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Issue 4

Jul - Sep 2016

Psychedelic Pop Explosion!


The world of Tine Isachsen


Pillow Talk with Melbourne Folk-Pop Darlings

REGEN VILLAGES Eco-Architecture as you would never imagine it.



Pure & gentle hair care for all hair types Learn More Learn More

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INFO Editor-in-Chief Lee Dick Savage Creative Director Vanessa Burton Writing Team LDS, Katie M Little, Rachel Leppinus, Grant Stuart, Maggie Bell, Dana Cristina Straut, Finn Richards. Les Aitch. Editorial Photographers Kay Sukumar, Francesco Italia, Daria Perev, Shimyup, Vanessa Burton, Frédéric Monceau, Moana Barroso. Advertising To obtain our media pack or for any advertising queries contact Submissions hive welcomes your written story submissions, artistic offerings and photographic editorials for consideration. Our submissions guidelines and FAQ can be found on our website.

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ISSUE 4 Jul-Sep 16 On the Cover PHOTOGRAPHER Kay Sukumar STYLIST Heather Ferguson MODEL Nicolas Pesto per IMG Models CREATIVE DIRECTION Triann Marcs

‘MR NICE.’ Continued Page 50


You Say You Want A Revolution... Bernard Shaw once said that 'progress is impossible without change and those who cannot change their minds cannot change anything' and it's a simple statement that I have tacked to my desk as it constantly applies to everything we do and there is no shortage of opportunities in life to step outside of your comfort zone. This issue explores alternate options to community that tackle some of our greatest challenges, it breaks down the rules around gender in fashion, a cool new ideology that men and women can wear what they want, a fact that is becoming more apparent in contemporary mens fashion. As always, stick the kettle on, leave enough water for me and dig in. We hope you enjoy issue four. Keep the Faith....





Lee Dick Savage is a writer, musician and artist. He was born in Brighton, England and spent his earlier years moving around the UK playing in bands and drinking copious amounts of tea. At the age of 24 he departed on a 12 month trip never to return and now calls Australia home.


Vanessa Burton was born in Wellington, New Zealand. She has spent the second half of her life in Australia and with a life long love of fashion ran a vintage clothing boutique. She is an established fashion photographer, a stylist and Creative Director.

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hive Jul - Sep 2016


Culture Features



Vital Reality; A Look at

ReGen Villages


Blessed Are the Rich....

DARK MOFO Festival 2016

Fashion Editorials



Urban Samurai (Can)


Mr Nice (Aus)


One For All (Aus)


Room For Three (Ita)


Polythene Dream (Aus)


HER. (Aus)


Black Magic (Fra)




Introducing: SYRO (USA)



Mens Fashion SS17


Unisex Fashion:

Just Clothes, or so Much




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hive Jul - Sep 2016



Art Features 104

Dark Aura;

The Tine Isachsen

Interview (Nor)


Visualise This... The work

of Darren Grealish (USA)



Features 114

On Repeat -

Melbourne darlings,



Introducing POP CULT




Gig Reviews


Album Reviews

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MEET THE hive community notice board

ARE YOU A WRITER, PHOTOGRAPHER OR ILLUSTRATOR? AND WANT TO CONTRIBUTE? Join the fastest growing International community that continues to challenge the status quo.

WRITER Katie M Little (Sydney)

Katie M Little can sum up her childhood in two words: not average, not least because her mother is Australian 80's icon Jeanne Little. She writes about staying sane in an insane world on her blog Katie M Little is GOING TO SEED.



Les Aitch (Newcastle, UK)

Dana Cristina Straut (London)

Les Aitch is a jazz counissiuer, band manager and general man about town in his native Newcastle. His passion for music is translated via comic first person accounts and he is a voice for discovering the best in new music.

Dana Cristina Straut is the creative director of FashionTag and a writer for various publications. She graduated Fashion Journalism (London College of Fashion) and is now pursuing her 2 great loves: fashion & writing. She currently lives in Timisoara (Romania) and travels to London for work and projects.

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Maggie Bell (Adelaide)

Rachel Leppinus (Adelaide)

Maggie Bell is a model, blogger and general busy-body based in Adelaide. Completely obsessed with the local (and not so local) fashion industry, her passion lies in promoting freedom of self expression through clothing.

Rachel Leppinus completed an associate degree in Furniture Design at RMIT in 2013. Since then she has worked on various projects from styling properties for sale to set design and designing furniture for leading furniture retailers.



Grant Stuart (Adelaide)

Kay Sukumar (Sydney)

The 70's Sydney to London Overland journey was just the start fro Grant. Life continued to involve the world of travel, beginning as a Courier for the earliest Contiki experiments before being sent to LA to sell Australia and NZ to the evolving North American market. Having managed many tour companies in the time between, Grant is now the owner of the Gray Line day tour business in Adelaide.

Kay Sukumar is a strong believer that as a photographer you need to physically and mentally paint a picture. Fashion photography to him is a language, a form of combining art, emotion, style, personality, attitude and the story. Communicating that moment in time in a way which intrigues and engages the viewer to read into the image.



hive #our_top_picks 1.

2. @642_drawings



4. @chema_ocean



6. @darrengrealish_art



8. @industrialdesignkid


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Between Via Montenapoleone and the Scala Theatre, a charming “Milanese house”, whose rooms have perfectly preserved period furniture and details. Point of reference for guests in search of luxury, discretion and privacy, set in the cosy and pleasantly retro atmosphere of an aristocratic “old Milan” building.

Via Manzoni 29 - Milano - T. +39 02 723141 - -


Vital Reality Rethinking OUR Footprint 12 hive

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Written By LDS / Illustration © EFFEKT

“ReGen Villages is engineering and facilitating the development of off-grid, integrated and resilient neighbourhoods that power and feed self-reliant families around the world” (James Ehrlich, Founder of ReGen Villages, B.V.)

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t's with every sci-fi film released that I for one struggle and ponder what our life on Earth will look like in the future, a thought that would naturally occur to everyone. Duly it is without question that technology takes a lead role in shaping this landscape though it has always been human ingenuity and dictation that drives technology forward. In a world now bursting at the seams, faced with an abundance of socio-environmental challenges the time to look at our footprint and the measure of our lifestyle was yesterday. Our Earth is responding to the aggressive manner in which we farm, mine, manufacture and generally cater to sustain our increasing population. Not Lucas, Kubrick nor JJ Abrams will likely realise their visions of inter-planetary escape and to rely on this future is the dreams of fools. Change is needed from grass roots up but change can be considered a dirty word. This is where we have had the privelage to speak with a group who are looking to make all the right tweaks without completely turning our lives upside-down. The partnering of ReGen Villages, B.V. and EFFEKT Architects has been a sensitive yet bountiful union, focused on subtle changes in our methods that carry unprecedented positive weight in redefining and reinvigourating our environmental footprint for years to come. Welcome to the future... By harnessing today's available technology we are closer than before in steering our future in a sustainable direction and via no strange path does it lie. To varied extent, Green Living is amongst all of us. It is a philosophy that carries a depth of practise to live off of the land via non-destructive methods. To date much of the Developed World has taken a soft approach to growth in this space through Government macro-scale initiatives are becoming apparent, construction of more wind, hydro or solar farms are springing up to capture free energy. On a micro-scale local Council recycling programmes have forced our hand and subsidised solar energy schemes have come into maturity. The benefits of embracing clean, free energy has gained traction as options for the masses become more economically viable. To go further and live completely "off-the-grid" is a dream for many, though this too is actually starting to become a real possibility.



