New Wave Magazine Issue VII

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01 | ART

04 | MUSIC

STRINGS OF ARTISTIC EXCELLENCE

COVER STORY - SAM WISE

El’CASAR

SANTI

JURELL CAYETANO

OJERIME SEYi SHAY - INTERVIEW

02 | PHOTOGRAPHY

CLASSIC MIXTAPES - ‘09 - ‘14 FAITH AYLWARD PHOTO SERIES BY DANIELLE MBONU

05 | ARCHITECTURE

03 | FASHION

DAVID ADJEYE - MAKING MEMORIES

UTILITY FASHION

06 | FILM

PIECES - INTERVIEW

ALLEGORICAL - INTERVIEW TOP 5 VISUAL AUTEURS

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COVER STORY

EDITOR IN CHIEF Derrick Odafi

DIRECTOR OF PHOTOGRAPHY Charles Ogunmilade

DIRECTOR OF FASHION FEATURED PHOTOGRAHY Teresa Mwangi

Korrie p Caleb Desouza Moyosore Iyanalu Danielle Mbonu Adekunle Rufai Kemka Ajoku Nwaka Okparaeke Eazy Visuals Derrick Odafi Lauretta Afful

CURATION New Wave Studios

WRITERS Rosa Dere Ray Sang Seun Lasile Danielle Koku Prince Molife Derrick Odafi Eleanor Evans Shante Collier-McDermott Daniella Francis

FEATURED MODELS Deto Tejuoso Leke Bira Ken Sara Lash Abdourahman Njie Tommy Blue Kozy Amaarae Vanille Sorom Jade Laurice Daniel Bassi Toby Buchan Bella Kennedy Clarke David Wong En Yi

PHOTOGRAPHY Alex English Derrcik Odafi Wole Babalola TSE Lizzy Elle Aaron Whatson-Mcnabb Clay Patrick McBride Chrisnia

FEATURED ARTISTS Ali Kamara Butler Archive

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FEATURED STYLISTS Deto Tejuoso Yasmine Sabri Seyon Ugo Anyamele

COVER Cover Star - Sam Wise Photpgrapher - Alex English Creative Direction/Styling - Yasmine Sabri Assistant Stylist - Lanne Hairstylist - Lauraine Bailey Grooming - Sam Lascelle POETRY Tyries Hokder SPECIAL THANKS Bijoux Chima Vwagangi Mulwanda Blessing Kambanga Faith Utulu Daniel Kulakov Jordan Hurrell Jordan Buckley Ade Yusuf Brigitta Ben-Eghan

CONTACTS info@newwavemagazine.com London, United Kingdom

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Who is Cesar Ngabo Desire?

Spirited, skilled and sincere are only a few words to describe the upcoming artist.

Cesar Ngabo Desire aka El’Cesart is a visual artist creating honest work celebrating Black people, culture and Afrofuturism. His work takes the form of digital illustration, paint and photography Cesar explores pop society, turning it into an intriguing globe of bold colours, textures and prints. Uplifted and inspired by Black culture his work brings together those who articulate a healthy relationship with life. His work features characters from music artists and film stars to raw beautiful women and men.

Connecting with viewers who understand the concept of cultural aesthetic.

Nudity can be expected in his magnetic work. Initially wanting a career as an animator or concept artist for games and comic books, El’Cesart is an emerging influencer of the new era inspired to push boundaries within art representing Black Africans.

Gaining over forty thousand fans from around the world on Instagram his artwork has gathered many praises including A-list celebrities from Jaden Smith to Tory Lanez.

Although the story of this 23-year old may sound like a typical teenager graduating from high school and attending college- his work is very far from the norm. The now Manila, Philippines based artist, illustrator and photographer never received any formal art classes or training until he moved to Manila fo college. The naturally skilled creative became aware of his talent while he moved into his college life. Previously Cesar explored a range of mediums suchas vector art, abstract art and figure drawing, until he set his heart heavy on digital and traditional art.

Staying true to his vision and beliefs of shedding light on he black community, Cesar has collaborated with ‘Black Excellence’ streetwear.

He designed a collection of unisex t-shirts featuring some of his most popular print images.

Taking baby steps into the fashion industry was yet another strong method to expand his parameters as an artist and creative designer.

The ability to demonstrate artistic talents through different tools and paths is asignificant skill to hold for any artist. Especially important now when new materials and platforms are surfacing, as an artist it’s key to either adapt or rebelagainst them. Choosing either direction is a rewarding performance for any audience, if done in a creative and careful manner. On this occasion Cesar must be applauded for taking on the fashion industry and continuously growing his already very successful portfolio. However, his pool of talent does not end therefor the young man who has recently started producing music beats along side being an affluent guitarist. Sharing his new journey into the music world it’s clear to see that El’Cesart is keen to be involved across the creative industry.

As he paints his triumph, his artistic abilities hold a strong message.

It’s clear he wants to be able to touch the internal thoughts of the views that see his craft. Build an interior connection with those in the presence of his work.

