SLIM JIM PHANTOM HOLY THE BRITANYS VIDEO BROKEN HANDS
MUSIC 6 10 16 32 52 74 80
SLIM JIM PHANTOM THE BRITANYS HOLY VIDEO SAP BROKEN HANDS LARRY HARDY
FASHION 22 62 84
MILO KESTER JAKE LUCAS JOSE WICKERT
Tina de la Celle & Julian de la Celle
Alex James Taylor & Julian de la Celle
FASHION EDITOR Dana Boulos
Tina de la Celle & Julian de la Celle
CASTING DIRECTOR Tina de la Celle
CONTRIBUTING PHOTOGRAPHERS Daniel Topete, Klara Ferm, Maud Maillard Raul Romo, David Evenko, Julie Patterson Nuria Rius, Sophie Mayanne, Al de Perez Sarah Louise Stedeford
INTERNS Fiona Feder & Aimee Perez
Moriah Berger, FM London, Ellie McLellan Sasha Oâ€™Neill, Christian Kurz Third Man Records, Ben Swank Crossroads Cafe, Pioneertown, The Spurstowe Arms Tomorrow Is Another Day, Ksenia Galina Yusuke Morioka, Bumble and Bumble Joe Parry, AMCK Models, Patrick Egbon-Marshall, Theresa Davies, Kim Rance
Jacket Scotch and Soda
ROCKIN’ THE TOWN WITH
SLIM JIM PHANTOM Julian de la Celle: [A dog barks] Oh is that your dog? Slim Jim: That’s my little dog in the background, yeah. J: What kind of dog is it? SJ: He’s one we found on the street like 2 years ago. He’s a Chihuahua mixed with a Pit-bull and a wienie dog, he’s a unique little character. We found him on the streets and now he’s living in Beverly Hills. He hikes everyday with The Sex Pistols and all sorts of famous people go to The Palm and bring him the bones back. He’s like a little character around town here. J: So you grew up in NY? SJ: Yes, Long Island. J: What music inspired you growing up? SJ: When I was younger I guess it was whatever was on the radio, this must of been mid 70s I suppose. Then I started to play the drums and got into jazz and the blues. Anything I could get my hands on really. I was into Led Zeppelin and Alice Cooper and The Stones. There was a Beatles album around the house that someone got for my mother as a gift. My father had a Hank Williams record, and they weren’t music people but it was just whatever happened to be there. It was really anything I could play the drums along to. I had bands in school; Lee Rocker from The Stray Cats and myself always had a band together. Then I was about 18 and I heard Elvis Presley The Sun Sessions and that’s when it got very clear what to do. I fell in love with Rockabilly music and everything relating to it. I didn’t know that this existed; I knew who Elvis was, of course, he was a famous guy and a great singer, but I didn’t know about those early, early recordings and I got turned on to it. That led to Gene Vincent and Eddie Cochran. I went from having long hair and flares to, like, the next day going to St. Mark’s Pl, Greenwich Village, New York City and cut all my hair off. I went to Andy’s Chee-Pees second hand clothes and got some baggy pants and pointy shoes and left my old clothes in the dressing room. It was literally like a lightning bolt and I’ve loved that music ever since! That was it, the path was carved out.
J: When did you know you wanted to start playing drums? SJ: It really just appealed to me, the whole idea of it. Being a ball player or being in a band, it would be the greatest possible thing you could do, there seemed to be a camaraderie, or like a gang mentality but you were adding something artistic to it all. I knew I couldn’t be on the NY Yankees, but the drums I kind of thought I could do it. I still see people play the sax or the piano and I’m amazed that anyone can do it. I loved all drummers and I still do. So I tried it and I could relate to it and got pretty good at it. My whole thing is I had the other two, that’s what I always say, they were in school with me. J: What made you guys want to form The Stray Cats? SJ: Well, Lee and I were in the same grade, so we’ve always played. First time he had a bass, first time I had a drum kit, we’d just play together in the garage. Brian is a few years ahead of us, which doesn’t matter now, but when someone’s 14 and someone’s 16, you know? But we kinda were all good musician guys in our neighborhood and we just all kind of were arriving at this music at the same time. Brian was onto it, he was doing a little solo act, just by himself because he was in a band, Lee and I were in a band. Then we started to do The Stray Cats as a little bit of fun on the weekends to play four sets a night of Buddy Holly and Eddie Cochran songs and before we knew it that was attracting a pretty big crowd. We were good at it right away and then we played for a year and a half or so. Clubs in Long Island; five nights a week, four sets a night. J: Do you remember your first gig, or whatever you would consider being the first REAL gig you had? SJ: Well, I remember, it was one of the few different ones, a place called Arthur’s Bar in Massapequa. There were a handful of them to do once a month like CBGBs hoping to get a record deal but in the meantime we were making money on Long Island as kids. Brian and I shared a little flat, we woke up late everyday, went clothes shopping at thrift stores; every one between Massapequa and New York City, we knew ‘em all. We were having a good life and I was 18.
J: Do you remember the first record you bought? SJ: I remember I bought Alice Cooper’s School’s Out and it had the panties on it. And I got in trouble because I spent the money my Nanna had given me for my confirmation and that’s what I brought home. “You spent 10 bucks on what? Jesus!” I do remember that. J: What was it like to be one of the only Rockabilly bands in America when there were so many new-wave bands going around and what was the reaction from people? SJ: Well, when we started doing it in New York and Long Island it really was the weirdest thing ever, there was no template for it. They even knew what punk was because The Clash had made a couple records and The Ramones were around. There was new wave, Blondie was from New York and Talking Heads and then there was us being from Long Island, like, Billy Joel was in the mix! Elliot Easton from The Cars came from our neighborhood. He was the first guy I ever knew that got out of our neighborhood and made a record. So there was a very small template, but what The Stray Cats did was completely different, they didn’t know what it was because it wasn’t punk, it wasn’t new wave, and it was really under everyone’s nose, but no one was doing it. We were the only ones that I know of and we amped it up a little bit because we were also influenced by The Sex Pistols and The Clash, we loved that stuff, and we loved Gene Vincent. That was the hybrid that came out, not really on purpose. But it was very exciting because there were just three of us and we drove to the gigs in one car, my car, which we had a little PA sticking out the back window, us across the front seat, it really was that. That’s a very fond memory and we knew it was good and we fought against everything. In Long Island it was all about long hair and 70s rock and we walked around 24/7 in pink peg pants and black and white shoes and the hair put up high every minute of the day, it was quite a sight. 1979 on Long Island, it was a pretty big deal. J: I know you went through a lot of different names for the band, how did you guys settle with The Stray Cats? SJ: Well, we were called The Tom Cats, that was really the other name we had. Then we went to England and someone said “Tom Cats, is that as good as we can come up with?” And I think Lee chimed in with Stray Cats and it really suited the moment, we were kind of homeless really. Cats was always a part of it, something cats.
J: What made you guys move to England? SJ: We wanted it really fast. We played for a year and we were making money, I mean, anyone in their right minds would of stayed in New York and played the clubs. We had a following that wasn’t Rockabilly people but they just went everywhere that we went. But we wanted to make an album. We weren’t getting the kind of attention we wanted in New York. It was kind of an adventure, probably ill advised. Go to England, don’t have a return ticket, don’t know anybody. J: Sounds like a great idea to me. SJ: Yeah, it’s cool when you’re 18. We went in the summer time too, which was probably lucky. There really wasn’t a plan though, we just wanted to go to England. We saw pictures of Kings Road and thought “Oh they’ll get what we do there!” So we just went, really. We had the guitar, the bass and a lot of clothes. We packed up our suitcases and we just went there and then went “Now what?” We knocked on a lot of doors, told a lot of stories to a lot of people. Maybe 3, 4, 5 months went by and we lucked onto a couple of opening act slots. 4th on the bill at a pub and by that time we had become friendly with people because we were trying to make the scene and a lot of people started to know us. We were those guys from New York who were always dressed up but had nowhere to live. When we had a gig, finally, everyone came and...I don’t know if anyone is really like The Stray Cats or if there is a comparably thing, but we’d say it’s a little bit like punk rock, but we love Rockabilly and we’re all kind of jazzy. Now when you’re explaining something you can say it’s like The Stray Cats and somebody knows what you mean, where at the time we didn’t really have a way to label it. So we’d play those early gigs in London and it was all the people we’d become kind of friendly with; Lemmy, Chrissie Hynde, Joe Strummer, Glen Matlock and Steve Jones. Those people were in the audience because we’d just been making a lot of noise around town. [laughs] It kind of caught on really quickly there. It was the perfect time when there was all the music press like NME and Melody Maker and all of those so the next week they would do interviews with Strummer and stuff they would say “What are you listening to?” And they would all say “this new band from New York, they’re amazing, we saw them the other night!” So a lot of things clicked at the same time.
