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volume 02 | Issue 01

Fused magazine EDITORIAL EDITORS David O’Coy @davefused Kerry Thomas @kerryfused FRONT COVER Vault49

WRITERS Jon Bounds Jon Carroll

Jenny Evans Laura Fraser Ross Wittenham ILLUSTRATION Liz Clements Ewa Mos Jeremyville Laura Tinald

PHOTOGRAPHY Skins / Content page: Paul Hartnett Bande-A-Parte: Amanda Fordyce Voodoo Child: Glaza Kinski Las Chicas: Bernard Gueit Fused Magazine 0121 442 6663 @fusedmagazine DISCLAIMER Reproduction of all editorial/images in any form is strictly prohibited without prior permission. Fused cannot be held responsible for breach of copyright arising from any material supplied. Views expressed are those of the contributors and not necessarily the publishers. Š Fused Media 2012

WITH SPECIAL THANKS TO... Kelli Ali Steve Baker Bianca Barrett Jon Bounds Bullring Birmingham Jez Collins Erica Crompton Luke Devereux Donato Esposito Claire Farrell Rosaleen Gallagher Scott Garrett Kate Grundy Lee Hall Marck Hill Chloe Ingram Nat Higgingbottom Kristian Jones Steve Madelin Amy Martin Gemma Pearson Matthew Price Jan Pritchard Kate Pritchard Lara Ratnaraja David Roberts Amanda Saunders Linda Scott April Shacklock Kalpesh Thankey Thank you to Creative Shift (formerly Fierce Earth) for sponsoring our party. This issue has been made possible thanks to the generous support of the people listed above who pre-ordered and helped part fun this edition via Crowdfunder.

contents The Stone Roses Napalm Death Francoise Nielly Patti Smith Cover Versions Band-A-Parte Black Bananas Skullux Magnificent Specimens Holly Cook Voodoo Rhythm Twenty First Century Skin Style Friends David Shrigley Voodoo Child Lowlife Good Rats Peter Hook Alan Wolfson Las Chicas

06. 08. 12. 18. 20. 22. 38. 40. 42. 48. 50. 52. 64. 68. 70. 78. 80. 82. 86. 90.


Emma Walker Exploring the relationship between the human and natural world Walker’s work investigates the concepts of construction, human manipulation, beauty and science. Dissecting and destroying life to understand it ‘An Assemblage of Improbable Insects’ is a series of stunning still life images that offer close-up detail of the alien-like world of insects and investigates our unsettling and destructive thirst for knowledge.


LomoWall In our digital world of instant imagery the desire to share our pictures with Facebook friends, Twitter followers, Instagram buddies and Pinterest sharers means we have lost the very tangible thing that the generation before would wait a week to see. Loading a camera with film is, for many, now a strange concept and waiting hours to see the result on paper unacceptable. The globally active Lomographic Society International and their half-million members think differently. Fans of analogue photography armed with the innovative lomo cameras happily experiment with colour, size, depth and exposure to create exciting and surprising imagery. For the first half of 2012 the Lomographic Society have been encouraging their members to get involved in a huge collaboration in the shape of a LomoWall exhibition of tens of thousands of photographs. The wall will be covered in thousands of snap shot-sized real photographs. From a distance it looks like a sophisticated digital image; but when viewed up close the true nature of the exhibition reveals itself to the viewer. It’s a truly breathtaking thing of beauty to see and a wondrous antidote to the over digitalisation of life. Lomography LomoWall Exhibition 13 July 2012 – January 2013 Museum of London, 150 London Wall Building, London EC2Y 5HN



The Stone Roses COVERED IN PAINT SHOOT 5/11/89 KEVIN CUMMINS’ PHOTOGRAPHS OF THE STONE ROSES, ARE SOME OF THE MOST ICONIC MUSIC IMAGES OF THE 20TH CENTURY. IN HIS OWN WORDS HE TELLS US HOW THEY CAME ABOUT. This is the session that has come to define The Stone Roses - Liam Gallagher has said it is the greatest NME cover of all time but it nearly didn’t work out as intended. I had this romantic idea of painting the band almost like a John Squire canvas (Squire famously painted the Jackson Pollock-inspired artwork for the Roses records). Then I thought - no, how about asking John to paint it himself. The band loved the idea. The only day the band was available was a Sunday - and the Roses wouldn’t come to London, but wanted me to shoot it in Manchester. I knew a photographer in Manchester with a studio - let’s call him Graeme, for that is his name - and I asked him if I could rent it for a day to shoot a band. He agreed, the place was generally locked up on a Sunday so it was easy money for him, or so he thought.  Graeme was very meticulous - almost bordering on OCD - he was the sort of guy who would place three pencils on his drawing board one centimetre apart with the manufacturer’s name facing towards him. I doubt he’d have so readily agreed if he knew what I was planning. I spent the morning turning the inside of the studio into a polythene cube, to ensure the paint wouldn’t spill anywhere. When the band arrived I placed them in position, did a few test shots without paint and then asked John to start painting. I’d chosen sky blue and white as my two base colours - any excuse and a small victory for me as a Man City fan - obviously. I had no idea what was about to happen. I truly expected John to get out a paint brush and start to paint the band slowly and neatly. Instead, he opened a one gallon tin of sky blue paint and threw the contents across the studio floor. He repeated this with the white paint. I looked on in horror. I had visions of paint leaking through the polythene, through the floor, onto Graeme’s neatly arranged pencil collection and worse. Squire just laughed when he saw the look on my face. He then tipped a pot of paint over his head and got into position. I took a few photos quickly. I was beginning to think that this was the worst idea I’d ever had. Each time I wanted an extra colour adding, John would throw the paint more or less where I wanted it, then patiently get back into the shot and paint himself. You can see one of the paint buckets top left of frame near to Squire. After a couple of hours of paint throwing and five or six rolls of film later, I felt we’d got enough. They still had some paint left though and quite clearly they weren’t going to take it home with them. They lined up against the polythene clad wall for a final photo and threw the remaining paint everywhere; on themselves, on me, on the camera, on the wall opposite. Satisfied with a job well done they were shivering from sitting in the cold paint for two hours and were desperate for a shower. I then had to break the news to them that because they’d insisted on shooting this on a Sunday, the rest of the building was locked up and we had no access to the showers. It was a good job there was no paint left as I think they may have attempted to drown me in it. They stomped off back to their van and all went to Ian’s flat in Chorlton to clean themselves up. But hey lads it was worth it.  And Graeme,  in case you are reading this, you’ve become an unwitting contributory factor in one of the most indelible rock ‘n’ roll images of all time.




The occupy movement must therefore equate to a form of extreme camping, pitching up not next to a cow pat in a damp field but in the centre of the World’s capitalist bastions, surrounded by concrete and fumes. It’s fitting then, that possibly the World’s most extreme band are showing full solidarity with those tent cities in Wall Street, London, Barcelona and round the back of the Flapper pub in Birmingham. For were there a musical force that was all about life surrounded by concrete and fumes and exhorting you to be ethical above all it’s Napalm Death. So with a new album—Utilitarian—stenciling itself upon brutalism everywhere we spoke to frontman Barney Greenway to see if a heavy rock band imbued by fumes and musically concrete (if not musique concrète) can help change the World. Occupy is all about communication, as Barney says; “you need a multi-location attack, people in their homes…at all levels of society to engage. It can’t just be about people reading about the camps in the newspapers.” But communication is hard: sometimes because of the oligarchical media - we’re across an echoing Skype connection. That said, Barney’s points are the sort that you feel he’ll often make twice for impact as well as to make sure I can hear him. “We know about the equality gap around the World and Birmingham’s a part of that. Naplam has been proven to resonate with people musically and ideologically. There’s past evidence. You are lead to believe that you just should accept stuff…there are matters of great social injustice and you’re expected not to react.” Napalm and Barney certainly are not ones to do what’s expected. “Whatever effect we have is always going to be under the auspices of the band talking about things…which has always fallen into place, we’re not a choreographed band, it’s spontaneous.” Napalm have been going for some thirty years and the last twenty or so with Greenway up front, they invented a genre. Even the local council are waking up to music’s heritage in Birmingham, and the ‘Death—as fans probably call them, I’m sure—featured heavily in Capsule’s Home of Metal exhibition in 2011. I assumed that this must make them feel like under-pressure elder statesmen but Barney says: “Not at all…I certainly don’t feel any pressure from anyone outside.” In fact the latest LP seems to exist somewhat apart from the music industry, from any scene, from everything but what the band are thinking and feeling about. “To be totally honest, I’ve been out of the loop a bit…I’ve had no chance to check out what’s going on with music.”