Take his painting of Michael B Jordon,who has since been a follower of Cesar’s work, from the marvel film Black Panther, ranked as one of his most liked social media images. The sharp eyes and contrast of colours on this particular work is striking. The energy screams power and strength to anyone who has set eyes on this image. The intricate details are clean, but not simple.

For El’Cesart it has never been simple, his work is transparent and prominent by placing key figures from history, politics and music as the focus of his ambiguous art work. With each brushstroke mark on the canvas, he offers self-confidence and empowerment to all characters featured.

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Private buyers can also pay for commissioned artwork via his personal website elcesart.com , in which they automatically become the almighty painted on a canvas of their own body and face. El’Cesart’s bright and detailed interpretations show his persistent pure motives to empower Black culture and help the audience connect with their experiences, this is evident in his works withthe American Black Film Festival and movie called ‘’If Beale Street Could Talk’’ a movie directed by the Oscar winning director Barry Jenkins, in which Cesar created 2 pieces for the films marketing campaign. He addresses the representation of Black beauty, sexuality and power in today’s world.

Focusing majority of his work heavy on digital art, he really does create masterpiece that viewers want to take home with them. For artists like El’Cesart, digital art has provided a valuable platform of unlimited experimental possibilities in their practise. Artists can use digital art mediums to demonstrate their skillset using unconventional tools and expand their ideas outside of traditional methods.

The entire collection holds powerful pieces of work, every component of which is filled with its own story to tell. In every art piece it’s clear to see the artist attempt to speak to those standing on the other side of the frame. Lighting a passage to those who may be looking for some courage and motivation.

Having gained a strong social media following of nearly forty two thousand people world wide, by the name of ‘Cesar_does_it’ he continues to share his artwork and upcoming projects with his fans each day.

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What is next for Cesar Ngabo Desire?

El’Cesart is defiantly rare in rendering paint against canvas and digital illustration, but what really sets his work apart is its celebratory soul, that each piece of work showcases. His work offers inspiration, interest and thought. From here onwards he will continue to invite the audience on to a trip through his artwork, photographs and designs, for those who join prepare to encounter a thrilling journey.

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‘Troy,’ ‘Jemel,’ ‘Tierra’ and ‘Jada’ are only a handful of the characters Jurell Cayetano has painted in their most honest moments. The Atlanta based artist Jurell Cayetano creates joyful post- impressionist portraits representing real people.

The illustrator and painter uses pencils and paint to capture his subjects in a world full of bright and bold colours. Starting a conversation and prominent narrative to build the relationship between the audience and person featured.

Cayetano was exposed to art from a young age, with his dad and uncle around constantly drawing comic book characters, he grew up admiring and looking at their work.

But it was only until he attended the School of Visual Arts in New York City that he found his true abilities. During his time studying Cayetano was given a chance to experiment with different materials and mediums until he found omfort in one. Working primary with gouache since, the medium allows him to paint the images in more detail and range of tones.

However finding his place and style within art wasn’t an easy journey for Cayetano. He too like his father and uncle started off by drawing cartoon characters only to find that it wasn’t what he wanted. He felt disconnected from his work and unsure of why. After taking a short break from art, he rekindled his passion during his sophomore years.

It was those art classes that he discovered his talent and skill in drawing real people. He found a way to bond to his work through telling the stories of others he was inspired by. The half African American and half Honduran artist Jurell Cayetano found those stories and people he wanted to reveal when, he moved from Brooklyn to Atlanta.

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Those painted were not chosen at random. He features people he has a real connection with through love for the person or out of admiration for who they are.

Take his work titled ‘Devyn’ a young girl sitting on a bed, with half black and half red hair. Her orange tinted white shades and tattoos are what catch your attention first. But stare at the image long enough and you can see this lady is sitting with so much attitude and confidence. Some flesh and skin may be on show, take this in no way of sexualisation but an expression of power and comfort in who she is.

The same could be said for the image labelled ‘Troy’ where a young man is sleeping on the floor covered with shoes, cables and what appears to be half of a shisha pipe. So what is the story behind this painting?

Looking at it in more depth the man seems tired and overworked, as his laptop is still open. Perhaps his had a long day or maybe his taking a power nap before he wakes up with a mind full of bright ideas.

Whatever angle of the story the audience want to listen to is what the audience will hear.

Fuelling his desire of drawing actual people, he chooses to remove himself from the image and share his pure respect and love for the people in his work. Only to tell their story in the most candid pose possible.

With his work previously showcased at the Murmur Gallery and Wish Gallery, those who want to see more of Cayetano’s work need to follow his social media pages. It’s there he shares his latest work and pop-up events for those who want to go along to see his work.

It’s clear to see Cayetano doesn’t just have an attachment with the subjects in his artwork, but he has a raw attachment with his tools on a canvas. He allows the viewers and himself as the artist to witness the different interpretations of the person framed. Cayetano’s paintings gracefully express the depth of each moment frozen in the artwork.