J: When you were in England, was that when you got signed to a label? SJ: Yeah, yeah. We had our choice of labels. We were kind of homeless to be honest with you. We were sleeping on floors and we went from that to being courted by every major record label. We went with EMI. J: How long were you out there before you decided to move to LA? SJ: The first record was a big hit in England and usually when you have a big record in England it kind of translates a little bit to Europe. We went and had big chart records in France, Germany, Holland, all over Scandinavia, Australia, Japan, so we were out about 2 years before we came back to The States and did the whole thing over again. Started out in the van, ya know, because we wanted to crack America and we put the work into it. At that time it was the perfect storm of MTV starting and they needed content at that point. We did a couple of videos in England, we had one or two of them in the can. Coming back to The States, they still didn’t know what we were, nothing had really changed the two years that we had been gone. But we put the work in and went and played 100 shows and it all sort of clicked. Hard work and preparation equals luck. [laughs] We still had the mission that we wanted to bring this to the American people because this was American music and it was overlooked. These people know The Rolling Stones version of American songs, which I also like myself, but we wanted people to know that, like, this is Buddy Holly! We were very hungry for that, proving people wrong. J: How was the writing process like, did you have a lot to do with the lyrics as well? SJ: Yeah, a bunch of the songs Brian and I would sit and write. Ya know, he’s such a musical genius. We would have phrases and cool things that we wanted to say and he’d say you go home and write the lyrics to this one. Some of the early ones were that way. Some of them he brought in as complete songs. So it was a little bit of both. J: Was it you that penned your nickname Slim Jim? SJ: No, that’s a real nickname, I didn’t come up with it myself. My name was Jim and I was the skinny guy, my dad was big Jim and so I was slim Jim. I’ve always been that. These guys call themselves Hot Rod John, who calls you that? Well, you call yourself that! [laughs] Phantom I made up but Slim Jim I didn’t have a choice.
J: So you’re based in LA now, what made you want to live here? SJ: I came to LA in ‘81 and never left. We came here when The Stray Cats were still living in London for some kind of event and it was the wintertime. I’d never really experienced nice weather. I’d traveled around the world but I’d never been to LA before. Then we came here and someone took me to The Rainbow. I saw no reason to be anywhere else, I still feel that way, it’s a great place. I don’t like being cold, especially if I don’t have to be. I went back and fourth for a long time between LA and London and London is like my second home but LA is where I feel like I’m coming back to always. J: Do you remember any live shows growing up? SJ: I was just talking about this the other day. You know, we were so young when The Stray Cats hit that I had never really...I’d been to a lot of clubs before, but as far as rock concerts I never really went to one before. The first time I ever saw The Rolling Stones, we opened up for them. Because I didn’t have the money! We were 16, 17 years old. I was a little bit too young too. After that I’ve been to 1000 rock shows and it’s nice because you get treated well, but early on I remember we opened up for The Kinks at an outdoor rock festival in Holland and it was raining. Amazing! But it was the first time I’d been to something like that. I was so thrilled by it all. J: What other projects are you working on right now? What’s in store? SJ: I’ve got this band The Jack Tars with Captain Sensible of The Damned, Mike Peters of The Alarm and Chris Cheney of The Living End. We’ll be on tour around the time this is out. We’ve made a record. That’s the one thing I’m really into right now. I still do my own thing, a trio I do under my own name. It’s always a phone call away from The Stray Cats or when Lemmy has some time doing that. Just 100 hears later and I’m still a drummer! [laughs] I’ve written a book, so that’s gonna be kind of cool. A Stray Cat Struts: My Life As A Rockabilly Rebel. It’s taken a year, but it’s coming out on St. Marks Press. J: Very cool. I’m guessing that any possibly of a Stray Cats reunion you’d be down for? SJ: Oh sure, I’m the drummer, I say yes to everything! The others always…you know.
THE BRITANYS Photography Daniel Topete
Jake: We’re all here and we’re ready to rock. Julian: Introduce yourselves along with your spirit animal. Jake: My name is Jake, I play guitar and my spirit animal is a seagull because it’s a trash bird. Steele: My name is Steele, I play the drums. I gotta go...horse. That’s my spirit animal, I think. Jake: Yeah, cause they have thick dicks. Steele: I didn’t say that, I didn’t say that! [laughs] Jake: Yeah, that was trash bird that said that. Lucas: I’m Lucas, I play guitar… Jake: You also sing. Lucas: I’ve actually been on some vision quests and I have not been able to find my spirit animal so… Steele: I think he’s a jackal though, like, a bad dog. Jake: A very bad dog. Gabe: My name’s Gabe… Steele: He thinks he’s a fox, but I don’t think he’s a fox. Gabe: I play bass and I DO think I’m a fox, fuck Steele. Julian: So are you guys all from NY? Steele: Me and Jake are. Gabe: I’m from Boston. Lucas: San Francisco. Steele: But we’re all New Yorkers now! [laughs] Julian: When did you guys form, how did you meet? Lucas: I guess, like, a couple of years ago now. Steele: Yeah, the end of our freshman year in college. Lucas: Steele was a well-known drummer. Steele: I wasn’t. Lucas: Somehow I got his number through someone else. I was like “I wanna start a band, do you know a drummer?” And he told me about Steele. Steele: He showed me a tag he did of the thing that said The Britanys with a lightning bolt and he was like “that’s the name, that’s the logo.” We booked a show at the Lit Lounge, a really shitty dive bar in the lower east side. We didn’t have any songs written. Lucas: Gabe and Steele were roommates and Steele was like “My roommate’s a bass player, can he play too?” And I was like yeah sounds good. So it was a three-piece and Jake just came on a couple of months ago.
Jake: I came in just for the glory days. Wait, what did you guys play if you didn’t have any songs? Steele: Lucas had some written but none of us knew them. Jake: How did you play bass…? Steele: Because Gabe is a musical genius, bro. Gabe: Yeah! [laughs] Jake: I imagine you all showing up at the venue never having played music. [laughs] Steele: Gabe could play anything just on the spot. That helped out. Julian: When you aren’t playing music what else do you guys do? Steele: I don’t do a lot. Lucas: Play FIFA. Steele: Yeah, I play a lot of FIFA. NBA 2K too but it pisses me off. Lucas: Eat sandwiches. Steele: I watch a lot of soccer. Me and Jake are soccer buddies. Jake: I’m on Tinder most of the time. Just failing. Being really sad. I just updated all my pics, trying to get a different crop for the harvest. It’s going to be a long winter. Steele: And then Gabe studies Philosophy. [laughs] Jake: They’re in school. They’re in those places. Julian: Are there any other bands that you guys were friends with when you started or met through touring? Steele: Yeah, we’ve met a fair amount. Our closest ones are probably Larry & the Babes. Lucas: They’re a local band. When we first started out we would play all of our shows with them and throw parties with them. Jake: I’m actually buddies with two guys that are involved with FOXES. James from Beach Party and Angus from SAP. Have you seen James’ tattoo? The Bon Jovi one? James and I have matching tattoos. It says, “This is my life” - Jon Bovi. [laughs]
Julian: Do you guys remember the first record you ever bought? Lucas: I had the NSYNC tape. [laughs] Gabe: I was Backstreet Boys. Steele: I had this really shitty Aerosmith record called 9 Lives. I remember sitting in the dining room, just rocking out. But I also kinda knew it sucked. Jake: I got The Spice Girls record. I think the first one I bought where I was like “this is music” was Kid Rock’s Devil Without a Cause. Lucas: I think the first one I actually bought was 50 Cent In Da Club. And whatever that Eminem one was. Steele: I remember my mom bought me the Smash mouth record too. My mom was picking me and my sister up from elementary school and she was like I got you guys the Smash mouth record and I remember we were so excited, we were jumping up and down. Lucas: The first REAL one I bought was The Velvet Underground. Julian: What was the first live show you saw? Lucas: I saw NSYNC in kindergarten at the Oakland Coliseum. Steele: The first one I wanted to go to, my sister had a birthday party at The Spice Girls show, but I was a little too young to go and I cried. Lucas: This one, I was actually in my mom’s stomach, but she saw Nirvana. Steele: But, the actual first show I went to, I was in 6th grade and it was The Dandy Warhols at CBGB’s. My dad used to play there a lot and he still knew a few of the people that worked there. Jake: I saw like Hall and Oates or something. Gabe: I think it was like Stanley Clarke or something. Julian: What’re some of your influences, I hear a little bit of The Libertines in there, not sure if you listen to them? Jake: Never heard of em! [laughs] Steele: Yeah, stuff like The Libertines, Arctic Monkeys...we both love The Kinks. Lucas: The Zombies, The Beatles. Steele: Lucas likes The Rolling Stones a lot…I don’t like The Rolling Stones. Lucas: Iggy Pop, Bowie.