ReGen Villages in a nut-shell? This is an eco-community though nothing like you imagined. In simple terms it is self-sustainable in both food and energy, a tech-integrated real estate development company with the purpose of answering some of the world’s most pressing global challenges – social, financial and above all environmental. 'ReGen' essentially stands for regenerative, where the outputs of one system are the inputs of another. The concept has a holistic approach and combines a variety of innovative technologies, such as energy positive homes, renewable energy, energy storage, door-step high-yield organic food production, vertical farming aquaponics/aeroponics, water management and waste-to-resource systems. “...ReGen Villages is all about applied technology. We are simply applying already existing technologies into an integrated community design, providing clean energy, water and food right off your doorstep...” (Sinus Lynge, co-founder of EFFEKT)

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With the proper integration of technology, there is real potential to reshape our footprint without drastically re-programming our habits and for ReGen Villages they will now share this vision with the inhabitants of their 100 home pilot project (over 15.000 m2) which has just been given the green light in the Amsterdam region of the Netherlands along with multiple other pipeline developments commencing initially on sites across Northern Europe - Sweden, Norway, Denmark and Germany. So what does it look like? The above diagram shows a basic lay of the land, the key ingredients required to form a ReGen Village - many of which you would suspect, though also many specialist accompaniments to form a closed lifecycle. The Home At the centre of the model we have a home, pretty obvious really though this particular component is designed beneath an encapsulating glazed structure (much like a greenhouse) which extends the indoor living space onto a terrace. The housing comes fitted with solar panels and is designed for maximum rainwater collection. A typical village would have the houses designed in a circle around the communal facilities. They come in a number of different design



CULTURE Our Current Food Footprint The problem statement. 42% of the Earth's surface is

farmed. This is the equivalent of the land mass of BOTH South America and Africa combined. Farming is the single most powerful driver of both deforestation and loss of biodiversity.

70% of the worlds water

consumption is used for farming.

Farming accounts for 30% of the worlds Greenhouse gas emissions, the single largest contributor. Fertilizers have almost doubled the amount of phosphorous and nitrogen in our environment contaminating our soil and drinking water.

33% of all food produced goes

uneaten... whilst 1 in 7 people in the world (around 840 million) are starving making hunger and malnourishment the single greatest risk to health worldwide. On average vegetables travel 2,400km (1,500 miles) from farm to

consumer adding an extra 12% emissions before consumption.

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options ranging in size of between 80-140m2 internal living space. The home is prefabricated, the glass facade openable to change with seasons, the sun preheating the living area in the cooler months and extending the summer season, promoting private courtyard growth of fruit and vegetables. Food Production There are 6 key areas of food production; the pre-mentioned heated greenhouse, a communal standard greenhouse for mass production, the communal seasonal outdoor veggie patch, livestock, fish and aquaponics. Aquaponics (as shown on the previous page) are the combination of aqua-culture (the raising of fish) and hydroponics (the growing of plants in water) within a combined environment. Fish effluent is broken down and used as nitrogen rich food for the plants (lettuce, spinach, cucumbers etc). The fish are fed on soldier flies (carefully farmed and contained) who in turn feed from the waste organics produced by the community. The fish both contribute to the growth of greens and can be eaten themselves as a source of protein. Due to a significantly smaller production footprint an ecosystem of high biodiversity is restored in the surrounding landscapes. Energy Production Aside from the solar panels built into the architecture, the community also runs partly off of a bio-gas plant which is fed by the waste management centre non-compostables, while compostables are used to feed the livestock/fish (nothing wasted!). Electric cars are the only vehicles here and like everything have their place in the life-cycle, charging on one of the many charging stations inside the community. “...We are launching our prototype in Almere, Holland, where there is a big upper-middleclass potential, but the big potential for ReGen lies in developing countries, where billions are moving away from rural communities in search of better living conditions...� (Sinus Lynge, co-founder of EFFEKT) ReGen Villages is a giant leap forward promoting healthy alternatives to city living and continued mass-urbanization. It tackles head-on the challenges of a growing population, scarcity of resources, growing global food crisis and promotes a reduction in global CO2 emissions. But it is not only about reducing environmental impacts. It is also about creating a better model for a sustainable future, where the cur-


"...Today we spent 40% of the surface of our continents producing food. Food production is the single largest emitter of greenhouse gasses, the biggest driver of deforestation and responsible for 70% of our global freshwater consumption. We ship our food from one end of the world to another just to waste 30% of the total production before consumption - and still 1/7 of the global population goes to bed hungry - we just have to come up with better models and ReGen is one of them..."

(Sinus Lynge, co-founder of EFFEKT) 19

CULTURE The ReGen Villages Food Footprint The Model Using aquaponic farming systems a reduction of land use can be realised by up to 98% freeing up space for biodiversity and permaculture.

Aquaponics is a 100% organic form of food creation and far more efficient, growing up to

10 x faster than traditional methods.

Aquaponic farming utilises 90% less water consumption and is a closed circuit, putting no nitrogen or phosphorous into the surrounding environment. Farming on site reduces unnecessary travel of food cutting associated emissions.

“...Urban dwellers across the world work hard to pay the commodities of their homes, such as mortgage, energy, water and heating, cooling and food. We envision homes that work for you, producing clean energy, water, food off the grid at affordable land prices outside our big cities...� (Sinus Lynge, co-founder of EFFEKT)

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ARCHITECTURE rent living standards can be sustained by thinking smarter, not only smaller. It embraces social value by creating the framework for empowering families and developing a true sense of community, reconnecting people with nature and consumption with production. Who is behind the project? ReGen Villages was founded by James Ehrlich, a successful serial tech entrepreneur. James is a Senior Fellow at NASA Ames Opus Novum consortium, Entrepreneur in Residence at the H-STAR Institute (Stanford University), and senior technologist and researcher in the area of closed-loop and organic highyield food systems in which he has self-funded many regenerative organic food and bio-generator R&D case studies. The ReGen concept was inspired in part by a 2015 UN Sustainability Platform Report co-authored by James, Professor Larry Leifer and Chris Ford (AIA) from the Center for Design Research (Stanford University). Their vision to create a platform for redefining residential real estate development and retrofit projects at the neighbourhood scale was

realised when partnering their engineering brain with the architectural, planning, urban and landscape design prowess of Danish architects EFFEKT. Established in 2007 under the creative direction of Partners Tue Hesselberg Foged and Sinus Lynge, EFFEKT have distinguished themselves on both the national and international scene received numerous awards for their work. The business model: ReGen Villages Development company is raising a significant amount of funding from sovereign wealth funds looking to divest from fossil fuels investments. ReGen then acquires suitable areas of land in collaboration with national and local municipalities committed to this kind of partnership. ReGen’s team of technologists contract with local architecture, construction and engineering firms in each country and region to adapt and optimize the village model to the local conditions. ReGen Villages then remains in every project, managing as a concierge level of service to residents, by aggregating data and building algorithms that improve daily thriving mechanisms.