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This Issue’s photographers spotlight points its light towards Nigerian/British fashion and portrait photographer Faith Aylward. Growing up in two of the largest and most culturally diverse states in Nigeria (Abuja & Lagos) Faith was exposed to a vast number of cultures and credits this to who she views the world. Boasting a large collection of thought-provoking visuals, Faith has become, through her work, a brave voice for issues which most prefer not to touch in order to fit with social norms.

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Faith took up photography whilst helping with the styling at a friend’s shoot 3 years ago. Since then she has found her own distinctive style and become established in the creative scene in London. Working with both film and digital mediums, subjects of all shapes and sizes, and cleverly placed props, Faith produces bold, impactful pieces which not only convey her thoughts but provoke viewers to challenge their subconscious thoughts.

A feminist herself, Faith believes in the unlearning of patriarchal views for both men and women and rejects the things that are “expected” of both sexes. She aims to show this through her photography. She enjoys using women as her subjects for most of her shoots as it is a way for her to combat mainstream media and its perception of how women should be viewed.

Along with her strong views on women, visualised in her work. She is also an advocate of showcasing the talents and strengths of male figures she surrounds herself with. As one of the main members behind video production company ‘Video-Girl’, she creates highly graphicly influenced music video alongside a long time collaborator New World Ray. Faith understands that ultimately everyone just wants to be happy and that although these goals that will cause eventual happiness may differ from person to person, the uniting force amongst us is the journey to this goal and the self-discovery that inevitably comes with it. This is another key message she tries to convey in her work and hopes to unite people through her images.

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Black has always been back. Season after season, as daylight begins to abandon us in October evenings, people retreat into the comfort of dark tones. Autumn and winter collections of recent haves transitioned from soft cosy knits to the rougher angles of wear that is far from intimate.

Think hard soles, reinforced seams, and industrial hardware with metallic accents. First mass produced by the British government as CC41 wear as civilian clothing during World War II, it stripped back the glamour of shiny buttons and buckles. 21st century utility fashion is still much about wear – it simply prioritises use to an altogether unprecedented level. It represents the revolving door between exterior extremities and the interiors of designers’ innermost imagination. Rather than being purely led by aestheticism, this is channelled through a harsh, raw dose of reality.

Modern utility’s timelessness is in its stark refusal to engage with any specifically defined time period. Rather, designers choose to model their fits and designs on a future that does not yet exist. The predictable reality of slim fit denim has become boring. Newer materials have been substituted in for a change, so borrowing from futurism crops up in the form of reflexive materials, lenses over the eye or PVC shining. Its incongruity is clear to those of us that wear much less attention attracting garms, but utility is as much about blending in as it is about standing out entirely. One consequence of the pure innovation behind them is that these looks can be either hit or miss on the runway. Characterised by strong focus on eye-makeup, for runway walks, models often sport appearances horrifyingly close to Star-Trek wardrobes.

At times, utility stretches towards the imagining of a future without much of the labels and bias we attach to the categorisation of fashion.

Often, in line with a ‘genderless’ tradition of unisexuality, lines refuse to unnecessarily cinch women’s’ garments, embracing looser fits, signifying far less lines of demarcation between men and women’s styles. The 2018 creation of ASOS’ Collusion brand represents it’s youthful uptake, defining itself as being designed “for the coming age”, it is a brand that ironically refutes trend, instead stylising itself on what is to come, whilst at the same participating in the current trend of utility itself.

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No creation takes place in a vacuum. Representing the desensitivity we have developed to conflict in the modern world but rather it’s commercialisation and ensuing trendiness, camo prints, padded vests and masks are popular choices. The bizarre trendiness of NYPD as a brand in the US (it’s hoodies are the staple of many a New Yorker) despite its complicity in systematic police brutality is stunning; not because of how shocking it is as realisation - but because of its mere four letter dominance becoming devoid of meaning due to simple branding.

Creatively borrowing from post-apocalypsism in popular culture, the entire cast wardrobe for Blade Runner and Netflix Originals’ Altered Carbon prominently feature utility for cast wardrobes. Wearing pieces devoid of all individual personality yet serving their intended purpose of keeping its wearer insulated, practicality is always prioritised and delivered. Organic Manchester label Gramm’s 2018 WAX collection are such, featuring goggles and drop packs that frequently sell out.

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Reflective of an urban landscape that has been co-opted and fictionalised, utility at times represents the fetishisation of urban culture. At its core, it has been distanced from its uglier, messier origins in inner cities, sanitised by white walkways and presented to newer, richer audiences. Matthew Williams’s Alyx captures a presentation of the streetwear-utility hybrid.

The models are a pristine, stern and runways are clean cut. Sharp, even. The designs too, are simplistic yet make statements of their own. Arguably, the elevation of any trend requires its gentrification, but this does not take away from the frustration of it’s rebranding as something that is suddenly cool. Matthew Williams’ own creativity undoubtedly plays a role in his tipping as a designer to watch out for in the industry.