Julian: When you guys record do you do all of that yourselves? Steele: We have a studio in our basement. Julian: Oh, do you all live together? Steele: Yeah, except for Jake. But he sleeps over a lot. Jake: Yeah, without their permission. Steele: He always leaves trash in our house. Julian: Who bought the Kramer portrait in the back there? Steele: Oh, that’s me, I love Seinfeld. I have the same shirt too actually. I bought a green jacket George Costanza wears a lot. It would always come on before The Simpsons when I was little. I feel like if you’re from NY you should watch it. I sort of don’t respect people from NY that don’t. Julian: Are there any cool spots you like to hang out in NY? Steele: Yeah, I mean, we spend a lot of time in our house because we’re kind of boring, but…there’s a bunch of bars in the area that we like to go to. This place Welcome to the Johnson’s is cool. Montana’s Trail House is nice. Lucas: Elvis Guesthouse. Steele: We also all really like Baby’s All Right. One of our favorite places to play too. Julian: What do you guys have coming up right now? Steele: We’re actually mixing right now. We just recorded two songs and they’re going to be on the vinyl in February. Lucas: We’re doing a music video December that’s gonna be out in January. Another music video in March. We got SXSW too. Julian: Have you ever done it before? Steele: No, this is our first time. We’re doing another video in April, and trying to get over to England too.
HOLY Photography Klara Ferm
Julian de la Celle: Hey there Hannes, how’re you doing? Hannes Ferm: I am good, a bit tired from the weekend. How are you? J: Good, good. Did you play a few shows? H: Yes, we played Thursday and Friday at the same place, actually. First we played supporting Mikal Cronin and then supporting Sudakistan which is a band that just released an album on the same label as me on PNKSLM. J: Nice, I know Mikal Cronin, he’s cool. How did the idea of HOLY come about? H: It was really not an idea from the beginning. I started writing songs and then I got my closest friends to play with me and it grew really fast. We started out just putting on our shows for a bunch of people, but then it grew and I got in contact with Dennis from the Swedish band Refused and he wanted to release the album. Then Luke who has PNKSLM in Stockholm wanted to release it as well so we did a split release between Ny Vag, which is Dennis’ label and PNK SLM. J: Did you record most of the album yourself ? H: I did almost everything myself. My drummer plays drums on, like, half of the songs on the album and my guitarist Nora, she played guitar on some of the songs and sang some backup vocals. I recorded most of the album on a four-track at my home and in our rehearsal space. Music is not just what you play, but it’s also how it sounds and that’s a creative position as well. It’s weird just giving that to someone else, you know? J: So, you’re a control freak is what you’re saying? H: Yeah. [laughs] J: That’s great. So you prefer recording onto tape? H: Yeah, yeah. It’s like…instantly it sounds better.
J: I was listening to the album yesterday and it’s really good. I hear a lot of early Stones and Syd Barret but you also manage to mix in a newer stuff like Ty Segall. What are some of your influences when you’re writing music? H: Back then I listened to a lot of The Beatles and Clothilde’s album French Swinging Mademoiselle, she’s a really weird French pop artist from the late 60s. I listen to a lot of different stuff I guess. J: How would you describe your sound? H: It’s kind of hard for me to describe because creating the album wasn’t a very conscious process, I think the sound formulated itself while I was recording. I improvised a lot, and didn’t have a very clear concept of what I was doing from the beginning. And I’ve barely listened to it since it was released to be honest [laughs]. Maybe I’m not the right person to ask. I’m really just focusing on the new stuff right now and want to start recording it as soon as I can. But I think what I was aiming for with Stabs was something both powerful and fragile, you know? J: Yeah, I can hear that. When you aren’t playing music, is there anything else you like to do? H: Well, right now…it’s mostly music, actually. I used to write more before, like text. Drawing and painting, I do all the artwork for myself as well. But now I feel like it goes in phases. I think we’re going to have a little break from playing now for a while so that I can record the next thing. J: Constantly going. H: Yes! J: Where do you find yourself most happy? H: Just playing. It’s really what gets you through the day, actually. It’s one of those few things that actually gives you energy instead of just giving it away.
It’s pretty easy to be a vegan in Stockholm. It just feels natural, I guess, not to eat meat. I don’t have to worry about exercise either.
J: Are there any bands that you’re friends with or became friends with from touring that maybe you look up to or just enjoy them as people? H: I like a lot of bands that are my friends that are around me and are signed to the same label as well. Sudakistan, who I mentioned before. Nora who plays in my band has her own project called Boys which is really good, and I play drums in her band…maybe I can’t say that then (laughs). She writes good songs. I play drums in Lucern Raze as well, which is Luke from PNKSLM’s band. And then, um, Magic Potion are really good too, we’re friends. J: What did you start playing first then, you said you played drums? H: I played drums as a kid so that was my first instrument but then I quit and started playing guitar. I like to play whatever, you know. J: One of the bands we had in the first issue, MANKIND, I think you’re friends, they’re almost all vegan and I read that you were as well. How long have you been vegan for and what made you decide to do it? H: I don’t know, I used to be just vegetarian, and I’ve been a vegan for about half a year. It’s really normal here; it’s pretty easy to be a vegan in Stockholm. It just feels natural, I guess, not to eat meat. I don’t have to worry about exercise either. [aughs] J: I understand that one! [laughs] Did you work with MANKIND? H: Yeah, I helped out. I don’t want to spoil anything, but I helped them record some stuff and helped write a few songs as well. Arthur and I have known each other from way back, he was friends with my sister and they went to the same school. He’s great and now that I moved to Stockholm we get to see each other more.
J: Do you remember the first record you ever bought? Or one that changed your views on music? H: When I was in high school I had a band that sucked, but someone said we sounded a bit like The Kinks and I hadn’t heard of them before so I started listening to that Kinks album with “Lola” on it. J: Your sister does a lot of photography, she did it for this spread as well. Are you guys really close then? H: Yeah, yeah. We help each other out with stuff like that. I’m really close to both my sisters actually. She’s my little sister and my big sister does T-shirts for HOLY now, like, hand embroidered stuff. It’s really great to have common interests and to help each other out. J: What’s your writing process like, do you feel like it’s more personal or more about ideas that flow in and out? H: Yeah, it’s personal stuff, but I try to use symbols a lot in writing. Like, graphically, if you’ve seen the cover, it’s symbols and I tried to write around those things. They mean one thing to me, but if you listen to the song it means something else to you. I try to keep it subjective. I don’t want to be too obvious about it either. Those kinds of lyrics can be kind of boring to listen to, I think. J: I see a lot of photoshopped pictures on your Facebook of you and this dog; there’s a dog symbol on your album cover and a bark on one of your songs. Who is this dog?? H: Ohhh, yeah, yeah. When I recorded the album I had the obsession with this dog, a Russian Wolfhound. I don’t know why, I don’t have one and I can’t afford one either. [laughs] J: So what’s next? H: I want to do another album. We may have shows booked outside of Sweden, but I can’t give anything away right now. We’re looking forward to it! I have like 50 songs written already and now I just have to find the songs that have the same vibe. It can be hard to narrow it down.
PICTURES OF YOU MILO KESTER FM MODELS PHOTOGRAPHY MAUD MAILLARD STYLING KITTY COWELL
Shirt Farah Chocker stylist own
Jacket Samsoe Chocker stylist own
Where are you from? I’m from a small town in the countryside of England called Stroud, but before that I grew up in Tujunga, LA. How did you book your first modeling job or sign with your first agency? I met a guy on a night out in London who scouted me; he then sent some photos off to a bunch of agencies. FM London were the first to get back and so I thought “what the hell” and went to meet them. What is your favorite part of modeling? I really enjoy meeting the people on the shoot, and hearing about their lives and how they got into the fashion industry, it can be really interesting. I’m also really interested in photography so meeting and talking to the photographers is great. I also really enjoy having my make up done! Have you done FW yet? If so what is your favorite city? I haven’t done any fashion weeks yet, but January will be my first season.
What do you do for fun? Any hobbies? I love music and, as I’m living in London, I go to gigs frequently. I went to a Kiasmos gig in Brixton, which was incredible. I also like cycling. Do you have anything cool coming up? I’m going to see my friend’s band Body Clocks play back in Stroud soon, so I’m looking forward to seeing them play and catching up with everyone. What type of music do you listen to? I listen to all types of music but some of my favorite genres are electronic, jazz, psychedelic rock, desert blues, trip hop, hip hop and funk and soul. Who is your favorite band? I don’t have a favorite band at the moment but I’m really enjoying listening to Goat and Nicolas Jaar. What was your first concert? The first concert I went to was BB King at the Rose Bowl in LA.
What are some of the designers you have worked with? Kenzo, Topman and Alexander McQueen.
What is the first record you ever bought? The first record I bought was Road to Ruin by the Ramones.
What would you do if you were not modeling? What’s your dream job? I am currently studying fine art at Goldsmiths University in London. After I have graduated I would love to pursue a career as a self-employed artist.
What is your favorite animal? My favorite animal would have to be the grey wolf.
Jacket Scotch and Soda
After a shoot in Downtown LA and a couple burritos from El 7 Mares, VIDEOâ€™s Daniel Fried and I were ready to drive down to San Pedro where we talked about...
VIDEO Photography Raul Romo
I’m running around out in the middle of this parking lot getting poured down rain. There are these mom’s in yoga pants that are walking by staring at us and I’m just screaming at them.