“I find it hard to, you know, micro-analayse Napalm. We’ve got all these albums and one journalist might ask about the differences. We’re all these kinds of things, we’re not just a grindcore band, we’re not just influenced by metal. We’re not just influenced by abrasive punk, there’s other things besides. Every Napalm album sounds different, so I’m told, but in a good way. That’s a good place to be I think.” “I tend to see an evolution after the fact…you think ‘is this better than the last album?’ And it’s only after the fact that you have time to think…its worked.” Barney’s favourite track on this album is Everyday Cocks, which seems to work by being everything—or almost everything Napalm Death ever are all at once. And has a rude word in the title, which is another thing I think I’ve grown to expect. “It’s one that encapsulates everything for me. It’s a really obtuse track, some of the chords on there aren’t really conventional. It has a real creeping slow aspect to it and then it goes mental and fast. It also has a sax break…everything in one track.” The music is important, but I get the feeling that Barney at least can’t separate that from the World at large and nor should we want him to: “I’m just showing solidarity basically…other bands should.” Words: John Bounds Illustration: Liz Clements



LET’S PLAY WORD ASSOCIATION: WE SAY “AUSTRALIAN POP MUSIC”, YOU SAY...? We’ll get Kylie, Jason, Danni, INXS, Imbruglia, Goodrem, Silverchair and Valance out of the way. Whoever said Ladyhawke can go straight to the back of the class. She’s from New Zealand. Duh. Well done to all the smarty pants/show-offs for name-dropping Architecture in Helsinki - you get +50 cool points. With this fun little game over, we’d like to take this opportunity to introduce you to a pop star less ordinary from the land down under. And that pop star is Catcall. Catherine “Catcall” Kelleher is cool. Her Twitter bio describes her as “chilled out entertainer.” We can confirm that she is also a chilled out interviewee and well on her way to becoming a chilled out bonafide music star. We caught up via Skype. It was 12.30am here in the UK and 9.30am in Sydney. Catcall is full of beans - one of those talkative, energetic and warm people that you don’t mind staying awake until the wee-small hours to chat with. The story of Catcall is one of a youthful punk discovery evolving to become an accomplished solo artist, with a playful pit-stop at hip-hop. The story begins in the suburbs of Sydney in the early 2000s, where a 17-year-old Catcall is starting to explore the big city that lies before her... “I was finishing school and I started going out to see bands and kids who lived in the city.” It was with some of these city kids, Jack and Angie to be specific, that Catherine formed Kiosk. “I couldn’t play but I just wanted to be in a band”, she explains. After much experimentation, Catherine found her place as a vocalist and lyricist. Kiosk enjoyed success, including support slots with The Gossip, a US tour and an international fan base. But when Catherine’s father died suddenly in 2006, it signalled a change in direction for her musically. She began working on solo material under the moniker Catcall. She collaborated with punk musicians who dabbled in beats and produced her own tracks using FruityLoops. Hip-hop influences drawn from the likes of M.I.A were apparent on the first EP, Anniversary.


The early solo sound was bratty, fierce and decidedly rough around the edges; full of bad girl swagger, but still rooted in DIY punk culture. “Simple beats were the first thing that I could grasp,” says Catherine, who readily admits that she had to learn music making from scratch. Over the years, the Catcall project evolved to a lush and dream-like electro sound, reminiscent of fellow Antipodean (though NOT Australian), Ladyhawke. Catherine is comfortable with the Ladyhawke comparisons and sees them as something of a compliment: “We have similar tastes in music and share influences from the past, but we are different performers.” These past influence include a hefty dose of 80s and 90s alternative pop. Her debut album, The Warmest Place, is a love letter to new wave – even going as far as including a cover version of I’m in Love with a German Film Star by UK new wave one hit wonders, The Passions. She also has a lot of love for Stevie Nicks, Santigold and the moody gothic synth sound of Grimes. The first singles from the album, Satellites and The World is Ours are shimmering and anthemic pieces of pop with feel good singalong choruses. Yet the album travels to darker and more brooding places with tracks like Paralysed, August and the a capella album opener, The Warmest Place.

Words: Jenny Evans


It has been a long journey from the early solo recordings to the release of The Warmest Place and the first Catcall headline tour in Australia. “I wanted it to be the best it could be and it took a while,” explains Catherine. The six-show tour finished in May and included shows in the states capitals, which Catherine describes as “the centre of everything”. The tour was the result of months of hard work with producer, Andrew Elston to create a live shows that captured the power pop and punk aspects of the album. Finding the right people to make up the live band was key: “I wanted to perform with people who knew how to play, people with vibe. It isn’t one of those backing track shows, which are popular because they are easy. I can’t take that punk aspect out of me.” The shows and album release have been a chance for Catcall to share songs rooted in a personal tragedy – describing the album release as “a massive relief”. The tour has given her chance to enjoy performing the tracks that helped her to find focus following her father’s death.

GHXST ARE A DELICIOUSLY DARK NEW YORK TRIO WHO DESCRIBE THEMSELVES SIMPLY AS DETH GRUNGE. Having met at school in California Shelley X and Chris Wild moved to New York to seek inspiration and creativity from the city that spawned Patti Smith, Sonic Youth and Swans. A short while later they found drummer Nathan La Guerra and GHXST was born. GHXST take influence from the dirtier side of industrial 90’s rock and metal giving them a grittier, heavier sound than many of their indie contemporaries. You can definitely hear echoes of White Zombie and Ministry running through each track as well as the occasional nod to The Jesus and Mary Chain and The Velvet Underground. Trashy sampling, dirty drums and a steady barrage of hard rock guitar lend a grimy, roadhouse quality to the music whilst Shelley X’s dreamy, distant vocals temper the harsher Industrial elements with pure cool. The result is a much more sophisticated, laid back sound to some of the band’s angrier influences. Words: Jon Carroll

Doing what you love and paying the bills is a dilemma that haunts many an artistic soul. Catcall is no exception, balancing a job in the wine industry with her flourishing musical career. She is pragmatic about her musical ambitions and the realities of the Australian music industry, with its limited audiences and high dependency on youth radio station airplay. She is also highly aware that money plays a big part: “It is difficult to sustain a career in music. It is very expensive. I have a band to pay, so I’m really aware that my shows need to be financially viable.” The rest of 2012 is set to be full of Australian festival appearances and writing new material. There’s also the not-insignificant matter of finding a UK and European label and getting a tour off the ground. In the meantime, Catcall is having an “absolute blast” and enjoying the satisfaction of seeing, and hearing, six years of work unleashed on the world. Next time we play the “Australian pop music” word association game, we fully expect Catcall to be pretty high on the list.




How would you describe your painting style? I would describe my painting style as figurative and abstract at the same time. I work as much on the eyes of my subjects as on the space that surrounds them. I revisit the idea of portrait through color and through the cut forms that come with the palette knife. When did you first discover your artistic talents? I started designing as a child in the architectural offices of my father’s business. I was born in a creative and an artistic milieu. I never really asked the question why art attracted me. Quite simply, I worked alone and then for years in advertising, a milieu that I found very creative. I learned a lot through my work in advertising. What inspires you to keep going and how do you keep yourself motivated? Painting is my veritable spine. It is what keeps me alive and that gives me the energy to greet each day, knowing that I’m going to have a myriad of surprises, good and bad. Something is going to happen on the canvas. Who and what are your main influences? The classics are what surrounded my childhood and my adolescence. Picasso, de Kooning, Soulages, Hartung, Lucien Freud, etc... I am very attracted to street art. I find some of these new artists extraordinary. What soundtrack do you like to work to? It depends on the period and especially on what I am doing at the moment. Music is often in the background, because my manner of working is too immediate and demands real concentration. To give you an idea, I would say that I often listen to hip hop, rap, jazz, soul... Is the artistic life lonely? What do you do to counteract it? I never feel alone when I paint. After it is another story entirely. I paint for the emotion it evokes in me. It is sort of a drug or an addiction, and I love the company of artists and people who work in images, but in my everyday life, I find myself, like nearly everyone, at a certain time surrounded by the banalities of daily existence. It is in those times that I find it hard to connect with the energy that is necessary to discover that little fascinating detail that can distance me from loneliness. How do you feel painting is perceived in the art world today? For a very long time, painting was considered as an old lady. Today I think that old lady is rejuvenating more-and-more. Painting is more present in the art market where it is returning with real force. Painting is included in all of the large art sales and galleries all over the world. Painting began in the grottos and will be with us even when the world ceases to exist; at least that is my belief. What do you dislike about the art world? The seriousness, the snobbism, the clans.