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Edgy is the chosen buzzword for everything that strays outside a perceived norm in popular culture. Utility is a theme that artists borrow from in order to immerse themselves in defying an established norm. It future lies in its tying with other trends in order to give it the mass appeal it needs to stay afloat. Sportswear is the best market for such an exchange, especially for retaining appeal to Gen-Z in cities. Workwear is the millennial and baby boomer focused market with enough financial capital to make the trend a multi-million one, but engaging with it may take away some of it’s exciting freshness.

Ultimately, utility fashion’s versatility gives it many potentials and I suspect we will see numerous renditions of the original to come.

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Pieces* by Ugonna Anyamele is an enticing new fashion house founded in Lagos, Nigeria. Pieces* is an artistic piece of fashion commentary that can take many different forms and denim fabric for Pieces is the canvas in which the brand chooses to express its creative freedom. Pieces* has a powerful expressionist take on Jeans that separates them from the rest of the market. The high level of craftsmanship is an attractive element that gives you no choice but to be seduced by the unique perspective of the clothing. For Creative Director Ugo, Pieces* is a fashion house, under studio umbrella Creaco, that sells artwork rather than clothing. The highly limited pieces are collectors’ items for their audience.

For this issue, we wanted to highlight a brand that that holds a unique space within the fashion landscape while presenting the brand’s ethos in a potent manor. Pieces* does these things through high quality creations and an attention to detail with their lush and enigmatic campaigns.

Pieces* stands for Pushing Ingenuity Every Chance Every Step, and they do just that from the design process to the brands interests in fusing technology with fashion. Pieces* also currently has a unique way of getting their product to their consumers in a sort of modern auction. As they develop their online store, Pieces* currently sell via Instagram, giving them a unique connection to their audience.

Pieces as a rising brand has already had their first runway experience as part of the Qrate fashion show in February 2019.

With all this success, shortly after we spoke to Ugo on all things relating to the brand at Red Bow Studios in London.

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Hi, Ugo how are you�

Are you also interested engineering within the fashion industry, non-exclusive to the clothing itself? E.g. installations?

I’m doing good man, came into London for this, and a friend’s party as well. Work and play.

I’m very into the whole story, I focus on telling the whole story through different mediums, where you can’t understand the whole story based on looking through one lens. You have to look through.

Please tell us about your background and interests within the creative industry.

My personal creative flair has been there from early. In year 10 I had to choose between going into the arts or the sciences and I chose science. But then it kind of took a different turn when I had to pick my A levels subjects and I chose to leave all my creative subjects and fully take on the sciences, this went on till University. That’s how I kind of broke off…but then Instagram came around and it was an avenue to express that creative side.

all the lenses, It’s 3-dimensional. Time plays a big part in that message. It’s about what does a particular thing make you feel and what does the next image in that series help to carry a feeling into the next point. What happens in between.

We understand you are currently still in higher education; how does that help what you do with your brand Pieces*?

How has your creative intuition grown since the dawn of Instagram till now?

Yes, I’m in an undergrad course in Business and Economics.

First and foremost, fashion is just the heart of things, when you talk about fashion business, you talk about the heart and the structure.

I had always been interested in clothes, dressing nice etc.

The seeds were already sown. Instagram was a visual thing, so it was about putting how you dress on there. Instagram changed, needs changed, and it was time to do something with longevity, not just about dressing nice. There needed to be a reason.

My course has helped me put that [business] structure into that art that I’ve always had inside me. It’s more than just talent, you need that structure so you can call it something. Pieces* will still be Pieces*, with or without Ugo. But Pieces* needs Ugo. My course helps me understand the things that Pieces* needs aside from me, being able to kill my ego so I can build something bigger than me.

Why is the art of fashion something that has become so important to you?

I feel like the first barrier after yourself is what you wear, that’s the next form of expression that everyone can see.

What is a distinct thing within the business of fashion to aid the growth of your brand?

Do you feel like your clothing is a part of you?

Just in general, I feel like the key is just to keep designing. I’m not just talking about putting out clothes or putting out stock on the site, I mean designing. The fundamental of that fashion business just needs to keep going no matter the cost. I feel like I’ve been able to do that because all the garments are made from my home studio.

Yes, Definitely. individuality and using all the information you’ve assimilated throughout your years on earth and expressing that in fundamental forms. It could be art/painting or how you dress or visuals/film making.

So, to you it’s like the next best thing to simply verbally expressing how you feel?

I’m very close to production and sourcing all the materials.

Because of how quickly I can put a design out, I can keep designing. All the new designs don’t even need to be released, it’s just for me to understand more fundamentals that I can lay on-top of each other, therefore giving people more impressive designs.

Oh yes. Definitely. In fashion it’s more than just colour and materials. There’s also the structural side of things when you go into more Avant Garde fashion. For me that is the deepest form of fashion expression, when you’re taking a structure and- day, night, black, white or monochrome, you still evoke the same feeling whether someone sees it in person or through a picture because it’s more about form. Coming from a civil engineering background, I’m very in tune with structural form and how things flow.