Daniel Fried: Alright, here we go. Julian de la Celle: It’s happening. How did you get into music? D: I basically got into punk rock when I was 12. I heard The Ramones for the first time and they’ve been my favorite ever since then. I’ve got really obsessive because I lived in a really small town in East Texas called Marshall and there’s nothing there. Nobody’s into punk, nothing like that, so I had to dig for everything I wanted. If I wanted to hear good bands I had to try really hard and really search them out and read books and look through magazines and order CDs. I’d have to drive 30 minutes to the CD store, order the CD and then wait two weeks and then listen to it and then see if I liked it. That kind of made my brain act differently, I guess. J: Were there any record stores out there you went to? D: In Marshall? No. Not there. [laughs] I had to drive to Longview. There was a Hastings which is basically a Best Buy that also sells used stuff. I don’t know. There wasn’t really much in the way of that. I read that book Please Kill Me and read about these bands and I’d just be like “Okay, well, I’m gonna go get these CDs.” But outside of that, there was, I mean, no actual other good music or anything. It wasn’t til I moved to Denton to go to college that I was around record stores and other people that were in good bands. J: What was the first record you bought? D: I bought two cassette singles: Tim McGraw’s cover of Indian Outlaw and Snoop Dogg’s Gin and Juice. J: How did that happen?? D: I don’t know, it was like a straight up weird country song and Gin and Juice [laughs]. That’s what I was into when I was like 5 or something like that.
J: How old were you when you started playing music? D: I was 16. Peyton, the guitar player for VIDEO, actually taught me how to play bass because he lived in Marshall for two years and we met in high school. He taught me because he was like “we should start a band!” and I was like “I don’t know how to play anything.” And he just showed me and from there I taught myself how to play guitar and then from there I started writing a lot of songs. I’m pretty terrible musician-wise. Like, I’m the most basic rhythm guitar and bass player and. I’m very straightforward. It’s because I never wanted to be flashy, I just wanted to write songs, that was my goal. J: Are you like Sid Vicious bass player? D: More like Dee Dee Ramone bass player. I wanted to be very solid and simple. J: When did you start VIDEO? D: In 2009, I think, maybe. We’ve been a band for a lot longer than people think. Our first album came out in 2011. That was the greatest album ever made, until this new album came out The Entertainers. J: What are some other influences for you with VIDEO? D: There’s a lot of different weird stuff that people wouldn’t understand, I don’t think. The Adverts are a pretty big influence; they’re a UK punk band. I take a lot of things from other bands that people wouldn’t associate, like, Pulp, The Killers, they have really good song structures. As a student of the game I look at those sort of things and dissect them and see how I can apply them to my own music. A lot of hard rock bands like Hawkwind, they have a lot of cool psych spacey freak out stuff. The album Space Ritual, it’s a live album; it’s like the perfect driving record. Oh and Roxy Music, I love them.
J: What was your first live show? D: The O.C. Supertones. It’s a Christian-ska band that I saw at Mobberly Baptist Church in Longview, Texas. I was a 13 year old fat kid, skanking his ass off all around this church gymnasium while The Supertones played. I was, man, that was really an event. That was like 1988 so Ska was at it’s height of popularity. In East Texas it’s very hard to get ahold of any sort of records or music so a lot of my first bands that I kind of got into were Christian punk bands. Like MXPX, you know them? J: No, I didn’t even know they had Christian punk bands! D: Oh there’s a ton! There’s a whole genre of it, there’s Christian everything bands. If there are any bands that get popular in the mainstream there will be a Christian band that basically apes it but writes all the songs about God. This is the bible belt we’re talking about, but when I would go to Church when I was a kid they had these lists that were like “if you’re into these bands then you should get into these bands.” So like if you were into Bad Religion they would have a Christian band for you to listen to. If they like Green Day, they’ll like MXPX. This was a side-by-side comparison. It was very, very weird. I always thought it was bullshit because I liked other bands too. You’re not gonna get your mind corrupted just from listening to things, it might actually broaden your perspective. You don’t go kill people or anything. J: How did you end up coming together with Third Man Records? D: Well they asked us to play their SXSW showcase because I think they were looking for bands from Texas. One of the guys, Josh, he e-mailed us and said that he thought for sure that we wouldn’t do it, that we were either gonna say no or that we were busy. We didn’t really play that often because of our other bands and we wanted to make our shows seem really special so we’d play like twice a year. So this whole thing where we’re playing more often is a very new experience. But back to Third Man, we ended up saying yes and we played their SXSW show and it was raining the whole time and we were underneath this tent. I think that Ben Swank appreciated the fact that we plugged in and just went for it. I’m running around out in the middle of this parking lot getting poured down rain and there are these mom’s in yoga pants that are walking by staring at us and I’m just screaming at them. And that was actually a week or two after my girlfriend dumped me at the time so I was a man that had nothing left to lose. I was just going insane. You could see it in my eyes.
J: Is this the show where you smashed the mic to your face? D: Oh, no. I don’t do that. I do bleed a lot but I don’t do it on purpose. It just happens. I learned a long time ago that if you hit on your face it hurts worse than it looks cool. People think like “Aw, it’s going to look super intense.” Unless you super over exaggerate it, it’s not gonna work. Then you’re the one who’s bleeding and looks like an idiot. J: Have you already started on the third album? D: Yeah, we’re about halfway done with it now. Our second album’s inspiration was based on Hollywood Babylon even though Hollywood is a place I’m not very familiar with. I was reading that and kind of thinking in a classic Hollywood sort of vibe. I really like 30s and 40s cinema and stuff. I’m a big Chaplin fan. The first song is a minute and a half long piano solo. It’s where anyone that likes punk music that liked our first album are gonna put it on and go “what the fuck is this?” J: Is that your goal, to change every album? D: Totally. I wanted the very first thing to be something that makes you say, “I didn’t sign up for this.” Whether that’s a good thing or a bad thing…it takes 3 minutes for vocals to even start. I wanted it to sound like the opening credits to a movie. There are four songs on the record that all revolve around the same three chords, I wanted these key songs to have the same chords so you felt like you were in the same pocket but they’re turned around. J: You put a lot of thought into this. D: Oh, I’m a genius, so… J: In honor of old movies, it’s actually Rita Hayworth’s birthday today. D: Oh wow! J: Well, what do we have to look forward to from you now? D: Well the album should be at least double platinum by that point. But there’s a tour in February and March with Wolf Eyes and Timmy’s Organism. All of the US. Then, after that, I guess just worldwide domination.
JOSHUA TREE Photography David Evenko
Words Julian de la Celle
We made our way up to Joshua Tree for the first time to see just what it was everyone was talking about. I’ve been told how spiritual and free it is up here and how people have “found their true selves” over a vision quest or two. We visited a few of the local spots I was told to check out from a few frequent Joshua Tree visitors. The first stop: Crossroads Cafe. I had heard that I had to stop in for a bite and I’m happy I did. I had the best coffee of my life there and was happy to see a big variety of vegetarian options too. The people there were incredibly kind and told us of a few more places to see before we left. Unfortunately we went on a Tuesday and I guess around here that means almost nothing is open. With that said, we didn’t get to go to any of the cool vintage stores we’d heard a lot about. Guess that’ll have to be for the next trip up. The next stop was Pioneertown. One of the coolest places you’ll ever see. I spoke with Robyn Celia who owns Pappy and Harriets and she told me a bit about the history of the place. “In 1946 a group of filmmakers built a Western-style movie set in the high desert for the cowboy actors Roy Rogers and Gene Autry. Pioneertown was used in more than 50 films and television programs throughout the 1940s and 1950s. In 1972, Francis Aleba and her husband purchased the building and developed the property into an Outlaw Biker bar called, The Cantina. In 1982, Aleba’s daughter Harriet and her husband, Claude “Pappy” Allen, bought The Cantina and renamed it Pappy & Harriet’s Pioneertown Palace and became a local haunt for bikers as well as people from all walks of life.”