IF I CAN BE OF HELP I WILL I never even expected to be alive into my 60s but since I’m here, I’m really happy, I hope I’m alive another 40 years. I like to perform, and I like to communicate, and I think I can be trusted because I don’t have any ulterior motives. I like to make people laugh, I get angry about things. I want to inspire people to get politically involved. But I’d also like to inspire people to take good care of their teeth, don’t eat a lot of salt or fast food. I’m a mum, I can be very irreverent, I can still put my foot through an amp but I can help you with first aid or nutrition. I don’t have an image or agenda, I’ve been here a long time and sadly have outlived a lot of my friends, so if I can be of help I will. One of the tragedies of our modern world is the affluence and the corporatisation of our cities and advertising, money, condominiums... I’m sure you see it where you all live. New York City was always such a great city when I was younger, because it was so cheap, a little dangerous, not so dangerous, but you could come, get a little bookstore job, live in the East Village, meet a whole bunch of other artists and poets, create a scene and exchange ideas, and get political ideas and poetic ideas and feel like you were doing something. Now its become so affluent and expensive, and they just have come in really, at such a speed, I can’t believe it, right in front of my eyes, and taken over all our neighbourhoods. Not just some of them, all of them. And these developers and these really evil people like Donald Trump, who’s like an evil king, and just buy up all these areas and make condos so expensive so that none of us can live there. And it’s not just the whole thing in NY, it’s everywhere I go this is happening, everywhere in the world I go. I was in Istanbul and kids are saying yeah this is a cool area but the developers are moving in. It doesn’t matter where it is it’s the globalisation of our world. To me globalisation should mean everyone can afford health care, Aids drugs are available to everyone, that no one is starving. That should be globalisation. But globalisation is not that at all. It’s becoming that the world is just one big playground for people with new affluence, and a lot of this affluence is made up, because it’s built on credit cards. It’s not really built on a real working-class sensibility where people work hard, it’s more to do with how clever and entrepreneurial you are. I can live with the equal exploration of the arts, but this equalisation of the world for the middle classes, the upper middle classes, it’s such a class conscious thing. In NY City, I don’t have any place left to play any more, all my band have moved out except for me. Every single place we’ve ever practised, they’re finished, they’re condos, galleries, I don’t know where we’re going...

Me myself I’m looking for somewhere to move because it doesn’t represent me any more. I’m giving up. It doesn’t matter any more. I could hold out on my little street, but for what reason? I have no community. I don’t want to be around these people… I mean we never had anything, nowadays they’ve got these stretch Hummers and they’re dressed up with cell phones hanging out of their ears. DON’T BE AFRAID TO BE HAPPY You hit a sensitive nerve, but despite all of that, and despite the fact that to me, our world seems really fucked up at the moment, and my country seems in a really bad place, spiritually, socially, economically, I still believe, and I tell my kids this, we get one life, one specific life, and we have the right to navigate the dark sea of the world as well as we can, and be happy and have some kind of joy and I don’t think that we need to be depressed, angry and feel defeated every day. I know things are very bad, but I’m not going to crawl into a hole. I’m going to be myself and I’ll be a living thorn and maybe that’s all I can do, but in the meantime I’m also gonna be happy, and enjoy my kids, enjoy arts, enjoy nature, enjoy this moment. I’m just telling you that life, even in its worst, is worth living. There’s always something wonderful to wake up to everyday. It really is worth it. I have seen the bottom, and even seeing the bottom, I still wanted to come back up. It’s great to be alive. I don’t believe that we all deserve to have a car, or all the different things that are dangled in front of us, but I do believe we have the right to be happy. So even if you feel guilty, don’t be afraid to be happy. AS A PARTING GIFT As a parting gift, I’m telling you something I was never told because my generation, being born right after world war two, dental care was not a big issue and my generation have terrible teeth. I’m telling you, please, save your money, and get your teeth professionally cleaned once, twice a year if you can afford it, because when you get older it’s such a pain in the ass, it’s so important. It will save you a lot of heartache. You wouldn’t think that teeth things were such a big deal but it is such a big pain in the ass. I worry about people, I do, I want people to come to our concerts and have fun, I want people to have as much information about things, even a little thing because if the revolution comes, you don’t want to be with a nerve exposed in your tooth that’s so painful that you aren’t ready for the revolution.

PATTI SMITH Patti’s eleventh studio album, Banga is out now. Inspired by Smith’s unique dreams and observations, Banga’s poetic lyrics are a reflection of our complex world – a world that is rife with chaos and beauty. Go buy it!



Cover Versions WHAT DO YOU DO WHEN YOU ARE MADE REDUNDANT AND FEEL DEPRESSED? VISIT A BUDDHIST TEMPLE IN JAPAN ON AN ARTIST’S RETREAT, DRAW THE CONTENTS OF YOUR ROOM AND BECOME A ‘SELF-MUTILATING REALIST’? No, nor us, but John Paul Thurlow thought that seemed like a good idea. So it turns out this, along with a random copy of Elle, would become the catalyst for the Covers project. “There’s definitely something magical that happens the first time I see a record or magazine that I find interesting – it’s like love at first sight – visceral and all consuming,” enthuses Thurlow. “We all know that feeling.” At the moment he purchases a magazine or record it ceases to be one of thousands. “It becomes mine and my copy is effectively the only one. The content of the magazine or the music becomes part of my life and that has meaning. I have explored this alchemy in the covers: The transformation of a mass-produced object into a one-off art piece.” There are some common themes, particularly with the photography. “I like to draw people. I respond to faces that convey emotion or mystery. I love the play of photography with typography. I strip away color. I always change things; people don’t always notice how much. Like any cover version, what’s the point if you don’t add something?” With a tiny Moleskine notebook in hand to jot down ideas and inspiration Thurlow’s commissions have come from Elle UK and Elle Collections. He describes their contact as ‘a magic moment’ given it was an edition of Elle that sparked the very seeds of the idea. “I have learnt to only work with people who get me and on subjects that genuinely inspire me. I don’t draw with the intention of making pots of money. I draw to feel good.”


Bande-A-Parte photography: Amanda Fordyce Styling: Andrew Zumbo Models: Bradley (RED NYC) & Olga (Muse NYC)


Previous page: Bradley, Tee - Ralph Lauren, Jeans - Nudie This page: Olga, Dress - Haute Hippie, Jewellery - Chanel


Bradley, Shirt - Gant, Jeans - John Varvatos


Above and following page: Bradley, Tee - Ralph Lauren, Jeans - Nudie Top Right: Olga, Shirt - Equipment Femme, Skirt - Marc Jacobs. Bradley: Coat - Hugo Boss, Jeans - Nudie Bottom Right: Olga, Dress - Haute Hippie, Jewellery - Chanel Previous Page: Olga, Dress - Gucci