We can imagine it would be great to have an abundance of archived designs That’s literally what it is, it’s almost like when you make a mistake. The mistake becomes one of your ‘plays’. You can then repeat that thing to get the same results because you know what you did to get to that point, and that ‘mistake’ can be added to the design. That’s how I see my “mistakes” in my art.

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What are the struggles of building a strong emerging brand Each piece looks like an abstract expressionist piece, what influence does fine art have on your clothing? while also being a student?

I would say it’s building a team. What’s in your head goes hand in hand with the people that are around you and the people that stay around you. You can’t just pick a person and get them to see what you see. They have to want to work to that goal and vision.

They need to see it, work towards it and believe in themselves that they can actually get there.

Like I said earlier I’ve been doing art competitions since primary school, but the thing is when you start that way, things are very structured. Coming back to it was like coming to old and unstructured knowledge where it’s just uncut information and it’s not ‘do this’ or ‘do that’.

What do you want to change about the current climate Bringing my vision to a new person without scaring them off is of fashion? something I’ve had to work on, it’s pain steaking and takes time.

You always need to keep that positive reinforcement but in a Pants, I feel like all the pants are too plain. I feel like way that’s right for that person because everyone is different. Pants should be like T Shirts or shoes. Shoes are not just They’re not going to get the same buzz I got while dreaming monochrome anymore; you have to have patterns etc. about taking my brand to a certain level. It has to be a win-win.

They have to feel like they’re working for themselves and the The denim market seems to rely on trends, how does brand, it’s not just about me or Pieces*, everyone needs to feel pieces break the mould? like they’re growing.

I feel like the denim market is stagnant because of the image Is it a case where some feel like the vision is too big for Levi’s has built based on their jean trousers. They’ve always them currently or they just don’t have the necessary work been at the forefront of youth controversy and the youth taking power. ethic?

I think it’s both…We have a team from CreaCo that shoots, creatively directs, styles and presents for Pieces* its a creative team called The CreaCo. They’ve done creative directing for Pieces*, Shakkar.

Shades and Cruise Gang. People come in based on their longterm view and how much they can motivate themselves.

Pieces* wants to bring power to the new generation of youths. Denim hasn’t really been in anything our generation has been pushing recently. At a time in America and Europe, young women wearing Levi’s jeans was the image for women empowerment movements. We haven’t really had that since so I think denim should come in and be part of that again.

We believe it’s a brilliant thing to inspire and wanting to make t shirts and denim trousers too.

Speaking of being a student, who are some of the people in the world of fashion/denim that you look to for guidance? Because pants mean something, it’s more than just an addition to something else. It’s like a Jacket or a long coat, it I watch a lot of documentaries; I don’t have any one on one has weight in an entire fit. mentorships or anyone I can get some experiential knowledge from. I like to do as much as I can based on watching interviews. We love the branding and aesthetic behind your brand, I’ve watched [Documentaries on] Alexander McQueen, Raf is there an ethos that your brand follows?

Simmons, Martin Margiela. Alexander McQueen was one of the young up and comers, the ‘Virgil’ of before, coming out by just Pieces* stands for Pushing Individuality Every Chance Every doing his thing in the back, then becoming the Creative Director Step. That’s literally what we live by, pushing the boundaries of Givenchy at such a young age. With those kinds of people, you of what safe is, pushing the safely net and creating more just try to understand their stories and understanding that these avenues for the customers dressing. people are just like us, they’re not superheroes. It wasn’t a lucky draw, it was just mindset and conscious action.

Tell us about the name pieces, how did it come about and what were your references?

Take us through the process of creating a Pieces garment.

It just made sense I would say.

All my artwork is based around the fundamental of flow, everything has to flow. So, for most of the patterns, they are Some pieces slightly resemble some Off-White Denim “almost” repeat patterns, but they are not repeated from the Pieces, how in what direction do you believe you guys and same pattern. Therefore, you know the fundamental pattern but Virgil are taking denim? then it’s slightly different if you go two steps further. That is a big part of how I design. It’s just like when you’re painting, you put There was no reference to that, but the thing is once I did the canvas at an angle, so when you put in your paint strokes, it, I could see where it came from and how they could have the paint then drips [down the canvas]. That is a big part of my both come from the same place. design process, also trying to use that art and then putting a brand behind it. The idea of how I brand the art is then calculated after because you want it where people can see that the idea behind Pieces*, the art comes first, and the name comes after.

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Did you feel any type of validation from that? In terms of thinking on the same wave length as someone so established?

Yeah, It’s not something I dwell on or constantly think about but you’ve noticed it, I’ve definitely noticed it and it’s something I have though about and has given me some sort of validation in the moment but that doesn’t drive me.

You recently were part of a runway show in Birmingham UK, please tell us about that.

Qrate is a company that I had sold pieces through, we did a 3-design collection with them and sold them on their online store. That was in November, so by December they were putting together a fashion show and they just let me know that pieces were going to be involved.

We put together our own runway with The CreaCo team. We always want pieces to be its own little world in any show .