For more visit and



Blessed are the Rich For they have all the Money 22 hive

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Written by Katie M Little

omeone with truckloads of money is doing something uber cool down on the pointed tip of Van Diemen’s Land. His name is David Walsh and he’s not afraid of death, sex, wealth or anything that usually spooks the average mortal, and he’s building an empire that looks like a modern gothic fairy tale. Rumour has it he made his millions

cracking an online gambling code, so he can spend it anyway he likes, under no contract to please anyone but himself - and he’s doing it gloriously, indulging in the finest architecture and design, food, music and art, and inviting the rest of the world to share his unique vision by visiting his home, the Museum of Old and New Art (MONA).



Photo Katie M Little - 'FEAR EATS THE SOUL' by Michaela Gleave


s the winter solstice approaches and the planet tilts the Southern Hemisphere towards the coldest and darkest expanses of space, the whole of Hobart lights up in red revelry for a two week festival initiated by MONA, brazenly called Dark MOFO. Word spreads fast, only three years in and Dark MOFO is attracting crowds in enormous numbers - this year over 275,000 visitors took part, keen to experience something innovative, unexpected and unconfined, everything that David Walsh stands for. Unlike other festivals which cater for a certain genre, Dark MOFO knows no bounds - it combines art, music, theatre, film and more, the only criteria for involvement it seems is that, like all good art, it provokes a reaction, and the ways of doing this seem limitless. Along the foreshore, enormous fire organs belch great orange flames up into the darkness marking the way to the main attraction - Dark Park. Described as an ‘interactive art playground’, the most eye-catching piece this year was a huge neon archway built on scaffolding that read

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‘FEAR EATS THE SOUL’, red letters glittering above the rain-slicked tarmac of the docklands, visible for miles around. Glowing red neon lights snaked along the ground to the different attractions, warehouses of tantalising experiments involving light and sound, such as the ‘House of Mirrors’, a Coney Island style kaleidoscopic amusement designed to play havoc with your senses. The mirrored walls echoed the laughter of the people lost inside, the only clue being a haunting cello melody that guided you towards the exit and a final surprise of finding the woman sitting with her instrument, veiled from head to toe in black lace. Dark MOFO is full of surprises. One of the most exciting things about the festival too is the scale of the production, at the other end of the cove, the Winter Feast was no exception. A decadent banquet hall plied with Tasmanian delicacies - fresh oysters, racks of lamb, locally brewed ciders, ales and whiskey, communal tables adorned with candles running meters long, the ceiling glowing with neon crosses and decorations befitting a Mexican fiesta, where the hungry patrons gathered to refuel before heading back out to experience the smörgåsbord of gigs staged at venues and pop-ups all around Hobart.


eadlining music acts this year included Chelsea Wolfe, a willowy singer in the style of Siouxsie and The Banshees whose ballads of lyrics transcribed from dreams were backed with a bass guitar so loud the vibrations threatened to shake the 100 year old Odeon Theatre to the ground. Other sell-out gigs included Lustmord, an ambient audio visual journey with mesmerising visuals reminiscent of astral projection, a contemporary jazz octet headed by Tom Vincent on piano that combined Zen Buddhist chanting with gobsmacking musicianship, and a performance by Lubomyr Melnyk, inventor of ‘continuous piano music’ who brought the concert hall to its feet in thundering applause. After the Tom Vincent gig I found myself waxing lyrical with one of the musicians about the coincidental nature of many of the performances to involve some kind of droning or continuous sound. Could this be the collective consciousness attempting to defrag our current state of mind? Exhausted by technology and having to deal with multiple platforms of communication, our brains are functioning most of the time like computers with too many windows left open, well overcapacity.

Could this be the collective consciousness attempting to defrag our current state of mind? It was food for thought, Dark MOFO was a banquet of food for thought. And when the thinkers had done enough thinking there was partying and revelry to partake in, the epitome of which was Blacklist, a dance party evocative of Sleaze Ball at it’s hedonistic best.



uring the daylight hours there was art to explore, the amazing wall-sized chalk on blackboard work ‘When I First Raised The Tempest, No 17599’ by English artist Tacita Dean, to the unavoidable, shocking-pink plastic-wrapped monuments all over Hobart by artist Gigdem Aydemir who was cleverly teasing our unquestioning acceptance of commemorating only a select few in history, the public figures, usually male who supported the Colonial cause and who were wealthy enough, or powerful enough to be recognised.


ike Parr, the Australian performance artist most well known for sewing his face in protest of treatment of asylum seekers opened the historic mental institution Willow Court, a site many believe to be haunted, for an installation called ‘Entry By Mirror Only’, a moving tribute to his late brother and the suffering of those confined there with mental illness. Entry was free on the condition that visitors leave a mirror at the place that moved them and the collective debris that accumulated became fitting shrines to the memory of shattered lives, the most poignant of which was a lone tree in the cement-walled exercise yard, the sad distorted music of an ice-cream truck piped in to amplify the feeling of confinement and desolation. ‘FEAR EATS THE SOUL’, it was a befitting sign. Dark MOFO was not timid in prodding people from their comfort zone, perhaps that’s why it was proving to be so wildly successful. And now, with fears exposed and suitably wrestled from their psyches, it was time for The Burning. A giant papier-mâché ogoh-ogoh that looked like an enormous leafy seadragon was brought before the waiting crowds at Dark Park and set alight with much ceremonial banging and singing, and the dark, subterranean fears of the people were purged.

Dark MOFO Festival runs every year between June 8-21 at the MONA, Hobart, Tasmania.



1. Hungerburgbahn, Innsbruck 2. 'Flames' 3D printed shoe 3. Messner Mountain, Italy 4. Vitra Fire Station, Germany 5. 'Lamellae Double Ring' for Georg Jensen 6. Guangzhou Opera House, Guangzhou 7. Olympic Aquatic Centre, London

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By Rachel Leppinus



The Great Seventies: 'The world as it was, and as I saw it' By Grant Stuart

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he adventure continues. Sydney seems a long time ago, and Auckland even more distant. This was a journey from Sydney to London in the mid-Seventies, at a time when there was surprisingly little world conflict affecting the trail we took and travel through these mysterious countries was totally possible. We were skipping around Cambodia and Vietnam – the conflict there had only ended 12 months previously. The previous three postings of my story followed our journey from Sydney through to the crossing of that somewhat tense Thai border with Malaysia, and a stay at what was then a very primitive beach ‘resort’ of Songkhla. Early the next morning we were back on the bus and on the road to Bangkok. Long straight highways but very congested. It was noted that every driver drove with only one hand on the steering wheel as the other was firmly pressed on the horn. This was to warn of overtaking, undertaking, turning, not turning, head-on collision avoidance, or just for the hell-of-it. Who needs traffic lights! It was a mad race competing with big Nissan trucks with wooden chassis and


