human, because b) her music makes you think of death as a liberating and overwhelmingly sublime thing. Don’t worry, you won’t want to rush to off yourself or anything: you’re just gonna feel like when you do die, you’ll just go— poof!—and turn into an ethereal spirit, blissfully floating along with angels and ghosts and whatnot in a heartbreakingly beautiful alternative universe. See, Barwick’s always been very good at looping vocals and chords to heavenly and cathartic peaks, but on this record she’s simply mastered that. Each track immerses you entirely, but ‘Someway’ is the one that fantastically seduces you into otherworldly bliss. You’ll have it on repeat for hours and think about floating in the clouds, I promise you.
KL AUS BOSS
P O L I N A B A C H L A KOVA
Imperial State Electric Honk Machine Psychout Records
What happens when you take the thunder of the Datsuns and breed it with balls-to-the-wall guitar riffage of the Hellacopters? Magic! As far as super groups go, Imperial State Electric are pretty fucking super. What was originally Nicke Andersson’s (frontman of the Hellacopters and Entombed, fool!) solo project has grown to become a truly fearsome rock and roll beast. Is it like listening to a new Hellacopter’s record? Well, kinda. But it has Dolf De Borst playing bass (Datsuns, cracker) so it’s guaranteed to rock your socks off. And that’s all you, me or any other motherfucker needs to worry about. Y U M Y U M S A I N T H A M I LT O N
A PE R FEC T L I S T E N W H IL E R ID IN G OU T T H I S SUM M E R
Tiger Army V Rise Records
The Composite Moods Collection Vol. 1: House Number 44
Blackest Ever Black
Doing my homework on the latest, almost-ambient release by Dalhous meant discovering the thematics Mark Dall and Alex Anders were aiming at with this, and previous works. This really closed down an otherwise wide open piece of work, so I’ll not reiterate them here. Suffice to say the album progresses through a host of different moods, tied together by fragile and nostalgic overtones, with the intention of dealing with inner spaces, shared or exclusive. I’d much rather let the album take me to outer space and back, which it does flawlessly.
I love a good single. Why release 12 mediocre numbers when you can go straight for the jugular with one solid number that makes you want to crack open a cold one, take the day off work and spend some money on something dangerous. Maybe an air rifle and a litre of kerosene. Maybe a go-cart and some fire works. It’s really up to you. But while you are risking life and limb playing silly bastards instead of working for the man, it’s a good idea have Marulk on the stereo - on repeat, obviously because it is only one song. It might just be the best decision you make in a day otherwise full of mistakes.
Y U M Y U M S A I N T H A M I LT O N
After nine years since their last release the beloved California psychobillies are finally back with new music, much to the delight of fans all around the world. The songs are recognizably theirs: they have kept their consistency, including a prelude and slow outro song, as well as their characteristic aura of noir. At the same time their sound has matured in arrangements, approach and risk. Opera singers fill in where other acts would just use a theremin or a whirly tube; horns and percussion with Latin influences, even a light pop influenced song, are all connected by singer/guitarist Nick 13’s late 50’s and early 60’s inclinations. The resulting 13 songs hold that Tiger Army noir-elegance and rock’n’roll energy which should make for a perfect listen while riding out this summer.
Mark Pritchard Under the Sun Warp
Many throw the word ‘legend’ around a little lightly at times, myself included. My excuse is that there are musicians out there that conspire to produce stunning work over many years, never dropping the standard, always upping the game while moving between styles and directions. Mark Pritchard’s new album ‘Under The Sun’ is another foundational stone in building the myth of this masterful producer and musician. Characterised by an ambient soundscape this is nevertheless not an 'ambient' album in the sense that it simply fits with the air around you. ‘Under The Sun’ is by turns unsettling, eerie and stunningly beautiful - like chancing upon a vast vista of coloured interstellar clouds, light years in diameter, on the edges of a galaxy far away. FERGUS MURPHY
T H I S I S E X AC T LY H OW YOU W R I T E G R E AT H E AV Y M U S I C . Henge S/T God Unknown Records
I absolutely adore this debut album by London-based psych-noise rockers Henge, but I am entirely clueless when it comes to this kind of music, so I got my main man Morten Kjærgaard—who occasionally spends his time loudly shouting stuff on top of some even louder guitar stuff—to do the review. I’ll forward the paycheck. Hah. Take it away Morten: HENGE drops tough going stoner rock with elements of sludge and a touch of southern twang. For people used to other heavyweights in the genre, like Sleep, Pallbearer and Dopethrone, the guys in Henge are not reinventing the wheel. However, although the Henge wheel is made from heavy, gritty bedrock, it still turns smoothly and does exactly what you want: The bass is thick, nasty and propped up with effects, the vocals are harrowing and heavy. Tracks like 'Time Outside' dips into quasi postrock territory, cinematic cheesiness not included. This is exactly how you write great heavy music.