AFTER THREE ALBUMS UNDER THE NAME RTX, JENNIFER HERREMA AND HER BUNCH OF MUSICAL REPROBATES BRIAN MCKINLEY, KURT MIDNESS, JAIMO WELCH AND NADAV EISENMAN HAVE DECIDED TO FLIP THE SCRIPT. Taking her trademark scuzzed, fuzzed and strung out sounds from her days as one half of iconic rockers Royal Trux, the one-time heroin chic model for Calvin Klein has added influences ranging from coked up, loose limbed P-Funk, ‘80s hair metal and future electric metallic GoGo sounds to bring the funk to the party! Black Bananas is the new band in town – and they’re fucking righteous. Where are you at the moment and what’s it like? I’m at home watching the news and picking out a cute outfit for my High Times photo shoot. They say it never rains in California but it’s fucking pouring. You once quoted that you were inspired by the artist Jeff Koons, who else inspires you? There are so many people but artists right off the top... the artwork of Justin Lowe and Jonah Freeman (creating alternate realities), Spencer Sweeney (artists artist), Andreas Jenne, my home girl Rita Ackerman and Neil Hagerty. Have you done any modeling lately? I modeled the Hysteric Glamour S/S 2012 collection for ads and billboards and am modeling the fall 2012 Volcom denim line ads. Do you get to keep loads of free clothes? I get to keep some cool stuff for sure! Big shout out to House of Matching Colours for the custom long fringe leather jacket Paula made for me! Also shout out to Pamela Love and Angel Jackson. Was just gifted some siiiiick shit. How did the split vinyl single with Primal Scream come about last year? We had done a tour with them and we wanted to record a cover of Spirit’s Natures Way. I told Bobby (Gillespie, lead singer of Primal Scream) about it and he mentioned a few covers they had recorded but not released so we just put it together as the first release on our friends new label. Andreas (Skullux) is a big Primal Scream fan too so he was stoked to do the artwork. Tell us a secret about Bobby Gillespie? Hmmmmm no secrets. His dad is a very handsome distinguished gentleman with an amazing gold ring. What state of health is Rock’n’roll in at the moment? The possibilities are endless but the new kids need to stop being

willfully ignorant. So few new writers and bands actually know anything about music, art, or life and it makes me wanna vomit when I hear or read some of the trash that’s out there. But not to worry they will all X themselves out - that’s the beauty of stupidity. What’s the roughest venue you’ve ever played? An alley in south west D.C. What’s your usual post gig routine? Pee and smoke. Who would be in your ultimate fantasy band, dead or alive? James Booker: keyboards. He was one of the most badass piano players ever. He could play fast as lightning to the point of being percussive and could literally hold up any audience at gun point for all the cash in their pockets. Could totally help with road expenses while we’re touring. Michael Shrieve: drums. He executed one of the siiiiickest drum solos ever playing with Santana at Woodstock. He’s a monster at improv and finding and getting into the groove zone. Will be perfect for our on stage pee breaks. Eddie Hazel (Funkadelic): Lead guitar. He executed one of my fav guitar solos of all time on the song Maggot Brain and is one of my fav guitar players ever. He could also make sure we get well taken care of by any stewardesses on any flights we might have to endure while on tour... he had a way with the stewardesses. Malcolm Young (AC/DC): Rhythm guitar. He’s solid as hell and would be able to lead the group on daily calisthenics to keep our chops lean for the on stage synch steps. Robert Wilson (Gap Band): Bass. “The godfather of bass” nuff said? Lead vox (doubled up): Jennifer Herrema and Wino (Scott Weinrich). Who would play Jennifer Herrema in Black Bananas The Movie? Oh shit! I don’t know… who do u think? I’m grooming my goddaughter but she’s only four.




Perfect bedfellows a piece of art on a sleeve can become as iconic as the very sound it represents. And so we introduce the technicolour raw-stylings of Skullux whose artwork oozes the same raw rawk ‘n’ roll attitude as the music if wraps itself around; namely the sounds of grizzly-voiced Jennifer Herrema; frontwoman of Royal Trux, RTX and, her latest incarnation, Black Bananas. How did you first get involved with Jennifer and Royal Trux? As a longtime Royal Trux/RTX fan, I discovered around 2005 they had a Myspace page and I befriended them. I had some drawings displayed on there and it was a great pleasure to get to know that Jennifer liked my stuff and she contacted me about doing a cover for them. It was like a dream come true, doing artwork for my favourite band!Magical. Your artwork suits the music of RTX/ Black Bananas perfectly! How does the collaborative process work between you and Jennifer? For our first collaboration, Western Xterminator later retitled RaTX, JJ gave me some very dope suggestions story-wise, tied in with the Pied Piper theme. But

basically I´m free to work from intuition. Trying to tab into the mental pool of shared sensibilities. I get ideas by listening to their inspirational music which conjures up images that I then put together. When the artwork grows, it creates its own kind of telepathic vibe in synch with the Black Bananas aesthetic.

What soundtrack do you like to work to? While drawing the Black Bananas cover I constantly listened to Ultra Wave by Bootsy Collins and Common Man Boogie by Dusty Rhodes. Otherwise, what plays on my stereo at the moment: 70´s Bowie, P-Funk, Nuggets Compilations, Gram Parsons. I also love to work in silence (if possible).

What is your creative process and media? First lots of black coffee and cigarettes... Inspiration itself is the easy part, realization is more like a constant positive battle with myself. A rewarding struggle but it also should be good fun. For the drawings I use crayons mostly, sometimes ink and feather. When I make collages I use whatever I find, from old magazines to safety pins, cigarette burns or nail polish.

Who have been your favourite clients to work with? JJ Herrema and Black Bananas of course! Always so inspiring. Sasha Eisenman for Friendshirts; way cool. Also creating stuff for Emily Hoy (Volcom) was awesome. Working with Tiago Miranda, Natalie Wood (Something Else) and Aya Tanizaki (Zucca) was a great experience as well.

Who and what are your main influences? Outsiders and freaks, the true life blood. Occultism and Magic. The sleazy underbelly of the big city. Fairground art and movies like Christiane F or Streetwise. Wildlife and Italian fumetti art. My cat Geno. Trying to master everyday´s crazy life. Mistakes are inspiring... and killer weed.

Who are your favourite illustrators? Greg Irons, Robert Crumb, Joe Coleman, Bobby Beausoleil, Fergus Purcell...all amazing artists. Are there any other bands who’d you like to work with? No dream list. Any band out there who is dangerous, sexy and weird.


Magnificent Specimens There is a saying that goes: Never trust a man with a beard. This didn’t seem to be an issue for Dave Mead who spends his spare time hunting magnificent hirsute specimens of bearded wonder to photograph. Claiming a ‘penchant for the weird and unusual’ it was his role as editor of the high school newspaper that first gave him a reason to pick up a camera. “My dad was constantly photographing the family when I was growing up; sporting events, family vacations, etc.” Comments Mead on his early photographic memories. “He always had a camera in his hand. He taught me the basics and then I took a photography class at University of Texas.  I spent ten years producing TV commercials at an ad agency and knew, eventually I’d transition to photography.” Keeping himself busy shooting commercial assignments he finds motivation easy when it comes to creating art. “I’m really drawn to humor.  I look for any opportunity to create art and give someone a laugh at the same time. I love creating art and generating a laugh or smile in the process.  Nothing is more gratifying to me than entertaining someone with my art.”

Based in the Texas capital of Austin, since 1989, it seems appropriate for Mead that the city’s proud slogan is ‘Keep Austin Weird.’ “Austin, Texas is the best city on earth. It’s busting with creativity. It’s really a young, vibrant and forward thinking city,” he comments. However it was in the cold climes of Anchorage, Alaska where Mead captured his “magnificent specimens” at the World Beard & Mustache Championships. “I set up a photo booth and captured portraits for 11 straight hours.  Some of the most glorious beards and mustaches I’ve ever seen.” And his favourite? “Probably my boy Dave Janzen from Ontario, Canada.  A Lumberjack with a full beard.  Total kook.  The minute he sat down in front of my camera, we both started laughing.  He got it and we got it.  Within the series, of the 130 subjects I photographed, it’s a favorite portrait of most people.”




WITH A SOUND DESCRIBED AS “TROPICAL POP”, IT ONLY SEEMS RIGHT THAT HOLLIE COOK SHOULD BE OF A SUNNY DISPOSITION. The West London-born singer has plenty of reasons to smile. 2011 saw the release of her critically acclaimed debut album, a Maida Vale session for Radio 1 and a performance on Later...With Jools Holland. 2012 is equally bright with the release of her album Prince Fatty Presents Hollie Cook In Dub. Oh, and let’s not forget the small matter of a gig supporting The Stone Roses at Heaton Park. “I’m quite overwhelmed. It still isn’t really sinking in, even now that it has been announced,” says Hollie of her spot supporting the Madchester pioneers. Ian Brown personally asked Hollie to perform after watching her live at the Jazz Café in late 2011. He had been invited to the show by her dad, Sex Pistols drummer, Paul Cook. Brown was suitably impressed and was in touch the next day to ask Hollie to support The Stone Roses and feature on one of his solo tracks. Hollie has never been far from rock royalty. She grew up in a house full of music, listing T.Rex, David Bowie, Beach Boys, Shangri Las and Marvin Gaye as the sounds that shaped her childhood. Her parent’s counted The Slits vocalist, Ari Up and bassist Tessa Pollitt amongst their friends. It was through this link that Hollie found herself embarking on a musical adventure that she describes as “blurring into madness”. In 2005, Ari Up invited her to record some vocals for the Revenge of the Killer Slits EP: “Ari knew exactly what she wanted when she got The Slits back together. She called my Mom without even knowing if I could sing!” Hollie went into the studio with no real expectations and she soon found herself ditching performing arts college to go on tour as the band’s keyboardist and “second singer”.