trays, gaudily painted, chrome, flags and pictures covering the whole vehicles. The poor little bus protested by leaking oil and then bursting a tyre, but after 15 hours on the road we pulled into a small hotel for an expected 80 baht (US $2.20 in todays currency) per night. We found the price had mysteriously risen to 100 baht per night leading to dramatic and explosive negotiating on the part of our mighty leader, driver Gazz… no luck. 100 Baht it was, still, not a bad deal. So on we went towards Bangkok, but a small detour to the famous bridge over the River Kwai. I now discover it is in fact the Mekong River. A small portion of the river was renamed Kwai to satisfy tourists familiar with the famous movie. Back in the Seventies we all knew the film so of course we bravely whistled the Colonel Bogey March as we walked across the bridge. More sobering was the walk through the POW graveyard. Very sobering. Back on the Bus and Bangkok beckons. If we thought the traffic on the highway was bad… it was nothing. The roads into Bangkok were a carpark and it was bedlam. Stopping in traffic was not a part of the Thai DNA so cars and trucks were driven

with madness – footpaths, centre verges, wrong side, U-turns, back alleys, all accompanied by constant blasting of horns. The scream of sirens came up behind us and two police cars forced their way past. Clearly the noble citizens of Bangkok respected their police force because, like the Biblical Red Sea, the pathway opened for them. A couple of buses were strategically following them, taking advantage of the free lane so Gazz, our driver with attitude, immediately took the opportunity to join the convoy and our two hour journey became a more palatable 45 minutes. On arrival in central Bangkok, the two police cars simply parked at a milkbar – sound familiar? We were overwhelmed by the chaos of downtown Bangkok. Despite the noise of horns, tyres, squealing brakes, no-one appeared at all phased or upset. We were clearly tourists and received constant smiles and waves from all, including drivers as they were cutting off large trucks and avoiding motorbikes. Bangkok….. here we come!







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S 2017 j



a. DSquared2 Milan b. Barbour London c. Oliver Spenser London d. Neil Barrett Milan e. Hardy Aimes London f. Dries Van Noten Paris g. Balmain Paris h. Agi & Sam London i. Haider Ackermann Paris j. Henrik Vibskov Paris k. Paul Smith Paris l. Valentino Paris





Unisex Fashion Just Clothes or So Much More? Written by Dana Cristina Straut

It was about this time two years ago when my father and I had a conversation about fashion, and he said something very interesting: 'Clothes these days are the same for boys and girls. You should put that in your articles.' Frankly I didn't know whether to feel proud of my father or ashamed that I hadn't noticed the unisex 'trend' myself. In a time when most of us bitch and whine about lacking a fashion and social revolution, we're not only living it but wearing it. Fashion always mirrors its times. In 2016 we finally grew some balls and decided to not only wear unisex clothes but actually dare to go beyond the sartorial and into the social, sexual, and cultural side of it. Fashion allows us to do so, and I'd also like to think we became smarter in time.

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Acne Studios




hat is wrong with wearing same sex clothes? Nothing. So why not shout it out, and raise awareness to the obvious? Label it as unisex or 'Agender' if that means a sexual revolution that will conclude in equality, the former Agender - being exactly this: a marketing and social tool used by the British store Selfridges to add a small yet very important brick to the gender fluidity movement. It was the term they gave to their androgynous clothes department. Then it was Gucci who actually didn't even bother to name their floral shirts as part of mens or women's collections. Prada named their unisex collection 'His & Hers', and online retail started using the term 'Everyone.' Small steps perhaps, but worthy of standing ovations for quite a few reasons - we're finally speaking up and putting a name where a name needed to exist. And most importantly we're having fun with clothes for God's sake. This is what fashion's all about in the end. And if in this process where I, a woman, am wearing a man's suit, and a man is wearing a woman's dress, shirt, or makeup we end up making a point I couldn't be happier. Rules are meant to get a massive fuck you anyway, and if they pose a threat to realness, truth, gender equality, and creativity, then to hell with all of them. Unisex fashion means clothes for both men and women. It usually means clean lines, very architectural cuts, minimal, bold, very powerful designs, T-shirts, blazers, suits, sporty luxe attire, gender neutral smart casual outfits that everyone can wear. Summer retro prints in button down shirts, knee long Bermuda shorts, same sunglasses, same hats, same bags. You may be tempted to think it's all plain fashion editorial, with a dash of labels and unisex-marketing, BUT it's reality. Men shop in women's and more women have a habit of shopping for themselves in menswear. #GuiltyAsCharged

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So why not put a damn label on it and enjoy it? We're living this trend and revolution anyway so we might as well acknowledge it. History testifies to the gender fluidity and unisex fashion as well. Look at post WWII fashion when women wore mens clothes for cultural, social, and fashion reasons, the Sixties had the Peacock revolution, the equality of the sexes movement, with women in jumpsuits, men in ponchos, and both in vests and bell-bottoms.


Mosaert The Seventies were iconic if we're only to look at David Bowie and how pop-culture was breathing freedom of expression: men, regardless of who they were fucking were wearing makeup, glitter, heels, and sexy outfits. And the world continued. The Eighties had women in bold power suits running their lives and companies. Today fewer ignoramuses are appalled by a woman in a man's outfit, or a man in bold lips, regardless of them being gay, transsexual, or

gender neutral. The world was ready for a Caitlyn Jenner, for a bearded glamorous beauty winning the Eurovision. And there I was thinking how I'm not living through a social revolution, when in fact I'm living and advocating for the biggest one of them all. Fashion IS clothes, but to think fashion is just that is pure ignorance.



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URBAN SAMARUI Photography Daria Perev Model Jesse James Duval per ELITE Toronto Styling Bulgun Puteeva Make-Up & Hair Styling Holly Kurmis Assistant Veronika Osmikhovska



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Overall Pants PUBLISH Shoes CONVERSE CHUCK TAYLOR Traditional Kendo Helmet Traditional Kendo Protective Skirt


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Sunglasses FOREVER21 Black Choker URBAN OUTFITTERS All Other Neck Jewelry BULGUN PUTEEVA Track Jacket ADIDAS Rack Cuff Pants ADIDAS Traditional Men's Japanese Yukata Traditional Japanese Geta Shoes

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Sunglasses FOREVER21 Black Choker URBAN OUTFITTERS All Other Neck Jewelry BULGUN PUTEEVA Jacket ZARA Pleated Skirt BCBG MAX AZRIA Traditional Kendo Gloves Elastic Blue Leg Bands by BULGUN PUTEEVA Geta Shoes Handmade by BULGUN PUTEEVA

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Black Choker URBAN OUTFITTERS All Other Neck Jewelry BULGUN PUTEEVA Sunglasses FOREVER 21 Sweatshirt 4OIRAD Shorts ZARA Blue Leg Bands BULGUN PUTEEVA Traditional Japanese Geta Shoes

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Black Choker URBAN OUTFITTERS All Other Neck Jewelry BULGUN PUTEEVA Long-Sleeve Tee PARENTAL ADVISORY Hooded Overshirt ZARA Shorts ADIDAS ORIGINALS Long Tights by ADIDAS ORIGINALS Blue Leg Bands BULGUN PUTEEVA Traditional Japanese Geta Shoes


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Sunglasses FOREVER21 Black Choker URBAN OUTFITTERS All Other Neck Jewelry BULGUN PUTEEVA Traditional Kendo Gloves Overall Pants PUBLISH Shoes CONVERSE CHUCK TAYLOR