I asked Robyn a few more questions. Julian de la Celle: Did you know the original owners before you bought the place? Robyn Celia: Pappy died in 1994 so I never met him but we know Harriet really well! J: What made you want to buy the property? Have you had a history of working with venues and/or being in the music business? R: Not at all! I was in a band in New York for years and Linda [Krantz] was in the film business..that’s how we knew about P+H because Linda did a film in Pioneertown in the early 90’s. We would come out to the desert once a year and go to Pappy’s and stay at the motel in back of the club. One year it seemed so different and we learned that Harriet sold it to an Airline pilot..He really didn’t get the business and wanted to sell..It was all just a total whim. “Hey let’s buy Pappy and Harriet’s and book bands!”..and now 12 years later... J: Did it start off as a music venue from the get go or did it transission into that? R: Pappy and Harriet always sang and there were country bands that would play so there was always music..it was hard at first when I started bringing in non-country artists but I just took it slow and it gradually became what it is today. J: Who have been some noteable acts that have played in the last year or two? Who performed one of the best shows, in your opinion? R: Savages and Future Islands were definitely some of my favorites.. Jenny Lewis was a pretty magical night..Dave Catching from Eagles Of Death Metal’s B-Day party with Peaches.. J: What do you have planned for the future of Pappy and Harriets? R: Just to keep on moving forward! Pappy & Harriets has become one of the most talked about venues in California. There have been a slew of great bands playing here in the past few years from The Orwells and Shannon & the Clams to the annual Desert Stars Festival that’s had acts such as The Lemonheads, Mr. Elevator & the Brain Hotel, and this issue’s Joshua Tree featured band Spindrift. The Black Lips playing Pappy & Harriets
SPINDRIFT Photography Julie Patterson Hair & Makeup Charity Ruther
Julian de la Celle: What made you want to be a musician? Do you remember your very first band? Kirpatrick Thomas: Well, fortunately I was born with a unique creative gift. This pretty much helped me to easily realize what I enjoyed the most in life and thus knew exactly what I wanted to “be”. Ever since I was young I had been drawing, coming up with stories, then fortunately my Mother and Father knew enough to put me through extra schooling and music lessons. They fed us kids with classics like The Ventures, Elvis, Everly Brothers, etc. I think I remember putting on make believe rock shows in our basement with friends before we could even play. I do recall having bands strung together through High School and attending “The Battle of The Bands” and such. The band before Spindrift was a 3 piece punk/ progressive/metal band called PALE-H. We made an album called “Prognosis”. It was the first time I sang in a studio and I played a fretless bass with fuzz and wah wah instead of guitar! I was an extremely shy kid so this was a total stretch. Recently listened to and its still some awesome stuff. J: How long has Spindrift been together, and how did you all meet? I know there are various members and it flucuates a lot. K: Wow. We’ve been together since the early 90’s so yeah, been around quite some time. We started off in Newark, Delaware. No, really! There wasn’t much to do but there was enough of a music scene coming out of the U of D to do shows. We all were jamming in various bands before SPINDRIFT and decided to collectively do something where we could explore sound and concept a bit more. I remain the prime singer/songwriter after all these years, so the band continues to have something of a revolving door policy of members. On occasion, as needed I’ll add someone new who shows promise. Its nice to be established now and give others an opportunity or a springboard to get started. J: Do you remember the first record you bought growing up? K: Judas Priest. Either “Rocka Rolla” or “British Steel”. Both still awesome records. I really dug the dual guitar playing.
J: I read that Spindrift had some music featured in a project produced by Tarantino, how did that happen? Did you talk to him personally? K: I met Tarantino some time ago in Hollywood at the now defunct “Lava Lounge”. Told him, “I’m making a Western” (which later turned out to be “The Legend of God’s Gun”). I guess he checked it out since he used our song “Indian Run” from that film called in his production of the biker exploitation film “Hell Ride” in a scene with the late Dennis Hopper. Let’s work again soon, eh? J: It seems Joshua Tree is becoming a more “happening” place. What draws you to Joshua Tree? Do you have a place out there? K: Lately it seems my second home is becoming Pappy & Harriets. I spend a lot of time out there for sure. Always will love it. More and more friends moving out that way. But really, for some time now, I’ve been going out to the springs in Desert Hot Springs, which is something of a white trashy town with an anomaly of two underground natural aquifiers. Sitting in those springs really does make you feel like the you’ve found the fountain of youth, in a white trashy meth’d out kinda way. The City filed for bankruptcy some time back. J: What are some of your favorite places in Joshua Tree? K: The Integretron in Landers. Palms in Wonder Valley. Hicksville Trailer Palace (where we recorded an album). Pioneertown, High Desert Test Site, The Rabbit Ranch, Amboy Crater, The Living Desert, and Mike Bruce’s house...Crazy time!
J: You played the Desert Stars Festival this year, how was that? Have you played it before? K: It’s always great cause it’s basically curated by the fans. So there’s always a small time feel to it. SPINDRIFT began doing shows at Pappys in 2003 (thanks to Gram Rabbit for introducing us to the hi-desert) and there were many pilgrimages of LA musicians and fans out to those shows. Eventually, with the scene forming more and more, we started getting smaller day Fests together. Then as things moved on...It was the go to place to have events. We’ve done 4 of them so far, same as Austin Psych Fest, we’ve been there 4 times as well. It started off quite similar with bands and familiar friends and faces all around. J: What was your favorite live show of all time? K: Oh, wow....There’s so many life changing shows, but for me, it was the opportunity to support the legendary punk band X in downtown LA’s Pershing Square in front of a crowd of 8,000+! J: Do you have any other creative pursuits aside from Spindrift? Music, art, etc? K: Not really. I spend all my time with SPINDRIFT. It makes sense when you realize that we also compose for films, record, produce, book all our own tours, do film production, and perform shows all the time. It’s a full time job and then some! So, nope. No time for nothing else. My councilor says I need to find “clock out” time.
J: I know you collect vintage clothing, do you have any nice spots that you’ve picked up some really great stuff? I know there’s a bunch of shops in Joshua Tree. K: Check out Gypsyland in Desert Hot Springs. Also in LA, there’s a little known place on Hollywood in Thai Town called Westside Store. I have tons off collectable old cowboy clothing. Got that stuff all over out West. We use it all for shows, photo shoots, and such. We also customize a lot of clothing. We actually have a stylist who does Western stitching for the band. J: What’s in store for Spindrift in the near future? K: A lot. Jan. 8 the feature film DIABLO with Scott Eastwood comes out, we have a song in the soundtrack. We are about to release a single for a Hindi/Bollywood inspired tune called “Dil Gira Na De (Don’t Fall For Me)” which features male/female Hindi lyrics as well as a stylized music video. We recorded it all on vintage gear at the newly reopened Valentines Recording in N. Hollywood. Beach Boys/ Bing Crosby, tons of others recorded there. Also, the web series we scored, act in, and narrate “Zombie Bounty Hunter MD” is out on Vimeo on Demand. It’s more a social media commentary comedy than a horror genre. Funny stuff by a Director friend of mine named Pirooz Kalayeh from our old Delaware stomping grounds. Our own feature film Ghost Town travel psychedelic Western production “Spindrift: Ghost of the West” (Directed by Burke Roberts) will start to finally rear its head early 2016 and finally, as well in Jan. 2016, Cherry Red Records will release our first ever recorded/released single “Surround Sound” on their all inclusive 5 disc box set “Still In A Dream” which covers everything Shoegaze from 88-94. Somehow they found our earliest recordings and singled us out! Beyond that, Classic Soundtracks Vol 3! Later in 2016, I hope. Live long and prosper!
Moss & Ginger is a vintage clothing store in Joshua Tree owned by Joel and Kim Patterson. They started out in long beach in 98’ when it was called Evergreen Elephant. They changed the name of the store to Moss & Ginger in 2008. Julian: Is it just you two that own the store or are there others? Kim: It’s just us two! J: When did the idea of starting a vintage store come to be? K: We’ve always loved thrifting second hand shops, garage sales and antique stores since we were little. Joel with his mom and me with my childhood friend, Cristy. We started out selling at the Melrose Trading Post in the late 90’s before we moved to Long Beach. J: Is there a certain era you focus on? K: Mostly 60s and 70s but a little of every era. We also try to incorporate some handmade items [my own designs] and Native American jewelry as well as gifts, plants and chachkies.. Joel has Native American roots...his great grandparents were missionaries from Holland and they settled in Zuni, NM in the late 1800’s. This is where his grandmother was born along with 7 other children. To survive they opened a trading post that is still running, owned and operated within the same family [Joel’s cousins]. Apparently some of the needle point designs were from Joel’s great uncles. They were more of the business men and because it’s what was selling at the time, they showed the native Zuni people how to make it. The town Vanderwagon, NM was named after his great grandparents. J: What made you want to open up a store in Joshua Tree? K: Well, we live here now! When did you officially open? K: About a week and a half ago. J: Do you remember the first record you ever bought? K: For Joel it was Led Zeppelin - Houses of the Holy; for me it was Madonna Like A Virgin [you can skip that if you want, ha!]
Words Alex James Taylor
It’s just struck 1pm, and inside a Hackney pub London trio SAP lay slouched in a corner booth; Jim Beam in hand, sunglasses shielding the wounded eyes beneath. This definitely feels like a familiar situation for these three lads from the outer boroughs. “Welcome to the pleasuredome,’’ announces frontman Angus Spike McGuiness as he takes a hearty swig from the rapidly diminishing bottle, cigarette balancing delicately between his teeth. McGuiness sits shrouded in the shade provided by his bandmates Will Tyler (bass) and Shane Keaney (drums), both deflecting the noon sunlight from encroaching their solitude. Similarly to their alcohol preference, SAP favour their music pungent, difficult to digest, and containing a vicious punch that’ll knock you for six. Like relics from a by-gone era – all leather jackets, hollow cheeks and sheath-like jeans – SAP represent a living, breathing, skinny link to the way music once was, when small venues smelled of girls’ piss because they couldn’t hold it in after seeing Iggy Pop, all bleach haired and snake-hipped. Having grown up on a nihilist’s diet of West Coast garage, UK punk and everything in between, that 0-100 ethos is hard wired to their soul. And those influences are metabolized with fervent panache. Take their debut track Girl, for instance, a rapid fire assault that’ll clamp a vice-like grip on your temples and leave your eyes bloodshot, like Kurt Cobain on a winning streak. All within 180 seconds, naturally. With only a handful of gigs under their belt – supporting the likes of YAK and Rat Boy – and just two demo tracks online, Attitude and the aforementioned Girl, SAP are keeping relatively tight lipped. However, what little output is out there cuts the figure of a band very much in their ascendency. Wear your toughest leather; waves are building and SAP are inviting you along for the ride.