“I learnt a lot, especially in terms of performing on stage. It opened my eyes and built my confidence, I grew up in The Slits,” says Hollie of her time on the road with the punk legends. She speaks fondly of Ari, who died in 2010. “She was such a strong woman,” says Hollie. Post-The Slits, collaborations with Jamie T and Ian Brown helped to prepare the singer for the launch of her solo career. “As a solo artist, I feel a lot more exposed and vulnerable. I have really had to step into the forefront,” says Hollie. The solo material began as a side-project after Hollie was introduced to renowned reggae and dub producer, Mike “Prince Fatty” Pelanconi. A friend had given her some of his recordings and Hollie knew straight away that she wanted to work with him. The two met and clicked. “He is a master in the studio,” says Hollie of her collaborator. “I know that I am in safe hands!” The first single from the new album was And The Beat Goes On - a heavy dub cover of The Whispers disco classic. When asked about any possible return to her punk roots, Hollie refuses to rule it out. Yet it is clear that her heart currently belongs to reggae, which she considers a “delightful discovery”. The rest of the year is set to be full of gigs, especially in France – the country Hollie describes as “keeping me pretty busy”. She wants to be at the top of her game for when she faces the Heaton Park crowds in June. As for any nerves, Hollie has a sweetly simple plan: “a drop of brandy.” Words: Jenny Evans Illustration: Ewa Mos


Voodoo Rhythm VOODOO RHYTHM TALKS IN BLOCK CAPITALS AND BROKEN ENGLISH. IT IS LOUD, BATSHIT CRAZY AND IT REALLY DOESN’T GIVE A DAMN ABOUT YOU. The website will tell you that it is a record label. Don’t believe it. No-one walks around wearing EMI T-shirts, with Parlophone tattoos on their sleeves. No, this is a movement, a cult – a religion. It is the life’s work of one man, Reverend Beat-Man; rector of rock, shaman of soul. In 1992 the Swiss rock ‘n’ roll enthusiast set up Voodoo Rhythm Records as a way of promoting the music he loved. Somewhere along the line heaven and hell came calling, and Beat-Man has been leading them on ever since. “I have both sides in me,” he says; ‘God and the devil. I’m constantly fighting with both of them and it’s a lot of fun.” If you wanted to get pigeonholing then you might define it as rockabilly, psychobilly or something similar. The Reverend isn’t really interested in that though. ‘Our bands all have their own genres, he says. ‘Primitive rock ‘n’ roll is one of them and blues trash we made up.’ Good food and drink play an important part in the Voodoo Rhythm philosophy. Commandment #4 of the Blues Trash Church is that you sample local cuisine whenever you’re on the road. Commandment #3 is that the drug of choice is beer, not ‘sissy wannabe superstar snow’ – an interesting


rule for a record label whose call to arms is ‘we make a junkie out of everybody’. More than that, Voodoo Rhythm is about the beast with two backs. Rock ‘n’ roll was a euphemism for getting it on way before it got messed around and watered down. Voodoo Rhythm is definitely putting the sex back. Releases have included Get on Your Knees, Hormone Hop and I Like Going Topless. Bands on their roster at one time or another include the Sixtyniners, The Pussywarmers and the Juke Joint Pimps. The most important thing, though, is the music. There is no better way to tap into the human psyche than with the wail of a guitar; fast and dirty. Voodoo Rhythm knows this, and is raising two fingers to auto-tuning, overproduction and electronic gizmos. It is a back-to-basics approach that takes things to a primal level. “It’s something like if you are a bit crazy in your head and you constantly hear someone talking to you,” he says. “That’s exactly how important music is to me. It was always there and will haunt me day and night. No escape at all.” In a way theirs is an almost tragic story – one of finding your calling only to discover that the world at large doesn’t really care. Put simply, Voodoo

Rhythm Records doesn’t sell anywhere near the amount of music that an organisation with that much passion should. It’s like Beat-Man himself said in their documentary: “I have to play guitar, I have to go to the office and put out records nobody buys. I just have to do it. I don’t know why.” At some point or other the apostle of a religion has to face up to the fact that not everyone is a convert. Some heathens just don’t want to be saved. No matter how many denominations there are in your church, or how many preachers you’re packing, you can’t make them do something against their will. Many people don’t choose to listen to Voodoo Rhythm records, but some do; those that do listen with a passion. “We have a wide spectrum of music,” says Beat-Man, “and if people can take that, that means we have free people with a free spirit: People who can take a chance to experience something completely different. That’s what we want.” Fifty years earlier they would have been right on the money. These days they don’t even have the hope of some hipster revival to raise their profile. Perhaps it’s for the best though. Bern is a long way from Kreuzberg, just as primitive rock ‘n’ roll is a long way from commoditisation. Music, sex and religion are all free. Long may they stay that way. Words: Ross Wittenham


TWENTY FIRST CENTURY SKIN STYLE “PASSING ON THE BATON OF STYLE IS VITAL FOR EACH AND EVERY STYLE TRIBE”, says photographer Paul Hartnett, who has been tracking the originators and innovators of many a cult since 1976. Away from trending on the cobbles of Somerset House, Mr H talks to Laura Fraser upon his curious shift of focus, from London Fashion Week to skinhead stomping grounds. Documenting skinheads at Oi! gigs and events such as Birmingham’s Scorcher is quite different to your usual trending work at industry spectaculars such as London Fashion Week, what’s the appeal? I find skinhead events such as Brum’s bi-annual Scorcher and Digbeth’s Pressure Drop nite (pictured opposite), run by DJ Simon Tipper, really refreshing: raw, real. True skin style is minimal, stripped to basics. It’s more than about being British, being authentic. So much of the style is about links, links to working class youth tribes such as the Peaky Blinders of Digbeth/Cheapside, back in the 1870s, and the Scuttlers of Oldham, again as far back as the late nineteenth century. We’re talking social history, fashion history. Today’s ‘chavs’ don’t realise the evolution of their style. When people hear the term ‘skinhead’ they probably just think along the lines of boots, braces, boneheads, a Union Jack T-shirt. Nah, it’s so much more than that in terms of styling. From the donkey jacket, union shirt, clip-on braces and white-steeled toecaps on NBC boots of the 1968-9 first wave, through the years of bouncing soles, sheepskins, tonic suits, shawl collars, Brutus shirts, sta-prest trousers, Harringtons, short straight fly-fronted macs in iridescent colours such as blues, greys, off-whites... there’s such a wealth of style that’s beyond what most people think of the prejudices against this street style.   What made you decide to go back to your clubland roots and start pushing with the skinhead project? Working to a commission is one thing, following your heart is another. I was a skin boy at eleven, back in 1969. Living in West London, that was quite radical. Getting a crop, a tonic suit, Ben Shermans... quite a shock to my family, school and mates at Ealing Swimming Club. I was so into the music, The Pioneers, Maytals, Sound Dimension and Lee Perry. Top Of The Pops was full of novelty pop, and I was more into Bluebeat, Trojan, and bands like Upsetters, The Ethiopeans, U Roy. I recently met up with photographer Gavin Watson, who was kind enough to allow me to buy thirteen amazing hand prints. Gavin is a photographer who has documented so much of British street-style, and this deserves a wider audience. His recent campaigns for Dr. Martens has a real vibe of skin culture, British youth.   Was it nerve-racking going from the comfort of Somerset House to a sweaty Streetpunk Drunks gig in Wakefield?  It almost felt punk, getting away from so much contrivance, to strippeddown heritage. True skin style is very proud, very direct. What worries me about this cult is that the finer elements might get lost. Whilst DJs such as Jon Farmer, Brian Kelson and Bully have heads like the most amazing archives, my worry is that unless the fine details are grouped, preserved, the true spirit will become diffused by fashion stylists who don’t know their stuff.