Sunglasses FOREVER21 Black Choker URBAN OUTFITTERS All Other Neck Jewelry BULGUN PUTEEVA Tee URBAN OUTFITTERS Kimono ZARA Pants HEI HEI Blue Leg Bands BULGUN PUTEEVA Traditional Japanese Geta Shoes

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Sunglasses FOREVER21 Black Choker URBAN OUTFITTERS All Other Neck Jewelry BULGUN PUTEEVA Tee URBAN OUTFITTERS Kimono ZARA Pants HEI HEI Blue Leg Bands BULGUN PUTEEVA Traditional Japanese Geta Shoes




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SYRO "...SYRO is founded on the hope of liberating femme identity. Community is the core of our mission — to encourage the outcasted and unite the oppressed..." Henry Bae, Creator

Written by Maggie Bell The fashion industry has long since flirted with the concept of androgyny and genderless style; but only in the last few years has this flirtation begun its transition into a full-fledged relationship. As fashion is increasingly accepted as a statement of self-expression, beyond the binary of male and female, the arduous deconstruction of gender roles begins and people like Henry Bae come to the forefront.

least in part, feeds the fire pushing this industrious individual. His answers speak subtly of a soul whose cheeky playfulness is tempered by a very real dedication to his cause; one conveyed with a total lack of presumption on his part. So without further ado, let us extend our exploration of this new indentation on the industry, with a few questions for its creative benefactor…

Creative Director of shoe label Syro, Bae partnered with parent company to create mens shoes that are both understated and something of a statement in and of themselves. In the initial collection, which features five basic heels covering all styles, Bae has provided a blank canvas onto which any number of styles might be portrayed. Their form for some might seem distasteful, though unsurprisingly it seems to be the brand’s fundamental ideal to abolish this sentiment for good. These foundational pieces serve almost as a tangible basis for the promotion of freedom of expression and, in extension, further freedom of the true self.

Tell us about SYRO - how it was conceived and its journey into reality?

In a show of refreshing transparency, Bae’s personal ideals line up beautifully with that of his brand. It’s not hard to see the empathy that, at

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When I worked for in 2012, I was in charge of cultivating the company’s men’s division. Though I brought on high-end brands like Rick Owens and Kenzo, and cult brands like Hender Scheme and Gosha Rubchinskiy, I noticed that the few high-heels we stocked for men consistently had the most traction. They flew off the shelves, and we struggled to keep them in stock. Three years later, after consistent disappointment in trying to source heels for men, and aching over the difficulty of persuading factories and brands to make heels in larger sizes, my friend and former boss from Solestruck reached out to me about starting a line ourselves. And thus, SYRO was born.




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INTRODUCING What response have you received since its launch? It thrills me how much our customers resonate with why we’re doing what we’re doing. The shoes have been selling on pre-sale, but the enthusiasm over our greater mission to embrace and celebrate male femininity — that has been hugely encouraging. How do you see the brand & products evolving aesthetically? The first collection is rather simple. Black leather heels, in “classic” shapes: a wedge, a pump, a boot... Going forward, we’ll have to see how the brand evolves into a more distinct style and specific personality. What impact do you hope this will have on the lives of transgender & gender fluid individuals? The trans community is unbelievably brave, and patient in the face of chronic intolerance. Syro is a brand that challenges gender roles and encourages male femininity; but our heels are not necessarily made for trans-women. Syro is not aiming to reflect the transgender experience. If the trans community embraces our project, then that’s great! But I respect my trans brothers and sisters too much to imagine our brand having any real impact upon their lifestyles. Talk us through your design and manufacturing processes. The design process usually starts with a silhouette detail (a kitten-heel, or pointy toe, or lacing design) and final specs are sent to our factory. It’s a time-consuming back-and-forth between samples and revisions, but it’s getting the job done! You’re not the first to enter into this market - what do you think/hope your point of difference is? Syro is certainly not the first to make high-heels for men. In fact, the options are abundant in the realm of performance-wear and costume. But whether or not customers resonate with the fact that Syro aims to be worn on the streets, my personal hope is to clearly communicate why we’re doing what we’re doing. I can’t call it a “point of difference,” because I don’t know if it actually separates us from everyone else, but we want to keep an equal spotlight on our mission, in tandem with the product itself.

Your website places emphasis on community what does this mean to you? Meeting other boys who share similar experiences of marginalization and shame, and learning how they’ve conquered some of their personal hurdles, has been immensely helpful in my ongoing process of coming to terms with myself. I wanted to bring the power of story-telling and camaraderie to Syro, because I imagine that I’m not the only one who has found strength in knowing I’m not alone. How is your personal style reflected in this collection? Honestly, it’s not! I love playing with lipstick, wigs, bras, eyeliner, and high-heels, but in truth I largely repeat the same lazy outfit every day: a T-shirt, loose pants and sneakers. I think it’s just laziness—I shaved my head because I couldn’t be bothered to have hair anymore either. In spirit, Syro is 100% me. But in the literal sense, I wear slippers and hardly leave my apartment. If you could do one thing to change the World what would it be? If I could somehow free young boys and girls from the pressure to abide by their gender roles… If you could have 5 people for a dinner party (alive or dead) who would you choose and why? Amy Winehouse — because she deserves to be fed, showered with affection, and largely left alone. Yoshitomo Nara — because his punk spirit is one that I’d like to observe for myself. Harisu — because I would like to apologize for the hatred with which I was raised by my Korean culture to view her, and celebrate her mindblowing bravery. Henry Rollins — because the conversation would circle around hard-hitting opinion, just like I prefer it to. My older brother — because I love him, and I imagine he’d be immensely creeped-out by my other guests.




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Knit Cotton on Pants Ma Dainty Shoes Rollie (Blake Derby) from Miss Gladys Sym Choon


Long Line Vest SIG The Label Watch Daniel Wellington Shoes Rollie (Blake Derby)

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Dress SIG The Label

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Vest SIG The Label Hat SYLVY EARL


Velvet Jacket Miss Gladys Sym Choon Watch Daniel Wellington Jeans Gstar Raw

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Skirt SIG The Label Pants SIG The Label Shoes Lady Doc



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PREVIOUS T-SHIRTS AntPitagora ABOVE SUIT Christian Pellizzari, SHOES Rocco P RIGHT TROUSERS Angelos Frentzos JACKET Angelos Frentzos, BOOTS Stone Fly, SCARF Pence 1979

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ABOVE On the bed FUR COAT Les Hommes, TROUSERS Pence 1979 On the floor JACKET Pence 1979, TROUSERS Pence 1979 RIGHT TROUSERS Roberto Cavalli ROBE Roberto Cavalli

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BELOW On the bed SUIT A.MEN On the floor JACKET Patrizia Pepe Uomo, TROUSERS Patrizia Pepe Uomo BOTTOM RIGHT JACKET Christian Pellizzari, TROUSERS Christian Pellizzari TOP RIGHT SHIRT Department 5

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ABOVE COAT Department 5 TOP RIGHT COMPLETE LOOK Serdar London BOTTOM RIGHT SUIT Alessandro Dell'Acqua, SHIRT Department 5

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Jacket HANDSOM | Pants S.LEE | Wrap Skirt S.LEE

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Mesh Top S.LEE | Pants S.LEE

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DARK AURA An interview with Tine Isachsen

Interviewed & Written by LDS Tine Isachsen is an International acclaimed artist from Oslo, Norway. Isachsen works in a variety of mediums and formats, including pen, pencil, watercolour, photography and video. She studied at Central Saint Martins (London) and The National Academy of The Arts in Oslo.