Alex James Taylor: Make yourselves comfy. Angus Spike McGuinness: These wooden chairs aren’t ideal for comfort. Will Tyler: They’re a bit like church pews aren’t they? Alex James Taylor: Well let’s bow our heads and begin then. Tell us how you all first met one another? ASM : Well, I met Will back in secondary school and since then we were always hanging out in music rooms, just fucking around and jamming. We formed another band called Jungle Doctors and have been doing that for about four years now, it’s still going, so we have that other band as well, just as Keaney has another band too. Me and Will met Keaney through one of our favourite pubs in Kingston called The Mill. WT: I worked there and so did Keaney, so that’s how I met him. ASM: Yeah, then I discovered that Keaney played drums, and really fucking well. WT: Me and Angus had been talking about doing a side project for a while. Jungle Doctors is more indie and tame, we wanted to do something more raw and loud. Shane Keaney: I think that due to the fact we all play in quite subtler bands…so like my other band is more minimal, using samples and click, SAP is completely different and it’s a good outlet, it’s great to be able to play your instrument different ways. It’s cool being able to smash it out with these guys. ASM: Because our music is pretty full on, the shows are a lot less tame than with our other bands because we’re more focused on that live aspect and that element of things falling apart at any moment. Our focus is towards putting on a fun show, rather than making sure everything is in time and perfect. SK: You rolling around on the floor after the first song is even finished. AJT: And then you’re knackered for the rest of the gig [laughs]. ASM: [laughs] Exactly, third song in and I’m just like, “Fuck!” Some shows are so sweaty, I wore my leather jacket for an entire gig and I’ve never sweated so hard in my life.
AJT: So when you all first got together you had this realized vision in your heads of how you wanted SAP to sound? ASM: Yeah it came naturally really. When we first played together this raw, heavy sound just emerged and it was a really good first set of rehearsals, we learned songs so fast. WT: Yeah, we did our first gig after like three weeks or something. ASM: Our first gig was supporting Rat Boy, and that was a weird fucking show because we’d never even played together before. WT: It was an afternoon thing too, at like two in the afternoon in Kingston. ASM: I have to admit that my vocals sounded shit. I wasn’t used to being a frontman because I’m not in our other band. WT: I didn’t even think you could sing [laughs]. AJT: And you knew that you wanted to focus on having a high velocity live show? ASM: I want people to punch each other in the face. AJT: If you come away from a gig with at least a black eye, you know you’ve had a good night. WT: One hundred percent. ASM: At a lot of gigs, especially in London lately, too many people are just too up themselves and stand at the back going, “That was so good!” And I’m like, “Was it really? Were you even moving? Because I wouldn’t have a clue you were enjoying it.” WT: I feel like the younger generation, the fourteen to sixteen year olds are the ones that actually don’t give a shit and do dance about, it’s people our age who don’t dance because it’s not ‘cool’, or something. When we go to gigs we still mosh and leap about, and we want people to do the same at ours. SK: Even if people don’t like the music they can still appreciate the energy.
...too many people are just too up themselves and stand at the back going, ‘That was so good!’ And I’m like, ‘Was it really? Were you even moving? Because I wouldn’t have a clue you were enjoying it.’ - Angus
AJT: Yeah exactly, I mean look at those early Sex Pistols gigs, they sounded shit, but the energy that surrounded them inspired so many. I’m guessing that you all have similar music tastes? WT: We listen to quite a bit of Californian punk, like FIDLAR, Ty Segall, Thee Oh Sees, Bass Drum of Death. SK: I’m still hung up on the sixties, Creedence Clearwater Revival, Neil Young, Thin Lizzy. ASM: I listen to a lot of Bad Brains, The Clash, The Pistols. But I’m mainly inspired by The Modern Lovers, Jonathan Richman is one of my biggest idols. We were actually going to cover I’m a Little Airplane. AJT: That would be an inspired choice. Do you guys remember the first records you ever bought? WT: The first one I bought for myself was Demon Days by Gorillaz. SK: I think I tricked my dad into getting me an Eminem album when I was a kid, I listened to it in the car when he fucked off and he came back and wasn’t happy. ASM: I remember the first album my dad gave me, it was a Led Zeppelin album and I remember listening to Stairway to Heaven thinking, “Oh, I like this.” It’s so cliché. I used to listen to a lot of orchestral music too, especially this guy called Éric Serra, he does all the music for Leon and The Fifth Element. Amazing film scores. AJT: On your Soundcloud page you only have two demo tracks, Girl and Attitude, you’re quite the mystery. WT: It’s more just laziness [laughs]. ASM: Yeah those are two of our songs but recorded really roughly. We just recorded them at Keaney’s and put them up on Soundcloud. SK: We wanted to focus more on our gigs to start with, before honing our studio work.
AJT: I always think it’s a good thing for a band to start playing live before moving into the studio trying to capture a particular sound, playing live allows you to really see the ins and outs of your own songs and get into your groove as a band. WT: Yeah that’s the ethos that we work by. ASM: It’s also hard to fine tune songs we’ve already got without playing them live. We have about ten songs already, and each one is about two minutes long or something, not four minute fucking songs that drag on. When we play shows we want it to change each time, keep the audience on their toes a little. SK: Keeps it interesting for us too. AJT: Do you get bored with your songs easily then? Do you go back to a song you’ve had for ages and not want to play it anymore because you’re fed up of it? ASM: I definitely get bored because I’m constantly writing new stuff and then these two are like, “Fuck me, we’ve already got like ten songs.” WT: We get a new email like every other day saying, “Oh, I’ve recorded a new song!” AJT: Yeah, you have to be able to know when a song is done and even if you feel bored by it after a while, the audience won’t be bored with it. ASM: Because nobody else has even heard it yet [laughs]. That’s the problem I always discover with myself. AJT: Just imagine when like Noel Gallagher does a gig and he has to play Wonderwall for the billionth time because if he doesn’t the crowd would go nuts. WT: That’s something that’s happened to us in our other bands, on a smaller scale of course, but I think it’s too early to get bored of our songs yet.
AJT: In terms of recording and producing your own music, do you guys have knowledge of that side of things? SK: I studied Music Tech at Kingston, so no [laughs]. WT: I did Music Tech Extension at A-level, so I know how to plug a guitar in. ASM: And I did a Music Complimentary course at college, so I know everything [laughs]. SK: I do love recording and learning new techniques and sounds, it really interests me. As for sitting in front of a computer and mixing stuff down, I’m not sure I have a head for that. AJT: Are you one of those drummers who keeps shouting at the sound guy during a gig [laughs]? ASM: No, he literally just goes with it. SK: I crack on. I did have a Spinal Tap moment though when we played at Dot To Dot festival and a mic was falling down onto my cymbal. I was giving the sound guy a nod to come up and sort it out and he came up, adjusted my hi-hat stand and then fucked off. So I was like, “No, I need that doing!” It was proper that Spinal Tap moment when he picks the guy up and spins him round. AJT: What’s the dream for you guys then? WT: Just to keep playing, keep gigging, keep making music. ASM: Going to festivals is probably one of the biggest contributing factors to me playing music, so it would be amazing to play at a big festival one day. I probably wouldn’t even want to be on the main stage, I’d want to be in one of those large, dark tents where the audience is really close to you. WT: Just a sea of people in front of you, it’s crazy.
AJT: There’s something almost cult-like about it, I remember that moment at Glastonbury after The Rolling Stones had finished and the entire festival was still singing “Woo Woo” from Sympathy for the Devil. It must be an incredible feeling as a band to hear that. So, the one tiny bit of information online about you guys is that you used to be called the Fucks. WT: [laughs] That was for the first gig we ever played, the guy who booked us needed a band name that he could use to promote the gig on the website. ASM: Will was like, “We need a name!” And I was drunk at the time and shouted, “The Fucks!” Then after I was like, “Oh no,” [laughing]. SK: I don’t think that name would sit well with the children’s parties we’re looking to do down the line [laughs]. AJT: And how did you settle on SAP? ASM: If you call someone a sap it means they’re an idiot, a twat. Every gig people ask, “What does it stand for?” So we try and come up with different meanings each time. SK: It actually stands for stupid ass people. WT: I prefer simple ass people. ASM: I think today it can stand for sexual anal probing.