The Dwarfs of East Agouza Bes Nawa Recordings
In the grand scheme of things I’m not necessarily too keen on music with ethnic elements, but when it’s conducted with such skill, as is evident on The Dwarfs of East Agouza’s debut album, I have to surrender. The Egyptian combo may be a fairly new constellation but they share among them a multitude of inspirations as well as a long history as performing musicians. Hence Bes is a psychedelic exploration and conjunction of improvisational jazz, psychedelic rock and traditional North African music—most notably with the emphasis on the rhythm section and dissonant instrument jangling. The level of improvisation is remarkable and rather appropriate in this regard. The rambunctious album finale, ‘Museum of Stranglers’, successfully concludes Bes as an impressive 34 minute jam. KL AUS BOSS
Beastie Respond Back to the Future
ASM US DOH N A N D M OR T EN KJÆ RGA A R D
The young Danish producer Beastie Respond returns to strong form on rising Danish label Circle Vision. He already made promising waves with his ‘Fictitious Nostalgia’ LP from 2013 and with tracks featured on the revered ‘Mosaic’ compilations from D’Bridges Exit Recordings Since that time though it’s been a little quiet, which may explain the ‘Back To the Future’ title on his latest offering. It is definitely a return to previous form, except rebooted and rebounced. Synths, breakbeats and the rhythmic impulse are still similar but there is a shaky brashness to a track like ‘Joyryder’. The title track drifts a big clear 90 style vocal into orbit across and boasts a Silkie remix that matches the soulful futuristic territory perfectly.
Brooklyn label Downtown 304 reaches out across the Atlantic to Oslo and finds one of Norway's finest producers in rare form. This deep and enveloping EP. creates an album-like atmosphere with its richly crafted attention to detail. The same refined touch characterising his edits of Fela Kuti and Milton Nasciemento, which found favour with Dj’s, music fans and tastemakers like Gilles Peterson, are also found here on his own compositions. The studied pace of these tracks elevates them to an elsewhere of 4/4 heaven, where lines of melody weave through pulses of bass and the arrangements bring an understated drama to the songs that continues to repay the listener on repeated listening. It's a case of Joystick Joy all the way.
THIS RECORD RIGHT H E R E I S T H E O N E T H AT M A K E S M E WA N N A D R O P E V E RY T H I N G AND CHAIN-SMOKE MY BR AINS OUT
The KVB Minus One Sans Editions
Traxamillion Trapp EP Self-released
Yee! The veteran San Jose producer and emcee, responsible for producing The Jacka’s stone-cold classic ‘Glamorous Lifestyle’ and many other Bay Area slaps, returns out of the blue with a new-six-tracks strong EP. Trapp EP successfully cross-pollinates trap with Bay Area slap aesthetics thanks to Traxamillion’s production skills and great efforts by AkaFrank, Kool John, NTG and Traxamillion on his own. Artists such as Future, Juicy J, Gucci Mane and other usual suspects of the trap game undoubtedly serve as references, thus having their say on the final result. That being said, the bass-heavy West Coast sound is still very much evident, ensuring that the distinctive identity that has made Traxamillion’s name remains. Best track? Judge for yourself. KL AUS BOSS
The KVB released tons of deliciously post-punk-tinged stuff since 2012’s Minus One, but this record right here is the one that makes me wanna drop everything and chain-smoke my brains out in a dank, piss-stained warehouse with some dude who kinda looks like Ian Curtis resurrected if I squint hard enough. Not that I actually have time to do that often, otherwise I TOTALLY would. Ok, but seriously: the tracks here are blistering, fuzzed-out shards of broody adrenaline, with a relentless crunchiness to the guitar and a droning moan to the vocals (HOT). It’s fucking charming in a quietly brutal, dirty way, which sounds pretty much like every guy I’ve ever gone for, so obviously I’m down. All the tracks are lethal, but ‘Live or Die’ is gonna swoop in and and take your brain hostage as you mentally transport yourself, your imaginary leather jacket and leather-clad boyfriend to 80’s London. Yeeeeeah.