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ART A wildness in expression, a grainy watercoloured aura breathes personality into Isachsen's subjects. With a strong focus on faces and the human body Isachsen's defining attribute is the emphasis on expression and emotion. Her work influenced by her background in drawing and printmaking has a distinctive and expressive style, seducing the viewer into a dreamlike world where unsettling beauty emerges. Having participated in exhibitions such as 'Portrait Now' at The Museum of National History, Denmark, 'The Annual National Exhibition of the Visual Arts' at Kunstnernes Hus in Oslo, 'Bestiary' at Smart Clothes Gallery in New York and several group exhibitions at NOoSPHERE Arts in New York from 2013-2015, Isachsen's work has global appeal. We had the pleasure to talk with the artist behind this imaginative resplendence. There seems to be an inherent darkness to your drawn subject, balanced by the use of soft colour. How do you typically choose your colour palette? What is your process? There is certainly an underlying current of darkness in most of my work. Colour is extremely important to me. Even though I have a lot of technical knowledge, I always work intuitively with colour. I don’t overthink it. My professor in college once told me that colour is merely decor; the icing on the cake and that black and white is superior and more honest. That always provoked me, still does. When I work, I like to use few colours, and I usually stick to colours that are similar. A characteristic of my work is that I like to use many different shades of the same colour with a strong contrast colour.

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Untitled 2016


ART Your work crosses many mediums, where did you start and how did you find yourself expanding across these different forms? When I was three years old, I started painting in kindergarten. I vividly remember painting with the other kids and wondering why they only drew stick people and didn’t use a lot of colour. I knew instantly that I loved strong colours and I really went crazy with the paintbrush! As I got older, it was clear: drawing and painting became my big love. It is so honest and raw, and really shows who you are. You can’t hide behind a lens or fancy techniques. Trends come and go, and I really love to try new things, like combining drawing with photography and video art. But in all my work there is always a strong element of painting. Where do you typically source your subject matter? I find most of my inspiration online. The Internet is such a treasure chest of visual inspiration! I can get really carried away by some images on Instagram, Tumblr, old archives, horror films and film stills. I am magnetically drawn to images that are slightly odd, or hide certain darkness. I like images and facial expressions where it appears that something has just happened or is about to happen. The viewer doesn’t know. I love that. Also, I am drawn to images or representations of women. What do you typically find yourself listening to whilst you work (if anything)? I don’t listen to music when I work because it just distracts me. When I really get into my drawing, it feels like I’m falling through the famous “rabbit hole”, and I just really get in the zone. I don’t need music for that.

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What would we typically find in your studio? My studio is quite simple. No fancy or expensive equipment. Just a lot of paper and different types of markers and pens. I either work at my desk, or on the floor if I’m doing a big piece. In the corner of my studio I have a really old and big wooden cupboard decorated with intricate carvings on the doors. It has been in my family for generations. It looks like it comes from a fairy tale, or another world. I’m sure it affects my work in some way! What’s next for Tine Isachsen? In June I was asked to contribute to Nick Knight, SHOWstudio where I was illustrating the menswear collection for Fashion week in Milan. That was such a fun experience! There has also been interest in my work from independent art magazines and galleries. I am so excited about this! As for my other work, I would like to experiment with bigger formats, large- scale oil paintings and drawings. What has been the most inspiring moment in your journey to date? The most inspiring moment for my art was when a few years ago I realised that people are really starting to appreciate drawing and painting again. Turns out this way of working never died! When I was in college, concept art was all the rage, and if you loved to paint, you were basically worthless. I felt so inferior. Now I see so much love for drawing and painting online and in the art world. That really inspires me to work harder. It’s pay back time!!

PROFILE Left: Conversation 2015 Centre: Untitled 2016 Bottom: Puppet 2015

"...In June I was asked to contribute to Nick Knight, SHOWstudio where I was illustrating the menswear collection for Fashion week in Milan. That was such a fun experience!..." instagram - tineisachsen



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rt and music have a long-standing relationship, a sensual juxtaposition that the digital age can never kill, one that lives and breathes in the resurrection of vinyl, completing the tangible dimension craved by most music fans. Darren Grealish has worked with the music industry finest; Blondie, Iggy Pop & The Stooges, Kings of Leon, David Bowie, Julian Casablancas to only give you a flavour. His work is undeniably detailed, rich in colour and pops like a psychedelic dreamscape. Taking a few minutes from his work, we caught up with the creative mastermind to find out what makes him tick and where it all began.

Where and when did you start and how did you find yourself exploring band-art as your expressive outlet? I’ve been an artist as long as I can remember going back to childhood. I think it’s just something that’s in you from birth. As far as getting in to it professionally it was in early 2000 that I began my art journey. Music related art came natural to me due to my heavy interest in music. Who tops your list of clientele commissions to date? The Stooges for sure. Love are right up there as well.

"...I was incredibly turned on by all the Sixties imagery from the clothes to the album covers to the posters. I literally absorbed it like a sponge. I loved Pop art as well so all of those influences run deep through my veins and come out in my work..." 111


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PROFILE Which works are you most fond of in reflection? It’s my newer work that I like now because I’ve grown as an artist and have slowed down my work process so I can focus more and have a more natural flow during the creative process. Previously it was like I was in a race and tried to finish each piece in one day. Now I allow myself more like 5-10 days to do my work and I’m liking the results. There is an inherent psychedelic flavour to your work, how do you typically set out your page? What is your process? Well first of all in my childhood formative years it was the early 1980’s and in San Diego, California there was a very cool punk and Sixties music scene. I was turned on to the most amazing bands such as Love, The Kinks, The Small Faces, The Velvet Underground, Bob Dylan, The Chocolate Watchband etc. and I was incredibly turned on by all the Sixties imagery from the clothes to the album covers to the posters. I literally absorbed it like a sponge. I loved Pop art as well so all of those influences run deep through my veins and come out in my work. My process consists of listening to the band while I’m brainstorming ideas whether I'm already familiar with them or not. It sparks mental imagery. I will look at any of their existing art as well to see if there is some sort of consistency. I also think of colour palette which is the most important. What has been the most inspiring moment in your journey to date? No need to mention his name but having one of my true all time heroes tell me that he was a fan of my art and to never give up. What do you typically find yourself listening to whilst you work (if anything)? Since I don’t like being interrupted while inking having to stop to find a new album I

Above: Darren in his LA Studio Some recent work: Previous Page: Robert Butler album cover Left: Pure Salem Guitars poster

listen to playlists I’ve made. Bands like Echo and the Bunnymen, The Clash, James Brown, Belle & Sebastian, Joy Division, David Bowie, My Bloody Valentine, The Velvet Underground, The Smiths, Love and the list can just go on and on forever. I hit shuffle and go! What we typically find in your studio? Lots and lots of technical pens, markers, acrylic paints, brushes, various inks, drawing pencils, opaque white pencils and pens, Bristol paper. Lots of reference taped to my walls. I try to keep it tidy when I work though because once it gets messy it affects my flow. Sort of like a fly that keeps bothering you. Do you have any exhibitions coming up? No I don’t but would love to try and do one at the end of the year. What’s next for Darren Grealish? I have commissions right now from Isobel Campbell from Belle & Sebastian and one for Wooden Shjips.