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Where are you from? I’m based in south east London, Brockley. How did you first start modeling? I started modeling when I was scouted by Eva Goedel a while back, waiting in the line for Field Day Festival. I was very apprehensive at first and had been stopped a couple of times before but thought it wasn’t all for me. But after meeting with Tomorrow Is Another Day everything just felt right and fell into place. I’m super happy I did sign with them as I wouldn’t of discovered a whole new industry and a bunch of great people. Tell us a bit about your band INHEAVEN. INHEAVEN came from a song written by The Pixies which is featured in the film Eraserhead. James (the lead singer) and Chloe (the bassist) are a couple and started things early. They tried me and Joe (the drummer) out after hearing our previous bands. It all clicked pretty quickly and became real before we knew it. You just signed with Cult Records, thats a great label how did that come about? You guys must be really excited? We put out our first single on Cult Records after receiving an email from them saying that Julian loved the music. After that excitement it’s all been a bit of a whirlwind and we are now going to be releasing next with Sony. We are all super excited! Next year is sure to be full of surprises. I’m actually on my way now to the town of Monmouth in Wales to begin recording!
When did you start playing guitar? Do you play any other instruments? On my 10th birthday, I was given an acoustic guitar. I also dabble on keys but nothing much more than the Amelie soundtrack. There seems to be a great psychadelic scene in London right now and just a great music scene in general. Are there any local bands you guys like to go see and listen to? I agree, there is definitely a great scene in London at the moment. We’ve just been on tour with two bands The Big Moon and Vant. Both I’d highly recommend to go down and watch! What was the first concert you went to? My first concert was actually a sit down in a park show with James Taylor. What was the first record you bought? My first record was The Only Ones - Another Girl Another Planet. My dad was really a huge influence on my taste when I was younger. What is coming up for INHEAVEN? Lots of great things lined up for INHEAVEN in the new year. We can’t wait to share more music and play more live shows!
Turtleneck John Smedley Trousers Rokit Vintage Coat & Belt Issey Miyake Men
Shirt Samsoe & Samsoe Trousers Filippa K Scarf Scotch & Soda
B R O K E N
H A N D S
Photography Al de Perez
Julian de la Celle: When did you guys meet, how did you guys form? Dale Norton: As a group of people we’ve known each other for probably about 8 years, we all grew up in the same area, but as this band…we’ve played in different combinations of us and different bands before but as this band about 3 and a half years, roughly. We met running a club night because there wasn’t really anything going on in our area, we’re a bit out of London. We kind of needed a standard every week. We hadn’t really come up with a name at this point but we sort of thought well we can get up and fill that slot. So that’s kind of how we, well the original four of us before we got Dave our keyboard player two years ago, but that’s how the core of us started playing together really. J: You guys are based in Canterbury, right? D: Yeah, yeah well we all live together in a village called Littleborn right outside of Canterbury. It’s not really near a lot, we can make as much noise as we want, you’ll probably hear the boys getting rowdy in a minute cause we’ve got like a TV thing tomorrow evening but nothing major to do in the morning which is nice. So everyone’s having a beer. Sunday beer. J: When you guys aren’t playing music is there anything else you enjoy doing? Or are there any other “talents” that you guys pursue? D: Ha, talents! Umm, I don’t know. Like I said we live together so our talents are probably like being able to live together and sustaining living together! I mean, the boys like “” and Tom our bass player are really into motorbikes and stuff. Jamie our guitarist runs a screen-printing company and does a lot of T-shirts and screen-prints. I’ve just recently gotten an allotment, which is basically a plot land where you can just grow what you like, I like to spend a lot of time doing that. But I wouldn’t say we’re talented in those areas! It came quite natural to us [to live together] in a way, it makes going on tour an absolute breeze, it’s like one big family holiday cause your like it’s nothing new and it’s more like “Oh this is a bit different, I’m not having to look at your socks every day!”
J: Yeah, I hear a lot of early Kasabian and Royal Blood going on, what did you listen to growing up and what are your influences now? D: Well, growing up, when we all started hanging out, I can say that cause I knew all these guys growing up, and we were all in each others pockets regarding records. I mean, I’m sitting across from our records now. I mean, we’d gotten into a lot of standard UK blues stuff and Peter Green. And then all of this stuff that developed out of that like the blues breakers and Led Zeppelin and Cream. And to be honest with you when we first started playing together we were sort of emulating acts like that or maybe emulating newer sort of guitar based acts but it wasn’t until we sort of got a little bit disheveled of the whole thing that we decided to take all those colors of stuff that we like but with a concept and try to do something new. It was really important to us. There’s a point where there’s a core three of us that have been playing in other bands together for quite a long time and we’d kind of almost had enough and we’d been touring a lot and we kind of almost got a bit lost with the whole idea of doing music, really. I think it was because we spent so much time trying to emulate something that we liked at the time that we weren’t doing anything gratifying and it didn’t get us signed or anything like that. So basically what happened was we kind of decided to say Fuck this, if we’re gonna jack it in then let’s give it another push and try to come up with a conversation or a concept that no one else is talking about. And that was probably the real birthing of who we are as a band in a way, purely because we started to get really interested in it again and we realized we aren’t trying to emulate anything anymore. This album is a lot about flight and traveling and obviously it touches on space stuff. Looking at the record now we’re really into a band called Secret Machines who are from New York and obviously Pink Floyd and Hawkwind. Then we kind of got into some Detroit house music because that’s still having the same conversation especially like the space idea even Bowie and Elton John have written records in that vain. We realized it wasn’t a NEW idea but that our take on it was different and we felt like we were talking about people in our position. I’m rambling a bit but the metaphor is kind of like people who are like our age are either literally getting on a plane a buggering off somewhere just to travel or getting really fucked up in the front room and trying to like expand their mind. We wanted to still write something that was relevant to people around us.
J: When did you end up living together and how did it start? D: Well, the birth of the idea came from when we weren’t sure if we should carry on playing music together and I said let’s have one last push and all move into together and do it proper old school and just in three months try to write and record as much music as we can. We basically demoed the whole album as it stands now in about 5 months, we kind of gave ourselves a task it was like let’s make an album regardless of anyone else, it doesn’t matter about anyone else or if labels are interested or not. It wasn’t until we started thinking like that that everyone started to knock on our door a lot more. We basically moved together two years ago to do that. It’s a bit weird cause now the records out and we’re kind of like should we stay together to do this next one or do people want to go off and live on their owns? It was just really productive to be in the same space. You’re all in each other’s rooms, you’re all in the same place. J: It sounds like a great open creative space. D: It wasn’t at first but it’s definitely become that. Like, we have two houses that we live in, there’s 5 of us and we have 2 techs and between us we live across, it’s more like an open foray. We might as well build a tunnel between the two houses. We know everyone in the village and it’s very unthreatening. It’s really weird because you hear acts, and a lot of our friends who play in bands, one of them stayed out of the city like we did but a lot of them go in. And one or two of them went up there to do really successfully stuff but a lot of people get soiled up in the finance of a city when you’re younger. Just trying to keep your head above water and being out here for starters it’s so much cheaper and we’ve got so much more space too. We wouldn’t be able to get this in the city. And we’re really only an hour and a half our of London. It’s a really nice medium. A lot of our friends moved to Brighton as well. *he bought an amp that Warren bought* The Bad Seeds are amazing! That’s mad that he’s your godfather. He’s an insane maverick of a talent. My dad got me into them. They’re one of those acts that you instantly go back through the whole thing and they have just a breath of work. They look legit as fuck as well.
J: How did you guys meet Tom and how did he get involved in the record? D: We met Tom a few years before; our manager’s look after Souxie and he was engineering a session for her, he’s sort of into the same music as us. We met him out and about, he was just kind of like drinking with one of our managers and stuff. The first time we met him, yeah, we kind of recorded a bit and that was when we first came up with the name and started the band. From the first time we recorded we were just kind of hanging out as friends. Then we all agreed it had to be Tom. He’s on point and he’d give us extra of his time because we had kind of had the chance to sell him the idea of what we were doing on a personal level. Then when we went into the studio he just had his #1 in the UK with Royal Blood the same day that we started so we were kind of like “Well, hey!” And he was like super hot property, like, the amount of mad e-mails he was getting that week! He came on tour with us over the two years. When we went to SXSW in 2014 he came out with us, not to do anything other than just hang out. We told him we had a spare bed and asked if he wanted to come chill. It was more getting to know each other rather than test sessions and stuff. J: Do you remember the first record you ever bought? D: I’m looking at our record collection now…when we moved in, because we had doubles of records, we’d just put the best version of each in there. I don’t really know…I think it was the first Doors album though. It wasn’t anything special or pristine, it was just because I wanted to buy it and it was cheaper than going to HMV in England. It was 2 quid and all scratched. We got really into Fleetwood Mac at one point. The first record I remember buying from my local record shop, this is not the first one ever, but it was a Swedish band called Dungen. That was probably the first CD I bought with my own money. My dad always used to buy a lot of records so what felt like a lot of the time they were mine, they probably weren’t. J: What do we have to look forward to from Broken Hands? D: Well, another album. We’ll be coming to The States from March onwards for an extended amount of time, I think. We’re sorting that out now. I know that they want to keep us for like 6 weeks in the west coast and six weeks in the west coast to get us started and then we’ll go on support tours from there. But, yeah, we’re already working on the next album now and we’ve definitely got the materials for it.