Are there any major differences in the way that you work in such diverse events? For me, subjects always deserve respect, have rights. I’m not an invasive photographer. There are so many people at events such as Wayne Hemingway’s Vintage Festival who don’t want their style tribe overdocumented, as it can attract the wrong attention from copycat zombies in need of a fix. A certain skin style outlet in Camden actually avoids letting the likes of NME know about their Oi! gigs, to avoid having the gigs become too mixed up. That takes courage. The characters you meet at these gigs and events must be somewhat different to the usual fashion pack, what makes them stand out for you? I love characters. I mean... Jack Mulhern (p. 55), for example, what a dancer. He’s twenty, but he’s totally authentic, must’ve seen every piece of vintage footage on You Tube. Then there’s Ralph The Barber (p. 59 & 63), from Sheffield, Big Ben The Bin Man from Salford, Billy The Skin (p. 56),from Manchester... all so fastidious about the length of a Crombie coat, the colour combinations, the silhouettes. To see Big Ben dance to ‘Monkey Spanner’ by Dave & Ansel Collins, or hear Ralph’s voice, use of language just so refreshing after the fakery of so many muddled up within the Fash’ pack. I love it when I encounter somebody who’s passionate about the cut of a fawn suit, with loads of overlapping pocket flaps, or... someone into moonhop astronauts, shetland V-necks, Fair Isle yokes, oxblood Cordovan wing-tip brogues... the details.    Has anybody or anything caught your eye? Anything irresistible, new and exciting? As a photographer, I tend to have a muse, whether it’s at a Daniel Lismore Shabba night or an Oi! gig. I love Skinfull, a great band from Coventry. Love the fact that I’m on stage with them at gigs, snapping away. Love that intense close proximity to both the band and audience. Yeah, I do tend to have my favourites, and it’s always the people who are a bit of a mystery who get my interest.    You have always been the leader of the pack when it comes to street and club photography, what do you think is happening at the moment? What should we be excited about? All I can say is that in terms of exploring subcultures, my Nikon steers me towards Swedish skins, Italian skins, French skins. I love the attention to detail. Japanese skins... it’s the new breed of skins who have the energy and want to get the classic details right. It’s all about a respect for the aspect of heritage. Words: Laura Fraser Photographs: Paul Hartnett




FRIENDS We chatted with Matthew Molnar (keyboards, percussion, bass) to discuss baselines and living in hipsterville. What song is going through your head today? A few have been trading spots. Bad, Bad Leroy Brown by Jim Croce is one of them. Running Up that Hill by Kate Bush is another. And at some point everyday Live in Dreams by Wild Nothing gets stuck in my head. I’m His Girl has one of the best basslines around. What are some of your favourites? My favorite bassline of all time is Forget Me Nots by Patrice Rushen. Though not a super “funky” bassline, Wuthering Heights by Kate Bush has another one of my favorite basslines. It’s like a song within the song. Oh, and Hypnotize by Notorious BIG. I can’t even put into words the greatness of that one.


To steal a question from The New York Times “Is Bushwick, Brooklyn the ‘Coolest Place on the Planet’?” Can’t say it is “the coolest” place on the planet. It IS a place to live that isn’t as expensive as other parts of the city. It is also home to many talented, creative folks that have been working hard to make a name for themselves, and in turn their community. I have lived here for almost eight years now. I’ve seen it go from being a crime-ridden place where most of my friends wouldn’t even come visit, to now being where pretty much all of my closest friends live. There are a large handful of excellent bands and artists based out here, and there is rarely a night without something going on somewhere. What’s the music/art scene like over there? I’d say it’s flourishing. There are a large handful of independent venues and galleries. A lot of people throwing one off shows in their apartments. A lot of great bands have popped up out of here over the last year or two. Dive, Widowspeak, Caged Animals, Total Slacker, Greatest Hits, Big Troubles, La Big Vic, Phone Tag, and tons more, as well as bands that have been holding it down for years here too. Who or what inspires you? Long walks in the woods, Kenneth Anger films, Latin percussion instruments that I haven’t played before, and a lot of the art, music and creative projects of my friends. Do you consider yourselves to be a part of any particular ‘scene’?  Not exactly. There is solid camaraderie and support amongst our network of friends, and their respective bands. I’d like to think of it more as a community than “scene” ‘cuz scene seems to be exclusive. I don’t want people to feel like they are outsiders, and not part of the in crowd, which tends to happen in what people refer to as “scenes.” Though our sounds and our approach all greatly differ from each other there are a large group of bands I’m inspired to see, or share bills with, and glad to call our friends. It all boils down to the fantastic network of DIY, all-ages venues here in Brooklyn: Shea Stadium, 285 Kent, Death By Audio, and the newly opened Big Snow.  As well as those we played a lot before they closed like Silent Barn and Monster Island Basement.

What’s the strangest gig you have ever played? Friends played a sort of private show during CMJ at an upscale members only club called Soho House. It felt like we were going to someone’s rich parent’s house for a holiday dinner. They cleared some dinner tables out of the way and we set up in the middle of where people were eating. I’d say we won the crowd over but at first they seemed none to pleased to have us crash their cocktail party. When was the last time you were starstruck? Right before last Halloween. Samantha [Urbani - lead singer] and I got to see Danzig in concert. He did sets of Danzig, Misfits and Samhain. Even though I didn’t get to meet him, it was pretty surreal to finally be in the same room with him. We were right up front at the barricade, just feet away from him. I’ve been listening to Misfits/Samhain since age 12 and had never seen Danzig live. It was quite a rush to finally see him in action. Playing tons of my favorite songs no less. Tell us five things in life that you are crazy about? 1. Widowspeak- S/T debut LP. I cant get enough of it. It was my favorite album of 2011 and I think everyone should own it. 2. Art print of Darby Crash live with the Germs from 1979. My best friend got it for me from the photographer as my birthday present this year. I really need to get it framed.  3. Arrested Development (TV show). I’ve re-watched every episode no less than 15 times each. The more you watch each episode, the better they get. Many nights I throw an episode on to fall asleep to, then have weird dreams where members of the Bluth family make cameo appearances. 4. Coco Lin-Its this vegetarian Chinese restaurant in Ridgewood, Queens. (The neighborhood directly north of Bushwick). It just opened last summer. Vin and Magali from Caged Animals, and myself go there together a bunch.   5. 285 Kent. It’s my favorite venue to play and see shows at. It’s the largest room of the DIY spaces in town since Market Hotel stopped doing shows. Every week there is at least one show I want to go to. If not more. Some of my favorite shows Friends has played have been there. And now they have movie nights on Monday too. Illustrations: Laura Tinald




Best known for his deliberately simplistic but hauntingly dark cartoons and books, Shrigley has made music videos for Blur, animations and even an album of his own — which had everything except the music.

Mick Jagger in it and, one of my friends was telling me this story that he’d watched the same film. It’s some really crap movie that Mick Jagger made in the 70s, and he picks up the phone and says to the operator [does Jagger voice] ‘yeah get me Hollywood 95604441....’ and then, of course my friend who was watching it immediately picked up the phone and dialed this number and it was some guy, like a car park attendant in Hollywood and he was like ‘I want to speak to Mick Jagger, is he there?’ and he was like ‘what, man? no man, this is a parking lot dude, I’m just working here’.”