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Oh Pep! 115


Let us eat Cake! 30 minutes with Melbourne's darlings of folk-pop.


Written by LDS

e caught them back in April on their Australian circuit and now on the cusp of debut album ‘Stadium Cake’ we touched base with Oh Pep! duo Olivia Hally and Pepita Emmerichs, tucked up in a Glasgow hotel, taking some much needed R&R as the UK leg of their first European tour came to close. Olivia reflected on this their now fourth overseas stint "this was actually our first time in Europe. We've had a great run, supporting Lake Street Dive (US) and Basia Bulat (CAN) throughout UK, Ireland and Scandanavia. It's quite the moment when you step out onto stage for your first European shows to sold out crowds (thanks to the awesome bands we were opening for). We've loved the crowds over here so much. We're also playing our own headline shows at some incredible venues. We just had the time of our lives playing Ireland and the UK."

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Asked about their favourite spot on the tour to date, Liv expressd a particular and unrivalled fondness for Ireland. "I was so excited to be there because so many Irish musicians have influenced [us] and we were on their turf. We had such a great time with Irish crowds and it all went really well." Oh Pep! was a very fortunate meeting in a high school corridor when Pepita and Olivia brought their energies together. Their music teacher Mary-Jo Kelly (no other than the younger sister of singer songwriter Paul Kelly) had previously told them that they should seek each other out and play music together, sensing a good fit. "We started a conversation and had the same enthusiasm for good songs, infact it sparked a 6 year long conversation about songs!" This current tour for the girls included a set at the Primavera music festival in Barcelona warming the stage for the likes of Radiohead,

FEATURE GETTING TO KNOW YOU: Who is considered the joker and what has been the funniest moment from the road to date? Joker… hmmm Liv is probably the joker, though she doesn't do sarcasm. There is always a pretty steady stream of chuckles the whole way. If you could share the stage with any other band, who would it be and why? Well, Liv found a piece of paper from 12 months ago with a wish-list that said 'Lake Street Dive' on it and we just finished a run with them *high fives*. Another one would be The Mountain Goats, who we're lucky enough to be supporting on their US tour this September. They have this uncanny way of making you smile and tear up all at once. Their lines are killer. PJ Harvey, Tame Impala and Brian Wilson. A trip across the pond to the USA for two months ahead of a final month on home soil to temporarily conclude the 'Stadium Cake' launch. With 3 EPs already released, the album was never going to be far away, " was coming!" explains Liv, and it is every bit worth the wait, every song on the album holding it's own with real depth and a wonderful mix of time changes and off-beats. "We just write songs that we find interesting, which is why there is so much going on, that’s what I listen out for when I listen to other people’s songs. We’ve always been fairly aware that we want to do different things and not just stick to that one formula, bringing the light and dark, changing the subject matter..." 'Stadium Cake' was released via Remote Control Records on 1st July, a journey worth your undivided attention.

If the band could have a spirit animal what would it be? I'd like to think it would be a whale.

Desert Island Discs with

Oh Pep!

Lucinda Williams - Car Wheels on a Gravel Road Lucinda Williams – Essence Lucinda Williams – Little Honey Lucinda Williams – Blessed Lucinda Williams – Down where the Spirit meets the Bone



Sure Feels Right Fun and intriguing indie-gospel rockers POP CULT are certainly ones to watch for 2016.

"...We find ourselves listening largely to British music from the mid-90’s from Teenage Fanclub to Pulp, The Stone Roses through to Suede- it was an era of big choruses, with big guitars and big attitudes. Every current guitar band would have to admit to some influence from that period..."

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INTRODUCING POP CULT are Callum Voller, Jordan Adkins and brothers Timothy and Elliot Heinrich who together hail from Queensland, Australia, though specifically "...a shitty coastal suburbia you've probably heard of, but know only that your grandparents would happily flush your inheritance down the toilet to die there..." Having sprung out of leftfield with single 'Gotta Keep Lovin' the boys have earnt a solid reptation for fun, powerful foot stompers and have completely reinspired the 90's Brit-pop generation with their flirtatious gospel undertone and sack full of chorus. We caught up with Elliot Heinrich on the back of the band's new single 'Feels Right' and incredible Triple J Unearthed competition win, landing them an opening spot at the east coast's 2016 Big Pineapple Festival. What did the Unearthed accolade mean to you? Triple J have provided a great platform for our music and we’re excited to take on the responsibility of upholding the high standard of previous winners. It also means a lot of pressure to open the main stage in front of our home audience and to do justice to the most iconic landmark in the southern hemisphere (after The Big Prawn), The Big Pineapple. How did POP CULT come together? I’ve known Tim for 23 years (we share a mum) and met Voller somewhere between teen house parties. The Big Pineapple Festival will be the one-year anniversary of our first gig together, so it’s been a rapid journey so far. The video to latest single ‘Feels Right’ is set predominantly inside a church. What if anything does this represent to the band? Is the communion mouthwash? We were all raised in the church and have mixed feelings toward religion generally, the concept of bringing people together via music is an ideal we aspire to though. The communion scene is a reference to Jim Jones and his Jonestown cult, complete with

blue Kool Aid, but instead of the tragic ending that befell his followers, the mysterious potion has the opposite effect. Who in the band is considered the joker and what has been the funniest moment from the road to date? Voller (aka John Cutesack) is a natural entertainer. Our forthcoming Youtube series featuring his insane impersonations and multi-personalities will attest to this. If you could share the stage with any other band, who would it be and why? We’re about to fulfill our childhood dream of sharing a stage with The Veronicas. Fingers crossed they play all the hits. If the band could have a spirit animal what would it be? Timon and/or Pumbaa. Hakuna Matata dude. What’s next for POP CULT? We’re touring with babes Stonefield in July and releasing our debut EP shortly after, amongst lots of writing from our c. 1950’s sharehouse/ jamspace ‘Sans Am’. The band's debut album is set for release in July via We Are Golden & Create/Control.

Desert Island Discs with


The Velvet Underground and Nico Primal Scream – Screamadelica The Cure – Three Imaginary Boys The Stone Roses – The Stone Roses ELO – Out of the Blue


MUSIC King King

Sage, Gateshead, UK 13/05/16


Review by Les Aitch f you read my words of wisdom regularly it will have become blatantly obvious that I’m extremely partial to a bit of funk jazz and soul music. Almost exclusively. I say almost, because back in the day I was a Blues aficionado, however, I became disillusioned with the ‘contemporary’ blues artists. Everything sounded much the same – wailing guitar solos, down-trodden lyrics about lost love and the persistence with singing in an American accent even though you may hail from Leeds! One size fits all. Though in stark contrast ladies and gentlemen, I give you ... King King. So good they named them twice. This Scottish blues band step beyond the expected, they come across as a rock band with more than a hint of funk about them which is brought about by the striking Hammond organ playing of Bob Fridzema, an unusual instrument for a blues band of today, accentuated by the accomplished bassline provided by Lindsay Coulson. The Sage Gateshead is a venue acoustically unsurpassed in Europe. King King were to play in Hall 2, an intimate stage surrounded by 360’ balconies. This gig had been sold out for some time, as was their previous visit to the Tyneside landmark last year. The somewhat mature crowd nearly raised the glass roof when the band took to the stage, lead by guitarist and vocalist Alan Nimmo who was dramatically attired in kilt and Timberland’s (note to fashion editor). Alan was smiling like a Cheshire cat, loving both the venue and the reception. You could just tell that this lad was here to enjoy himself and immerse you in his enthusiasm.