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“I’ve learnt a lot about people management, gettIng people to convey the feelIng you want, gettIng them [the models] to almost feel what you want the audIence to feel.”

What are some of the things you learned, and you felt you did well in that experience?

I’ve learnt a lot about people management, getting people to convey the feeling you want, getting them [the models] to almost feel what you want the audience to feel. They need to be in their own world, and they need to be that thing you want the audience to see. They need to give off that Pieces* energy. That is something CreaCo really helped us see. CreaCo really understood the fundamentals that covey a brand to the audience without compromising anything for commercial purposes.

We noticed you also model from time to time, how has that helped you build your network to do what you do?

Yeah, modelling is behind the scenes of all the production that goes into media and art in general. Not having to do anything but just being there just allows you think. You’re seeing what’s going on. That first hand experience is very vital. 2 years before I started Pieces* I worked with Made by Ade. I just helped him at pop up shops, just understanding what goes on behind the scenes, and he’s a really good friend of mine. It was a safe space to learn all these things without feeling like you’re trying to ‘bite’ or anything like that.

One thing that strikes us about the brand is its visual identity, who are some of the people part of the brands creative outlet?

My partner Daniel Ekioma, one of the creative directors of Shakkar Shades, our stylist Stephany. It’s not really about all of us being in places at the same time, its more about working for the same cause in our own ways.

Please tell us more about the AR business cards.

I met someone talented who knew the fundamentals of digital programming and QR Codes.

It was just a thing of; I’m running a brand, you know how to do this thing, we’re seeing each other on a daily so why not? We sat down and came up with a way to merge them both. Where there is a will there is a way. We’re still trying to implement.

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“no one Is super human and no one Is pulled out of a ballot box of luck, Its lIterally just conscIous actIon and mIndset.”

Tech mixed with denim is very unique.

We have previously featured brands like Vivendii and Nothing, doing great things in London and Lagos, what do you have to say about these brands and what they do?

Our goal is to keep adding value

Who are some people that you feel exemplify your brand within pop culture?

Kanye West. I don’t really understand what my affinity to him is but I see something there that exemplifies what Pieces* is about, from the visual brand aesthetic to the brand meaning.

It’s always a lesson to everyone that hasn’t done it or everyone that wants to do something that they are not yet doing.

You can do it. No one is super human and no one is pulled out of a ballot box of luck, its literally just conscious action and mindset.

Tell us about your beautiful campaign Titled ’Watch the Throne’, what did you guys try to get across to your buyers with that?

The denim market is not an easy one to get into, would you say that speaks to how dedicated your brand is to bring something new?

It was to show that y’all need to watch what’s going on here because it’s not for show, N****s are really coming for the throne.

I just looked at my options and what I could do. I never saw denim as harder than printing on T Shirts. I looked at all my options and denim was the best option that I could execute and I just went out and did it.

Another beautiful campaign of yours was the images with the mirrors reflecting the garment, please explain the concept of that shoot.

It was more about the garment and seeing yourself wearing them. There were no faces in that campaign. They were all blocked out with mirrors.

The whole brand Is about individuality so that was kind of about seeing yourself first, where do you see yourself?

Who do you see yourself as?

Anything that brings attention and that can make a wave can corrupt.

My dad has always hammered the idea of image into my head from early. You don’t want the jeans to define who you are or how people see you, you want to have a pair of Pieces* and fit that into your own aesthetic. Its about finding yourself first before you try to find something that’s different because you can get consumed by it.

How does your home land/ upbringing help what you do?

In Nigeria everything is very fast paced, everything is come and go. So, the people that make marks in any business sense or do something that no one has seen [are praised]. But then the problem is, in Nigeria, all these people ride off that initial wave and they only go as far as that first wave can take them.

Understanding how to create that first wave is down to my upbringing but understanding how to keep it going is by learning from mistakes. It’s the good and the bad, both sides have taught me how to keep my brand going.

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I never gauged how hard it was before, that’s not something I really do.

What are some of your personal favourite pieces from your collections?

Bruh, I don’t even know…all of them [laughs] they’re all built from each other. To be fair I like the one I shot Ken in ‘bigbloodyk’, black denim with the red and white streaks.

We recently heard about the death of the legendary Karl Lagerfeld, how familiar are you with his work?

I know he had a lot of in the fashion world, especially with Andy Warhol, and Andy Warhol is someone that has a big influence on my work. So based on that, his contribution to Andy and me being inspired by Andy is how he has influenced me.

Based on the repeat patterns and screen printing disciplines, then altering them a bit where you have a repeat pattern where you can see the same fundamental repeat concept, but it’s not exactly the same. That is something that flows without being too identical.

Would you ever be interested in being part of a group such as LVMH or Kernig?

Those specific groups, no. But that type of co-operation of creative power, I would want Pieces* to be part of that so it can affect more than its immediate audience. The more things can come together, the more new things we will have.

“anythIng that brIngs attentIon and that can make a wave can corrupt.” ”

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“I want my own staple denIm. for example, levI’s, they dIfferentIated themselves as far as denIm pants wIth theIr rIvets.”