Anohni Hopelessness Rough Trade
P O L I N A B A C H L A KOVA
Giuada Speaks Evil Burning Heart Records
Let’s face it. A lot of cool shit went down in the 70’s. Sure, everyone gets down on the early punk years and great they were too. But what about glam? What about The Sweet. What about platform boots with denim flares? What about Slade? If you hate Slade, I hate you. And you know who else hates you? Giuda. If you want some fist-pimping, ass-shaking, goodtime high-energy rock and roll then Giuda is the shit you are looking for. It’s pretty much what we have been looking for since 01.01.1980. Beware, if you think this is some revival kitsch then I advise you to leave out the back door and take your drink with you. Giuda is only for the kids that are serious about the party. Y U M Y U M S A I N T H A M I LT O N
Anohni (formerly known as the singer of Antony and the Johnsons) has already made one of the most important records of 2016. Musically it is a rich mix of beats, soundscapes and tints from different cultures, all tied together with her distinct voice and unforgettable melodies full of soul and emotion. What’s most impressive is that immersed in these stunning and powerful productions are heavy and necessary statements on many current and vital issues, tackled solely with poetry and a pinch of irony and defiance. There is quite a bit of good music out there this year, but it is rare for artists making great music to simultaneously have something important and relevant to say. Highlights from the album include ‘Drone On Me’ and ‘Obama’. CAROLINA ECHEVERRI
GIRLS ARE AWESOME PRESENTS
STREET CITY AT ROSKILDE SUNDAY 26 JUNE 8PM
TOMMY GENESIS (US /CA) PIECES OF JUNO (NO) BABY BLOOD (DK) DJ MAMIKO MOTTO (UK) YUNGEST (DK) OKAT (DK) ALVARADO (DK) GIRLSAREAWESOME.COM
Kevin Morby Singing Saw Dead Oceans
An earthy and sparse record by a young singer-songwriter writing beneath the LA sun. If you like singer-songwriters of the ’60s and have a few Kurt Vile or War on Drugs records in your collection this is definitely a record for you, and an artist to keep your eyes and ears on for years to come. His musical references are rather clear, though he also has a voice very much his own, as well as a playful approach to the genre which makes this record a light and friendly soundtrack for any occasion. CAROLINA ECHEVERRI
Fighting the Dogs
21 years ago I encountered this weird looking and definitely weird sounding Viennese label run by Peter Rehberg, aka Pita. Coming from a more dance music orientated background, it took me some time to get acquainted to the experimental approach of Mego Records. It was soon to become a rewarding friendship of frequencies though, which in many ways opened my ears to the more challenging realms of modern music. Get In offers a broad selection of experimental music, which spans from the binary rhythmic noise of Raster-Noton to the delicate atonal ambience of ‘Line Angel’. Two hundredand-some releases in, Editions Mego still manages to stay relevant in the world of uncompromising experiments.