He’s doing a mean impression of the star of Freejack, one that would put Alistair McGowan to shame — that is, it doesn’t start with the words “Alwight, I’m Mick Jagger.” Vocal talents aren’t what I expected him to be showing off, but he’s demonstrating a very good reason not to use real phone numbers in your art: “I remember watching some film once with

One of Shrigley’s early pieces was a handwritten poster stuck on a tree trunk, ‘Lost. Grey + White Pidgeon with Black Bits… A bit mangu-looking. Does not have a name. Call 257 1964’, a seemingly public, yet shy type of art. The doing was enough, if it got noticed no-one would be there to record it. “When I did it there were two pubescent girls who started hassling me

while I was doing it, like kind of sexually harassing me, and I was finding it really awkward. I was going to write my real phone number on it, but then coz these strange little harpies were there, I decided to change my phone number. It’s kind of based on my own phone number, but there’s a couple of digits changed.” When a record company suggested that they take Worried Noodles — his album without music — and get bands to record the songs it became a real collaboration: “I only chose some of the acts that were on the record and I think its got a certain kind of pop theme to it that it really wouldn’t have if I’d chosen [them]. It probably would have reflected my musical tastes a bit more, which are a bit more sort of noise/rock/guitar. It’s stronger for that, for being a pop record and … the more I think about it, as time passes, the more I appreciate what a good project it was.” The album was a touch of showbiz on Shrigley’s devout ordinariness, his work is almost shy with just a touch of menace below the surface. “I think the kind of art I like the most is the kind of art where something is made out of nothing. It’s kind of magical, you can have something that’s incredibly mundane, incredibly insubstantial and then, through some kind of intervention or some kind of mediation, it becomes something really special. That’s the kind of art that I like. Perhaps that’s what I try and do myself, to make something out of nothing.” Words: Jon Bounds


VOODOO CHILD Photography: Glaza Kinski Styling: Irene Rinaldi Makeup/Hair: Angela Cori Model: Olha@YourWayManagement


Sweater - Vintage Floral shorts - Fiorucci Socks - American Apparel Shoes - Jeffrey Campbell

Scarf - H&M Vest - Forever21 Top - Vintage Japanese Textile Trousers - Vintage YSL

This page: Vest - Vivienne Westwood, Foulard worn as belt - Zara, Shorts - Mango, Socks - American Apparel, Shoes - Jeffrey Campbell. Opposite: Lingerie - American Apparel, Vintage Russian shawl - stylist’s own

Opposite: Hat - Vintage stylist’s own Top - Forever21 Floral skirt - Topshop

Lowlife SOME MAY CALL IT CURB CRAWLING BUT SCOT SOTHERN CALLS IT ART. Scouring the seedy mean streets of LA his payment isn’t for a knee-trembling cheap thrill but the selfdeclared patron saint of whores photographs working girls. Showcasing the harsh realities of hustling the streets this is brutal stuff and as far removed from the glossy American pie image of palm trees and celebrity as you can get.

FRITTER Fritter is a big girl with a pretty face. She smells like Ivory Soap and is witty, fun. I get a motel room where she gets naked and we take a bunch of pictures. We laugh a lot, and I get a boner. I tell her I don’t think she belongs on the street selling herself to lowlife creeps like me. She asks me ‘who does belong on the streets?’ I tell her, ‘Well, I guess nobody does’.

JANE DOE This woman is already dead so I photograph her ghost. She is one of the many; here in sunny Hollywood, California, murdered by life without the slimmest of a chance. I give her fifteen dollars even though she only asks for ten. The extra five includes my last dollar. That’s my donation. I’m down among the lepers and I just gave away my last dollar. I’m a fucking saint. I’m the patron saint of whores.


JEANNIE Jeannie tells me she used to be real pretty. She says she was popular in school, glee club, honor roll. She says she grew up somewhere across America but now she’s here. Jeannie says, “Guess I’m nothin’ new, huh?”

THIS PERSON I look at the photograph of this person and I think, Wow what an amazing fucking picture. Exposure, composition, focus, eye contact. But I can’t take all the credit. I mean look at this person’s face, body, skin. It’s fucking amazing. Oddly, I don’t remember taking this picture. I assume we are in a motel, probably in Los Angeles, but I don’t know that. I think this person was probably a nice person, but I don’t really know that either. Now, twenty three years later, looking at this photograph I wonder what became of this person. I wonder how this person would feel about this photograph.


GOOD RATS Hanging around a gang of dysfunctional teenagers who have adopted the punk movement as their staple, photographer and filmmaker Niall O’Brien, captures the raw energy flowing from the protagonists for his first solo show Good Rats. Photographing these coming-ofage wanderers for five years as they hang around condemned buildings and under bridges O’Brien comments: “They make a great picture and I think that was part of the reason why I originally pursued the project. But over time I came to realize that I’ve stumbled across something far more interesting than just energetic pictures.” Accompanying the group of young British punks during a trip to Berlin one summer the images document a life outside the norm while capturing moments of intimacy and vulnerability, violence and fun.



PETER HOOK PETER HOOK IS A MAN CONCENTRATING ON RETAINING CONTROL OVER HIS OWN HISTORY, BUT FIRST HE’S GOT A FEW OTHER THINGS TO DO. “Hello.” “Hi Peter,” even over a not wonderful mobile connection I could tell it was the laconic low-slung bass icon himself. “it’s Jon Bounds from Fused.” “Yes, right… would you mind calling me back in five minutes? I’ve got to pick the wife up.” “Sure, no problem.” To kill time I make a cup of tea and take the dog outside for a wee. I’m staying at a very well turned out holiday flat at the base of the Shropshire hills. It’s perfectly placed for me to indulge my AE Housman poetic fantasies—in a modish leather-look jacket and Adidas hi-tops of course—but without a garden that the brown and white dog sharing it with me can just pop out to unaccompanied. I’m breaking a conspiracy of silence here, not all interviews with rock gods are conducted over gin-soaked weekends on tour in uptown New York. Not all interviewers fly out first class and share hotel rooms and VIP sections with their quarry. We may strive for intimacy, but get maybe twenty minutes on the phone. I’ve not seen Lady Gaga go to the toilet. I had to carry a plastic bag for a poop scoop around the corner in case doggy number ones turned more solid outside Terry Jones’s Travel in Church Stretton. Trying to get that intimacy—or at least a bit of matey bonhomie—I tell Peter what I’ve been up to when I call him back. “It’s nice that we’ve got normal things to do isn’t it? Picking up the wife, taking out the dog…”

“When we started we didn’t have luxuries like a camera… it’s been hard to find photos, not like with New Order. We started New Order the Monday after Ian [Curtis]’s funeral…Bernard didn’t like the intensity of Joy Division which is why he doesn’t like playing those songs. Our manager Rob Gretton held a wake for the band and he said ‘don’t worry Joy Division will be big in 10-15 years. That was the way he put it to say that the music would last forever.” At the moment Hooky’s new band The Light has just completed playing a tour of Joy Division albums in their entirety. And it seems to have gone well, despite what he says was a cynical reaction when it was first announced (there were some “sarky barbs”, which sounds fantastic in that familiar North West burr).

“I always have loads of normal things to do Pete, I’m not a rock star.” You get the impression that Peter Hook has lots of normal things to do too, and giving humorous, affable, honest and conspiratorially indiscreet interviews is one of those. In fact I’m pretty sure that he’s given enough of those to fill the pages of this magazine many times over, but you never tire of hearing them. The man has many stories to tell and tells them well, it’s how others may tell them that is concerning him right now. He’s just finished writing a book called Inside Joy Division, which tells the story of being inside Joy Division. Being one of only three living people that could really know must give him the insight to do that, and it’s a story not well told and that’s been, he feels. passed over by the others and not given enough time.


“I thought it would be just fat 50-year-old blokes that came to see us, but it was 19-year-olds and I thought: ‘wow, the music lives on.’ The themes are the same as ‘77… I wrote it so I’m biased but there’s still an appeal.” I ask him if that’s something to do with the country being in a similar state now to that which it was then: I’m thinking something about the unemployment, the distrust of authority, the cold. “I don’t think so, I’m not sure. The appeal of the music hasn’t changed. Also it isn’t nostalgia, it’s not a tribute band. Doing the LP as a whole gives it purity. I’ll leave that to the likes of Joy Revision. It’s got credibility, we’re not pretending to be Joy Division. Not like the others pretending to be New Order. People remember the records but not the band. I was listening to the records and thinking what a genius [producer] Martin Hannett was—the records are sort of a cross between Joy Division and Martin Hannett. Joy Division live were much more raw, post punk.”