” So, is CreaCo the LVMH of what you’re trying to build?

Exactly that. Encouraging and helping brands grow, the same way that we’ve been able to help pieces grow.

Outside of the online platforms, where would you like to see your clothing sold?

Anywhere that people who believe in it can get their hands on it.

That’s why I like the name, the name is very general. The name doesn’t bring you into a different place, the garment does that.

The look of the clothing, the feel and the fit.

Your brand has started very strong, where do you wish to take it from here?

In terms of garments, I want my own staple denim. For example, Levi’s, they differentiated themselves as far as denim pants with their rivets to increase strength. That played a big part in what the final designs came to be. I want to build that Pieces* final design identity.

In terms of campaigns, the inspiration always just comes. I’m happy that I can draw inspiration from any where and anything, any way I want. Slice and dice it whatever way and it’s still viable.

So, in terms of campaigns I just want to be exposed to as much as I can to bring out as much as I can.

We see that print books are making their way back into fashion, historically from the Chanel books to what Samuel Ross does with his A Cold Wall look books – is this something you guys are looking into?

Definitely, we are always looking to push the brand identity through whatever medium. It’s something we want to do as soon as the opportunity presents itself.

Any last words for the readers? watch this space.

Thank you very much for the interview and we will be updating our readers on all thing Pieces* Thank you

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Ode to Self

I keep going through this constant stream of consciousness Where I don’t know what I’m doing Or who I am and one day I hope to see myself in a place of eternal bliss because I miss how I used to be don’t you see that I am just confused please [pause] don’t lose yourself to your own interpretation of reality please don’t watch yourself slip through your finger tips and pool beneath me or should I say beneath who because it ain’t you please look after yourself because right now you’re once templed body is weathered not knowing whether you’re tear stained cheeks will grow wetter or If you’ll ever be in sync with her and you need to drain your body of that sadness so you don’t end up blue toothed

clear your mind of that feeling of emptiness

Tyries Holder

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PHOTOGRAPHY DERRICK ODAFI MODEL KOZY

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WORDS DERRICK ODAI PHOTOGRAPHY ALEX ENGLISH CREATIVE DIRECTION/STYLIST YASMINE SABRI HAIRSTYLIST LAURAINE BAILEY GROOMING SAM LASCELLE

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Knit top, Tourne De Transmission Trousers, Michiko Koshino Shoes, Clarks

Knit top, Berthold Trousers, Michiko Koshino Shoes, Dr. Martens Necklaces, Serge DeNimes Rings, Serge DeNimes, The Lettering, CC Steding

Blazer, Devoa Shorts, Devoa Necklaces, Feather Pendants Rings, Serge DeNimes, The Lettering, CC Steding

Sam Wise – a critically acclaimed musician – born and bred in Kennington, London, is one of the underground kings of the UK music scene. Breaking through as one of London’s finest with his rap collective House of Pharaohs, Sam Wise has continued to prove himself as one of the more versatile and transcendent artists in the industry right now. As an artist in the purest form he has continued to grow in musical stature and engraving his name into the industry as one to watch.

Making his way through the Soundcloud era, Sam Wise has made an impact in various ways in his early beginnings. With intense and energetic live shows to a slew of engaging visuals, garnering hundreds of thousands of views on YouTube, Sam Wise has a very distinct lane, therefore trail blazing a new direction for younger artists.

We got the opportunity to sit down with the South London star to deliberate on what makes him tick and what influences his distinct sound. Guided by his long-time friend and current manager G Lo, we stopped off at his Camden office and we moved through the busy London tubes to Kennington while discussing current and future moves for himself and the London collective.

G Lo calls Sam to inform him of our arrival and we are welcomed into his home with completely positive energy. Sam proceeds to go back to his daily activities of preparing a meal for himself as we go through the images of the cover shoot. Sam Wise is an appropriate name for the budding musical star as he proceeds to have conversations with a candid tone with a wealth of confidence and knowledge, you can’t help but feel like he’s been through it all before and letting you know of his experiences. He therefore urges us to start recording and the interview begins…

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“COMING FROM A PLACE LIKE KENNINGTON WHERE PEOPLE WOULD GET STABBED AND SHOT…IT WAS ABLE TO GIVE ME AN UNDERSTANDING OF A DIFFERENT SIDE OF LIFE.”

You were born and raised in Kennington, what has life been like for you in that area thus far?

As one of 6 siblings, tell us about what that taught you about people in general?

Its been my whole life, lived in my building my whole f****** life. Kennington is an interesting area, south of Vauxhall. It’s quite central but it’s still the ‘ends’. It’s more peaceful (now), when I was younger, I remember knife marks on the door from someone trying to attack my older brother. There used to be a lot more youths out here, but obviously that’s not just a Kennington issue, that’s a world issue.

The dynamic of me and my siblings is interesting, I grew up with my two older brothers who actually have a different father to me, but we grew up in the same household and I never looked at them as my stepbrothers, just my brothers. My two younger brothers and sister are from my father’s side. When I look at my older brothers, I just realise how upbringing can affect people differently in the same household. Seeing the possibilities, benefits and negatives of being raised in that way.