There’s no escaping at least one recommendation of a 95% dancefloor-focused release. This month it emerges in the form of Berlin-techno-governor Henning Baer’s label-debut “Manhigh”. While the chosen artwork is very up to date, sporting 90’s-photocopy-rave-flyer-aesthetics, the music also rests upon more recent legacies from the likes of Horizontal Ground/ Frozen Border releases. On Manhigh001 the sound has been widened and warmed up even further, and Mr. Baer does an excellent job of balancing industrial influences with groove and Detroit-y string stabs. ASMUS DOHN
KL AUS BOSS
Black Rainbows Stellar Prophecy Gabriele Fiori
Are you ready to get heavy? Like, journey-to-the-outer-reaches-of-theuniverse-on-a-mystic-translucentstallion-to-converse-with-the-greatserpent-gods-of-ancient-wonder kinda heavy? Well, you better put on your heavy jacket and your heavy boots. Black Rainbows are going to stick a rocket up your ass that will take you to heavy heaven. If you think the Italians need lessons in how to get down with the heavy fuzz, you’d be wrong as fuck. Get high. Get heavy. Black Rainbows: straight outa Roma, heavier than yo momma after five bowls of ravioli. Y U M Y U M S A I N T H A M I LT O N
G E T H I G H . G E T H E AV Y. BL AC K R A INBOW S : S T R A I G H T OU TA R OM A , H E AV IE R T H A N YO MOM M A A F T E R FI V E BOW L S OF R AV I OL I .
FAT IM A H A S T H E P OW E R O F H IP HOP AND THE PUR I T Y O F VO I C E F O R JA Z Z
Fatima Still Dreaming Ep Blue Note/ Eglo
Soundpatrol Sweetened - No Lemon Arts and Labour
Since the initiation of the Discogs marketplace, this sole album from Derrick Carter and long-time friend Chris Nazuka rapidly rose to cult status among trainspotters, and gained a reputation as of one of the most elusive albums of the mid 90’s. As the originals seemed to be cut on vinyl, constituted by desmorphine aka ‘Krokodil’, the sound quality was abhorrently inferior. Finally the Arts and Labour label have shown fanatics some mercy and reissued the classic Sound Patrol album in a remastered edition. Carter and Nazuka’s masterpiece is a fun-fledged psychedelic house music opus. It even comes with four never-before-released tracks, which all serve as fully competent album additions. ‘Cruisin' with the Top Down (Lazy Sunday Edition)’ stills stands above the rest, with its achingly beautiful melancholia that nonchalantly clocks in at the seventeen minute mark. If you want an essential piece of creative musical history, go for ’Sweetened - No Lemon’.
Call Super Nervous Sex Traffic Dekmantel
This should in principle be the warmest of recommendations of all the recent (and less recent) releases from the hands of J.R. Seaton, aka Call Super, aka Ondo Fudd. Bringing some much needed musicality back into club-based electronic music, Seaton creates moods with such demanding presence that I believe he almost induces universal synesthesia for all listeners. At times he shares some aesthetics with the Sex Tags Mania crew and the newest Versatile releases, but Seaton seems to be a bit more in control of the dry/wet-knob on his spring and tape delays. Overall the Seatonesque ambiences are slightly less gimmicky than that of his peers and the result is peerless. ASMUS DOHN
KL AUS BOSS
The legendary Blue Note label have taken notice of the Swedish born, London based singer Fatima. She is part of the Eglo Records crew, whom regular readers will know we have featured heavily in these pages and Blue Note plan to reissue her stunning ’Yellow Memories’ LP which continues to find new fans and is still some sort of high water mark for this muscular hybrid of jazz, soul, hip hop and bass culture. As a singer Fatima has the power of hip hop and the purity of voice for jazz, lyrically articulate and precise with a beautiful light rasp to the throat. This teaser Ep. features some old songs and 2 brand new diamonds produced by Flako and B.Bravo/Teeko.scular hybrid of jazz, soul, hip hop and bass culture. As a singer Fatima has the power of hip hop and the purity of voice for jazz, lyrically articulate and precise with a beautiful light rasp to the throat. This teaser Ep. features some old songs and 2 brand new diamonds produced by Flako and B.Bravo/Teeko. FERGUS MURPHY
@globebrand | GLOBEBRAND.COM | est. Australia 1994
Introducing David Gonzalez’s new signature shoe the Eagle SG. Globe’s Shogun cupsole adds greater support and flexibility with an added deep footbed for impact control.
DAVID GONZALEZ | THE EAGLE SG
NICK BOSERIO BACKSIDE 50-50
ANY STYLE / ANY SPOT / ONE BRUIN B S 100 2 6