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One Five One was established in 2013 as a movement against modern tendencies of excess and disposability. In an attempt to mitigate these habits, we wanted to produce a quality, timeless product that lasts while reducing and minimizing our effect on the environment. We deliver 100% organic cotton in our garments, crafted locally and influenced by permaculture principles. We hope to provide a better alternative, complementing your lifestyle without compromising the planet.


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Whoever will be free must make himself free. Freedom is no fairy gift to fall into a man’s lap. What is freedom? To have the will to be responsible for one’s self. ­—Stirner

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Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you. ­—Nietzsche

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S P OT LI G H T

OCCULTER.ORG Occulter is: 1) a creative consortium and exchange project. 2) an instrument used to block the view of a bright celestial object allowing the careful observation of a fainter one. Inspired by a pantheon of fringe thinkers and risk-takers, OCCULTER seeks to fan the spark of one basic human necessity: a personal sense of wonder. OCCULTER’s organic membership creates challenging works in a variety of mediums, while its exchange component works to nurture stimulating relationships with its supporters at the collector, retail and wholesale levels.

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1. NOTHING Leather Folio / Tablet Case, $180

2. Chikuno Cube - Air Purifier, $28 3. Matcha Tea (Organic, Grade A), $15 4. Black Pyramid Salt by OCCULTER, $10 5. MONOLITH #04006 by Black Sheep & Prodigal Sons, $180

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S P OT LI G H T

XENO & OAKLANDER Xeno and Oaklander are a minimal electronics duo, and they are based in Brooklyn, NY. They began writing music and soundtracks in 2004. Miss Liz Wendelbo is French / Norwegian and Sean McBride is from Maryland. They record their songs live in their Brooklyn studio and play analogue synthesizers and instruments exclusively. They have toured Europe and the US numerous times, and they play extensively in New York in music venues, lofts and festivals. They have also performed at SF Moma, PS1 Warm Up, Miami Art Basel, the ZĂźrich Kunsthalle and the New Museum in New York. Sean McBride has created original music for artists Annika Larsson, Jonah Freeman, Annee Olofsson and Dara Birnbaum. Xeno & Oaklander have recently scored a soundtrack for artist Fabian Marti. Their latest Remix is for British legend John Foxx and the Maths.

Contact Xeno & Oaklander: info@xenoandoaklander.com For Publishing: info@xenoandoaklander.com For UK/Europe Bookings: The Agency Group Ed Stringfellow edstringfellow@theagencygroup.com For US Bookings: info@xenoandoaklander.com

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He who lives by fighting with an enemy has an interest in the preservation of the enemy’s life. ­—Nietzsche

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S P OT LI G H T

MOUNTAIN ROSE HERBS Mountain Rose Herbs advocates for organic farming, the environment, and fair trade. Most products are certified organic, all packaging is environmentally friendly, bottles and labels are made from post-consumer plastics and paper, tea boxes are compostable, and printing is done with soy-based inks. Additionally, the company conserves water with a satellite-controlled irrigation system, and a bioswale filters runoff water from the roof and pavement. Mountain Rose Herbs was the first Oregon company to receive Zero Waste Facility Certification. Companies that are awarded the Zero Waste Facility Certification must meet all local, state, and federal waste regulations, and also divert at least 90% of all non-hazardous waste from landfills and incineration. In 2015, Mountain Rose Herbs installed 14

over 100 photovoltaic solar panels to generate electricity for the main facility in Eugene, Oregon. The 25 kWh solar array installed on the roof produces an estimated 32,604 kWh of power. Over the expected 35-year lifespan of the system, it is anticipated to offset 470 tons of CO2, which is equivalent to the conservation of 10,980 trees or 48,170 gallons of gasoline. The company has received numerous awards for its sustainability leadership, including The 100 Best Green Companies to Work for in Oregon, the Beyond Toxics Visionary Leader Award, and the Charities@Work Corporate Excellence Award for overall excellence in employee engagement and corporate social responsibility. mountainroseherbs.com


Northern Forest, $7.00 Northern Forest, scented with essential oils of spruce, cedarwood, and fir needle. From a fabulous company that fosters creativity, flexibility, and artistic expression come these economical, convenient, and festive creations. Finally a price saving, aromatic candle blended from the finest pure grade essential oils and made with a vegetable base as the wax. You will not find any paraffin, synthetic fragrances or petroleum products in these candles. Just the rich, aromatic experience that we all deserve. Size: 85g (3 oz). 15


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Fuse-Atelier - Abiko, Chiba

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Mangado & Associates - Municipal Auditorium of Teulada