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The band launched in with ‘Lose Control’ taken from their 2011 debut album ‘Take My Hand’. This band have come a long way in a short space of time, winning Best Band and Best Album in the British Blues Awards 2014, and with their latest critically acclaimed single ‘Rush Hour’ receiving a ton of airplay. The accolades go on but I won’t bore you with them. Tonight’s gig was being recorded for a new live album, so a bit of extra crowd participation was required. My beautiful singing voice will therefore be recorded forever more on wax (although I will be the only one that knows this!). I mentioned the keyboard skills of Bob Fridzema earlier. They were on display to great funky effect on ‘All Your Life’ and the absolutely huge ‘More Than I Can Take’. I’ve heard many a Hammond player but this fella from Rotterdam is right up there with the best of them. The whole band’s performance made you smile. They were having a good time so we were having an equally good time. You just can’t help it. Front man Nimmo is highly accomplished in the guitar department. ‘Stranger to Love’ demonstrates a skilled solo from the man with the sound being brought right down until all you hear is the plectrum against strings, a pin drop, and the gentle swishing of a kilt. Literally. Quite a thing. After an encore, a thumbs up, and a record signing, the band headed for their hometown of Glasgow. We left for one Bourbon, one Scotch and one beer. If they pass by your way, and you’ve got the blues, go and see them. They’ll cheer you up and some.

GIG REVIEWS Client Liaison

Fat Controller, Adelaide, Australia


bronze jackets, woven tan leather shoes and belts to match. Monte went as far as a string vest and jewelery fashioned from curtain ties - great tassels! The stage had Harvey's synth and percussion tucked away behind a series of palms and peace lillies though 4 small stubby cans of Fosters lager couldn't be more apt to polish off the styling (editor's note: Fosters was publicly disfavoured by Aussies some time in the early 90s, despite what TV advertising in the UK will lead you to believe!).


Review by LDS n the back of new single World of Our Love, Eighties revivalists Client Liaison hit the road for a whistle-stop tour of their native Australia with sell out shows.

We caught them at Fat Controller, an underground nightclub styled subway-industrial with neons and pinball machines forming a cool deep vibrancy. Heading down the stairs our bodies were transported to 1986 Miami, with high-waisted stonewashed jeans, padded shoulders, tracksuit tops, Reebok tees, sweat-bands, sleeveless denim shirts and colour, a sea of pinks and greens. Duo and founding members Monte Morgan (vocals) and Harvey Miller (Synth/percussion) bolstered their live presence adding accomplished bass-man and ABC Radio personality Tom Tilley, an instant hit with the crowd especially when a break in the music leaves nothing but a sexy bass lick mid-way through the set. The band known for their iconic eighties styling appeared uniformly on stage in white pants,

There was more movement on this small stage than I've seen in a long time, with all kinds of gyrating and angular dance moves; Monte spending most of the performance on the balls of his feet. Their stage presence is second to none, with nothing of this Eighties sound or performance coming across in the slightest bit cheesy (as difficult as that may be to comprehend)! This is genuine revival performed with both elasticity and soul and it seems to come so naturally to these guys - with or without tassled ear lobes! Early crowd favourites were tracks Pretty Lovers, 90's acid house numbers Thats Desire and Feed the Rhythm all of which had the crowd well oiled. In loving nature, Monte jumps up onto the front barrier grabbing hold of random hands in the crowd as he shouts "This aint nothing but a hotel stay Radelaide!" About seven or eight songs in we are treated to new single World of Our Love and like an Eighties dance instruction the whole band start jumping up and down in unison, Monte clearly enjoying himself firing up some nineties call and response from the crowd with instructions of "now scream" and an echoing "Oooha Oooha!" clutching at guilty pleasures suppressed deep inside my soul. A set lasting not much longer than an hour, this is quality not quantity. A must see for anyone with a fondness of non-lycra Eighties nostalgia.



NGAIIRE ‘Blastoma’

Radiohead ‘A Moon Shaped Pool’

Maximilian Brown


For Fans Of: Yuna / Sarah Blasko / Meg Mac

For Fans Of: Spirituaised / Blur / The Verve

Review by Finn Richards

Review by LDS

Released 10 June, Blastoma is the second offering from Sydney based future-soul/electro heart melter Ngaiire. Built on ambient/electro foundations this album has both R'n'B edge and soul appeal.

"...Stay in the shadows, cheer at the gallows, this is a round-up, this is a low-flying panic attack..." Radiohead's ninth studio album opens with the dainty turns dark, spellbinder 'Burn the Witch' which lyrically provides a short-history of Britain's darker past and present. Coupled with screeching strings the single boils with mood and intensity. 'Daydreaming' is like the imploding response, the second track ambient as if you were floating through David Bowie's Labyrinth by the whisp of a cloud, the piano gently propelling you.

Opening tracks 'Anchor' and single 'Once' are rich in vocal harmony and coupled with intimate lyrics. 'Once' invites a collaboration with Megan Washington and stands out as a clear strong point. The spooky layering of vocals and steady euphoric underbeat form a song that could completely dissolve you. The pace is lifted momentarily with R'n'B hip-shaker 'House On A Rock' and 'Diggin' though slips back into the delicate ambience of 'I Can't Hear God Anymore' and 'Fall into my Arms' a bright gospel inspired hand-clapper that has just a small hint of Jeff Buckley about it. Named after the form of cancer Ngaiire beat as a child, Blastoma is soul searching reminder that strength is key in times of vulnerability. "and if we did it for love, we didn't do it enough". 'Once' is not enough. A GROWER.

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'Deck's Dark' and 'Identikit' carry a familiar Radiohead grit, whilst 'Ful Stop' turns up the weird, an electro-psychedelic energy that channels Thom Yorke's soothing vocal trademark. The album closes with 'True Love Waits' a delicate and haunting finale as singer Yorke, raw in voice laments on loss. A deeply atmospheric album that would better pair with heavy sedation than previous offerings though this is Radiohead at their mature best, it's abstracted, poetic, beautifully crafted. A JOURNEY WORTH EMBARKING.

"Progress is impossible without change and those who cannot change their minds cannot change anything." Bernard Shaw

hive 2015Š


July-Sept 2016. Loosely dubbed the 'Progress' Issue, Issue 4 explores alternate options to community that tackle some of our greatest challe...


July-Sept 2016. Loosely dubbed the 'Progress' Issue, Issue 4 explores alternate options to community that tackle some of our greatest challe...