Julian de la Celle: Where are you from originally? Larry Hardy: I was born and raised in Orange County. Anaheim specifically. I moved to LA in the early 90’s. I’d been coming to LA to see shows and go to record swap meets since the late 70’s and I always had a bit of a romantic notion about this town. I moved around a few years until I finally bought a house in Eagle Rock in 2001. I love it here. J: What made you want to start a label? How did it all begin? L: I’ve been buying records and obsessing over rock n’ roll music from a very early age. I never had a desire to be in a band or write songs - I’m a fan more than anything. I finally started thinking it would be cool to put out some records by bands I liked just to sort of participate in the process. Plus the idea of creating an artifact seemed really cool to me. A friend of mine told me about a band from Detroit called The Gories and when I heard them I decided they were the band I had to put out a record by. I wrote them a letter and asked them to let me put out a single and, to my surprise, they said yes. After that I started writing other bands who I liked at the time and discovered it was pretty easy to get a band to agree to let you release a 7” record by them. I’m sure it helped that the bands I was asking weren’t bands with really big profiles or expectations. J: What is your role at In The Red? What exactly do you do, and what is an average day for you at work? L: Well, it’s my label and up until a few years ago it was totally a one man show. I picked the bands. I communicated with the bands. I took care of paying for the making of the records - paying recording studios, manufacturing, ect. I also filled all the mail order, which can be pretty time consuming. After a while it got to be more than I could do on my own so I hired a girl named Denee Petracek who now handles all the mail order as well as the design and layout of the record covers, ads and whatnot. I now wonder how I did it without her. Even with her help my day is pretty full of things to do.
J: How did you start working with Thee Oh Sees and Ty Segall? L: I met John Dwyer from Thee Oh Sees when he was playing in a band on my label called The Hospitals - this was in the early 2000’s. A few years later when Thee Oh Sees put out the Master’s Bedroom album, which totally blew me away, I reached out to John and told him I’d love to do a record with them sometime. Circumstances wound up that they needed a label to release their next album so I jumped on it. I got to release the next four after that. I thank my lucky stars I got to work with them - one of my favorite bands. Through Dwyer I met Ty Segall at an Oh Sees show that Ty was opening. Dwyer put his first album out on his label, Castle Face and had given me a copy. I remained in touch with Ty for a few years talking about doing a record together until it finally happened with Slaughterhouse. I thank my lucky stars on that too. J: Do you remember the first record you ought growing up? L: The first record I ever owned was by The Raiders (formerly Paul Revere & The Raiders) and it was called Indian Reservation. The title track was a big hit on AM radio at the time and I must’ve told my mom I liked it so she bought it for me. Hearing it now, the song is painfully bad but I liked it at the time (I was around 7). The first album I remember buying with my own money was the Rolling Stones’ Let It Bleed. I still love that album. J: Do you play music as well? L: I own a guitar and I can play it, though not very well. Like I said, I’ve never been in a band or had a desire to do so. The only thing I’ve ever done with my guitar is play it in private, which is for the best.
Owner and founder of In The Red Records
LARRY HARDY Photography Raul Romo
J: What are some of your favorite bands? L: That list could go on for a long, long time. All-time faves would include The Cramps, The Damned, The Stooges, The Fall, Velvet Underground, Ramones, The Rolling Stones….a lot of 60’s rock and a lot of punk rock. J: How long have you had your dog, and what’s his/her name? L: Her name is Virginia and she’s an eight pound mini Dachshund. My wife and I have had her around six years. The vet guessed her age to be three when we got her but we’re not certain. She’s a rescue and we love her dearly. J: Do you remember the most exciting time with In The Red, maybe you signed someone you never thought you would or something like that? L: It would be hard to pinpoint one most exciting time as there have been many. Any of the bands on my label are artists I’m a fan of in the first place or I wouldn’t be working with them. There have been so many times I’ve thought, “I’m so proud of this - I can’t believe I’m involved with something this cool.” The new Fuzz album would be the latest example but there have been too many to list here. One moment that does stand out is in 2006 when I got to release an album with Sparks. I’d been a fan of that band since I was about 12 years old and I couldn’t believe I was working with them. I got nervous every time I met with them even though they were really nice and down to Earth people. That was definitely a “pinch me” moment that I’ll cherish forever.
JD: I remember only liking music that came before 1980 with the exception of the 90s and very early 2000s because I couldnt get into new music but now I’ve noticed a change in direction for music in a very good way, how do you feel about it? LH: There’s always ebb and flow as far as what’s going on in music. I’ve learned over all my years of music fandom that there’s always cool stuff going on - you just have to dig for it. It does seem to me like there’s a lot of good stuff happening right now, for sure. A lot of people I know who are around my age will tell me they’ve given up on new music and only listen to the old stuff they grew up with. I understand how you could feel that way but, I never want to be that guy. I figure as long as there are young people picking up musical instruments to make obnoxious noise I will want to hear their records. I’m pretty sure that’s going to be happening in one form or another well after I’m gone. JD: If you could spend 24 hours with someone in music history, alive or dead, who would that be and what would you do? LH: Definitely Lux Interior of The Cramps. I got to know him and became friends and he was one of the coolest people I’ve ever met. There will never be another one even close to him and I miss him a great deal. I would want to spend that 24 hours with him watching horror and exploitation movies from his VHS collection. I got to watch movies with him a couple of times and his commentary was hilarious - way better than Mystery Science Theater 3000! JD: What’s in store for In The Red in the coming future? LH: Next year is the label’s 25th anniversary. We’re planning a show here in LA to celebrate that. As far as new records, we have new stuff coming out from Milk Lines, CFM (Charles Moothart), GØGGS, Tyvek, CCR Headcleaner, Sleeping Beauties, Danny & the Darleans, Kid Congo & the Pink Monkey Birds, Simply Saucer, Ex-Cult and an awesome split single with Side Eyes and Redd Kross. I’m sure I’m forgetting some things but there will be lots more.
YESTERDAY JOSE WICKERT AMCK MODELS
Photography Sarah Louise Stedeford Styling PC Williams
Burgundy Polo Mint Vintage, Jacket Scotch & Soda, Necklace Jessie Western
Where are you from? I was Born in Brazil. I’m the third generation of German imigrants, who went to the south of Brazil in the begining of the last century. How did you get into modeling? The south of Brazil was considered a hot spot for model scouts. I was scouted when I was very young, but the idea of leaving home to a big city like Sao Paulo was quite scary for me so I decided to carry on studying. Then an opportunity to come to London to continue my studies appeared. I came to London purely to improve English and experience a different culture. I was scouted in the Liverpool Street Station by a model scout. Your favorite part of modeling? It’s great to meet multi-cultural people on a daily basis, and it’s never the same team so you can meet so many people in a very short time frame. The counter argument is that it makes it hard to nourish the freindships since it’s very unlikely you will see the same people more then once every season. Your favorite thing to do when you aren’t working? I love studying, and meditating. I practice 3 different types of meditation; listening to music, resting, gym.. What designers have you walked for? Fashion week is usually at the begining of the year and I always escape to Brazil for Christmas, New Years, getting a bit of sunshine, quality family time, fresh food.. What type of music do you listen to? When I was born my parents were 18 and they were into Rock n Roll so I grew up with them listening to The Rolling Stones, Nick Cave, Jim Hendrix, David Bowie, Marianne Faithfull, Patti Smith, Lou Reed, Serege Gainsbourg, this music taste has always been with me, I still listen to it and my parents have the original LPs so when I’m home visiting that’s what we listen to. But obviously I also engage with the present scene, The White Stripes, Jack White, Parquet Courts, Massive Attack, The Knife and some eletronic music too.
Your favorite band? I just cant pick! Favorite live show? I’ve seen pretty much all my favorite artists playing live apart from The Rolling Stones and David Bowie. Coming from a small town, I never thought I would see them live. I saw Grace Jones, The Knife, Patti Smith, Massive Attack and so many others. But I do wanna see The Rolling Stones. First record you ever bought? Honestly I dont remember the one I bought. I do remeber the first one I was given though. My mom bought it for me when I was a child. It was an LP of music for children and she gave it to me for Xmas when we were in my great great parents house. I still have it. What would be your dream job? Obviously the myth of Rock Star/musician/artist is the first thing that comes to my mind, it’s all very appealing, but of course it comes with a lot of training, practicing, researching, studying. Time devotion. On the other hand the reason I came to England was to study English because I wanted to work in an NGO or the United Nations in Humanitarian International Law. I’ve actually studied 5 years of law, it is a hot topic at the moment, but it is not for me. Perhaps if I find a middle term on how to make something humanitarian/ sustainable through art/ creative. Or how to raise awareness for certain issues.. I don’t have a clear answer. What is your favorite animal? A Dog. After my family and friends it is what I miss the most about living in Brazil. At a certain time in my life we used to have 6, now we have only one, her name is Kate. What is your favorite city and why? I love London, when you move to a different city, it is like you are born again. You learn how to talk, walk, eat. I fell in love with the dynamics and all the different scenes, endless opportunities, so much cultural options.
Jacket & Pants Topman Design, T-Shirt Mint Vintage, Boots Kurt Geiger
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