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Subversion - Miriam Sweeney

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S P OT LI G H T

SAATCHI GALLERY, UK The Saatchi Gallery aims to provide an innovative forum for contemporary art, presenting work by largely unseen young artists or by international artists whose work has been rarely or never exhibited in the UK. The audience for exhibitions of contemporary art has increased widely during the recent years as general awareness and interest in contemporary art has developed both in Britain and abroad. When The Saatchi Gallery first opened over twenty five years ago it was only those who had a dedicated interest in contemporary art who sought out the gallery to see work by new artists. The audience, however, built steadily over the years and by the time the gallery left

its second home at County Hall, visitor numbers reached 600,000 per annum, with over 1,000 schools organising student visits. The Saatchi Gallery has worked with media sponsors on a number of shows including The Observer, The Sunday Times, Evening Standard, The Independent on Sunday and Time Out. Many artists showing at The Saatchi Gallery are unknown when first exhibited, not only to the general public but also to the commercial art world. Many of these artists are subsequently offered shows by galleries and museums internationally. In this effect, the gallery also operates as a springboard for young artists to launch their careers.

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Sol Lewitt 13/1 1980 Wood and white paint 157.5 x 157.5 x 157.5 cm / 62 x 62 x 62�

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S P OT LI G H T

TRUST When looking at what we know about Trust, the electro-goth duo of Robert Alfons and Austra’s Maya Postepski, the comparisons to Crystal Castles aren’t just obvious, they beg to be highlighted. Both groups are from Toronto, both are pressaverse man-woman duos, and both draw from nasty-sounding synthesizers and the 1980’s for musical inspiration. Just as Crystal Castles have found themselves at the middle of fair-use controversies, Trust could be accused of copying the copiers themselves: Last year’s single on Sacred Bones, “Bulbform”, reappears on the duo’s debut LP, TRST, and its trance-y backing melody bears more than a passing resemblance to “Baptism”, the five-alarm steamroller of a tune featured on Crystal Castles’ second self-titled album from 2010.

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I’m willing to write it off as coincidence-not just because Crystal Castles didn’t write the e-book when it comes to specific synth patterns. Whereas that band’s punkish, neck-whipping performances suggest music designed to be enjoyed in a communal, sweaty setting, Trust’s music sounds introverted by comparison. The missing letter in the album title is “U”, and it’s fitting; TRST often sounds like Alfons and Postepski are doing this more for themselves than anyone else, with synth melodies that yo-yo into the unknown and atmospherics that change from warm to coruscating with the turn of a phrase. Even the most “single”-ready material here-- “Dressed for Space”, “Sulk”, “Chrissy E”-- carries a drug-sick lurch, somewhat akin to trying to make your way out of a dark club and your own head simultaneously.


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A fair amount of TRST is cut from the same cloth as the brittle, gloomy melodrama of coldwave, but Alfons and Postepski’s music does more than just flirt with analog affectations. Last year, NYC coldwave duo Xeno & Oaklander brought swarming lushness to the genre with Sets & Lights; comparatively, Trust take their own extraordinary machines and slather them in gloss, resulting in the sonic equivalent of what a fashion show might look like if it were put on by depressive pill abusers. This stuff sounds malevolent, but mighty sexy, as Alfons’ pinched whine of a voice takes on both characteristics with ease. About that voice: Like so much of TRST, it’s not exactly for everyone. At his most accessible, Alfons sounds like a reedier, less faddish version of Interpol’s Paul Banks, while elsewhere, he ribbits and warbles in various keys-- as one colleague has put it, like a goth version of Eeyore. Personally, I quite like Alfons’ voice; it has a slithering, grimy quality to it that increases the raunch-factor on particularly dirty-sounding tracks like “Shoom” and 26

“Bulbform”, and when he struts his stuff on “Sulk” and “Dressed for Space”, he sounds like the kind of personality-heavy singer indie culture’s been hesitant to embrace over the last few years. (He also outperforms Postepski’s few vocal takes on TRST, which range from brief, throaty bursts to flatlined vocalizing.) Despite the fact that moody, goth-flecked synth-pop has been in vogue for the larger part of a decade now, “unique” fits TRST like a leather face mask. Despite the fact that Trust’s band bio is roughly the length of a couple of Tweets, it doesn’t sound like Alfons and Postepski are hiding behind anything; instead, they wear their affectations proudly, exercising a frequent willingness for weirdness. Also, there are just so many bands using synths these days-- but how many of them are making their synths sound this rich and room-filling? TRST is not a brief album-it stops just short of an hour in length-and while the amount of raw material here may be daunting for some, there are plenty of surprising melodic moments to indulge in, from the gorgeous melodic


drop that takes place midway through “Shoom” to all six-and-a-half minutes of “Sulk”’s sighing pop majesty. If you can’t decide whether to mope or dance to this stuff, how about you do both at the same time-- with the lights off, please.

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