Yesterday we took a rough path straight up a hill near the Long Mynd, it took not minutes to get to a point where civilisation vanished. If you look the right way you can see no human invention before the sun breaks your sight over the horizon. If you look the other way, there’s a golf course; flattening, landscaping, commercialising what was once a force of nature. It’s the course designer’s take on reality. We’re most of us lucky that no-one feels ownership of our pasts, but if you’re part of cultural history you don’t get that protection due to lack of interest. I mention that Peter is the only person I’ve ever talked to that I’ve seen being played by actors in two different films. “Ha. I didn’t recognise myself in 24 Hour Party People. It was obviously a comedy, they wanted to make Carry on up the Factory and they did. The funny thing was that Ralf Little who played me had worked a lot with my ex-wife [Caroline Ahern/Royle Family] so you’d think he’d have picked up a few tips. It broke my heart watching Control. Anton [Corbijn, the Director] wanted to bring out the tragedy, he’d known us for a long time. I knew he’d get it right.” The end of May marked the 30th anniversary of the Hacienda, and it must be built. Again. By many other people, in clubs around the country and even in museums. The V&A are currently hosting a ‘facsimile’ recreated by original designer Ben Kelly, but Peter and friends had a more fitting tribute perhaps with 3 events to celebrate the milestone. “I wasn’t sure, but I was told ‘you’ve got to do something for the 30th, you might not be around for the 40th’.” You don’t get the impression he had to be persuaded too hard. I get the feeling that Peter Hook is enjoying being in control of his own story, he tells it well and in many media. Only a couple of days later I’m sitting round a friend’s kitchen table and being shown a spatula bearing the scrawl “Happy Beating! Peter Hook”. Hooky, king of bass, guardian of history, autographer of kitchen implements. The past is safe in his hands. Words: Jon Bounds


CHRIS THORNLEY Taking titles and song lyrics by The Smiths illustrator Chris Thornley (aka Raid71) has made a series of visual interpretations that he has turned into posters in the style of vintage Penguin books. Using the tools of a Wacom Tablet, Illustrator, and plenty of caffeine, Thornley’s playful style sees him continually experiment with film and music to re-imagine new works.


IT WS RE UA SHO ING Q S IT P XC n EE I ST ES I M S, P R E E O U R U r b a T A T O O e f r T M Y o M u E IN S i at IN AV se ED S E C T I M E L H E M i n l i m p H i s V s g O ’ A 0 U n. a 20 R C I f s o n r e a ti o Y M HO r NE IND G IT ME Wol aptu trifica of fe S I R M N c y n I n D a G b O e l K d C A A LT OF a n re - g o n e g D p WA S M SED p to ck RE OTBE OTEL NITI it is u us ba apes times O A F c f H M e o S s E S B SA Y ak land as o ER W. ED c ot WA SE E OV NO res t rban repli D S l u H I u t a f p e AN N T T IT l o o -r cu A ll y T H T S P O e n t s e r b e p h ot s . a d d m O n e t H i ron r u ew r af e v nc E n d a r k s l y c at o h u t h e i c u l o of w t t me psho a sn


Work... Describing my work to someone who has never seen it can be a bit tricky. I usually have to start by saying; ‘...well, it’s not painting and it’s not traditional sculpture...’ Although there are aspects of those crafts that go into my work. The work is a hybrid of several different disciplines. For simplicity I refer to them as Miniature Urban Environments. Because they have a narrative component to them, there are also theatrical elements involved. I never include people in the works, but use inanimate objects to tell a story. Things people leave behind (garbage, graffiti, a tip in a restaurant, a door left ajar...) help the viewer to imagine what just happened there. The lighting (which is built into the pieces) helps to set a mood for the scene. In many ways, my process is similar to building a set for a movie or stage play - you have the scenery, the props and the lighting. The process... I’ll think about the piece for a long time, visualizing, problem-solving; by the time I get ready to start something, I’ve usually thought about it for months. I’ll take photographs and do as much research as I can on the details of the location. I’ll make a couple of scribbled thumb-nail sketches, and then draft out the architecture and build a cardboard mock-up. That allows me to check the sight lines and see where the walls are going to go and figure out if everything’s going to fit. I’ll also determine where I’m going to hide lighting and how to make it accessible. The piece has to be as simple as possible to disassemble so you can maintain the lighting, if necessary. Once I get the mock-up the way I want it, I’ll start building sections of the piece. Most of what I do is built out of plastic. Sometimes I’ll just start tearing the mock-up apart and substitute plastic walls in place of the cardboard ones. Being a voyeur in the scene... Writers have said that my work creates a safe way of being a voyeur. There’s something mysterious and intriguing and even attractive about those environments, but I don’t know how comfortable most people feel in them in real life. Creating them gives me a window into them but also allows me to maintain control over them; the viewer can have the experience of having been to these places without having to confront the people who inhabit them. It’s true that almost every piece I’ve ever done, in my mind, is a night scene. I’m a night person, and I think there’s more potential for an interesting story at night. A woman once asked me why I did these kinds of scenes. I said, “What do you think I should be doing?” She suggested cathedrals. That sent a chill up my spine. I thought, why would I want to do that? I find these environments far more interesting than a lot of others. They may not be pleasant, but there’s something about them ... And I do feel a certain impulse to preserve some of our architectural past. I find it offensive that there is little or no effort whatsoever to do that. So many great old buildings have been bulldozed to make parking lots. It’s unforgivable.



Inspiration from the environment... I seldom replicate an environment exactly as it exists. I might take details from several different locations and incorporate them into one environment. More often than not it’s a combination of different elements from existing locations along with architecture I make up. Even if I’m replicating an existing location I almost always end up changing something in the environment. Not everything in the real world is visually interesting. Times Square... Although much of what Times Square used to be was distasteful to most people, it was a genuine representation of the subculture that exists in the city. Instead of making Times Square the tourist mecca it now is, it would have been nice if the politicians put some resources into dealing with some of the social problems instead of just relocating them to other places. When I go to Times Square now, I’m reminded of being at an amusement park. Everything seems planned and scripted; nothing can go wrong -- everything is wonderful. It’s not the real world. NYC... Although I’ve lived away from New York for several years I am still inspired by the city. I go back there often, and as soon as I get off the plane at Kennedy, I feel as though I never left. It’s all very familiar to me. Despite the changes in the architecture and that Times Square has been transformed into a ‘tee-shirt emporium’, the city is still an amazing place to be. I love going to the museums and galleries and just walking around the different neighborhoods. I usually return home from NY with ideas for a new project. Despite whatever changes have been made - the thing that will never change is the energy of that city, and I do find that inspiring. Influences... There are several artists who have influenced my work. A few that come to mind are: Edward Hopper, Joseph Cornell and Edward Kienholz. Of course I’m not a Photorealist painter but I’ve always been inspired by the Photorealist movement. Richard Estes’ work has inspired me both for this urban subject matter and his attention to detail. Probably the thing that influenced me the most was the fact that my father was an artist. I grew up visiting the art museums in New York, and was always encouraged to continue drawing and building things when I was a kid.




Opposite page: Stacey wears shirt - The Eleventh Hour, Suede shorts Maurie & Eve, Shoes - D&G. Emily wears top - Uscari, Leather shorts - Lover, Shoes - Siren This page: Emily wears top and Skirt Bec & Bridge, Shoes - Siren. Stacey wears Silk Blouse - D&G, Skirt - Bec & Bridge, Shoes - Siren.


Stacey wears Jacket - Alice + Olivia, Trousers - Philip Lim Emily wears lace top - Alice + Olivia, Trousers - Prada

Emily wears dress - Kirrily Johnston, Shoes - Siren


Stacey wears Dress - Paula Ke, Shoes - Prada Emily wears Dress - Paula Ke, Shoes - D&G


Emily wears Jacket and Trousers - Bec & Bridge, Singlet - Equipment, Hat - Borsalino

Stacey wears Dress - Kirrily Johnston

This page: Emily wears Beaded top - Alice + Olivia, Leather Skirt - Catherine Malandrino. Stacey wears Lace dress - Lover Opposite: Stacey wears Dress and belt - Kirrily Johnston, Bracelet - Chanel

Models: Stacey Grant & Emily Trimble-Thomas Photographer: Bernard Gueit Stylist: Andrew Zumbo Hair and Makeup: Justin Henry at Work agency


Fused Vol 02 | Issue 01  
Fused Vol 02 | Issue 01  

This is the FULL SPECIAL ANNIVERSARY edition of Fused Magazine. This edition features music, art, illustration, photography and fashion.