There’s a lot of people in these estates moving now.

We are seeing gentrification here now. But I should be thinking about ways of making money off it, not moaning about it.

Please tell us about your first experiences with music, how did you come to love it?

That’s a good question…In a way I had to go out, I was someone that was luckily able to see that there is more to life. When I was younger I would go camping, even things like youth clubs and summer projects where they take you canoeing etc. Coming from a place like Kennington where people would get stabbed and shot…it was able to give me an understanding of a different side of life.

The question is music focused but that relates to how other things influenced my thinking. Some of the music was Kennington, I used to go to a friend’s dance/acting studio when we were really young. That was my early introduction into performing arts

So what influences your love for music now?

Music where I’m at now comes from meeting people/ friends and following my calling.

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I’ve had to appreciate other people because I grew up sharing a room, I realise its such a big luxury. In my important years I was able to have my own bedroom but when I was with one of my older brothers, I used to try and figure him out. He was very quiet, at first, we were very close and as I got to a certain age and he got to his teens, he was very quiet and focused.,I couldn’t understand why. Although he was always there for me if necessary he was still quite focused, driven and selfish. I couldn’t understand why he was like that until now. He’s doing very well for himself now and he was always working to get to that point. He knew what he had to sacrifice in order to get there, especially living in this household. It’s just interesting to see that everyone’s journey is completely different no matter where you come from.

Does being from such a large family make is so much easier to be part of a collective such as HOP? In some ways it did, there’s a lot of skills I’ve gained from being with my family, but I think I had to learn a lot about other people. I had to deal with understanding that there are times when to speak and not to speak, there are times when things need addressing. I was really realising other peoples form of intelligence, that’s what House of Pharaohs really showed me. Everyone has felt that someone (in the group) had something that we didn’t really appreciate or understand before.

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You seem to be a very laid-back individual off the stage, what helps you to relax most?

Everyone has their moments, there might be times when I’m the most hyped and someone else may be more chill, that’s one of the interesting things about the fluidity within House of Pharaohs. What makes me relaxed is how I choose to deal with things and how I conduct myself. With success I try to be quite humble with it. I’ve always felt like a very confident and successful child and I felt like that could be really loud in peoples faces, even without trying to be loud.

Me just being successful and being person I am can really intimidate people. In some respects, I’ve toned myself down, maybe a bit too much, just to make other people feel comfortable. But then are you feeling comfortable? Are you being you?

I just let everything else speak and be more chill, there’s a lot of things as well that don’t excite me. When it comes to the stage performances I really black out. I lose myself in that.

As you’ve grown, do you feel less inclined to supress yourself/successes?

I’ve had moments where I’ve told myself I have to be selfish sometimes. Selfish Is the word. Sometimes I do things by putting people before me and they don’t recognise it, then I feel like there was no point in doing that. It’s something I’m still working on. The music industry is very volatile and confusing. It’s tough on the mind

What were some of the major struggles during your come up?

Probably myself man…Just overthinking. One of the most enjoyable times of me making my music; I’d just put it on Soundcloud. I’d make the song that day and put it on Soundcloud that day. It was so much more relaxed, less pressure. Now I’m always thinking about why I’ve feeling so much pressure to finish a track or make a certain type of song.

Of course, we’ve advanced in our careers and you want to go forward. Sometimes we obey the rules and structure of being an artist when maybe that’s not your calling, maybe I don’t have to be that type of artist or fill that space.

What are your most memorable moments from the very beginnings of HOP? What discussions were being had?

A lot of them were the shows, I always bring this up, our first shows were so crazy. That’s how we really made a name, a lot of people were asking who we were. No one knew us but we would come to the show and f*** it up for no reason, That was our thing, we had that underdog feeling as well of not being wanted and we would just come and do a mad ting.

Another key one will be the 2 headline shows last year. That was a big moment for us, you get artist that have more views than us that aren’t selling out those venues. It show the sort of impact we have on the ground level.

G Lo, what’s been a big moment for you?

G Lo: A Sick moment?

NWM: Getting them checks G Lo: [laughs] Those are sick moments, but they aren’t the greatest. I’d probably say London’s Finest. I think that gave us a taster into the future as to what we could be doing as a business.

NWM: When you say as a ‘business’, please elaborate G Lo: Just the fact of being approached as creatives and being given a certain budget and creative freedom to do something for a brand that we all love. Made sense.

Please tell us about the release of ‘RWM’ and what that did for the group.

Run With Me is a very special one, an important track. It was crucial on a run of shows that we were doing, RMW just did so much. In the studio, the hooks we do collaboratively always speak to people. After it was such a powerful song when it came to shows, it was like our finisher…bring out the ray guns like “Ahhh Run With Me you punks”. That was the kind of energy behind it.

Your rise as a solo artist has continued to grow over the past few years, tell us about the release of Lizzie and what that has done for you thus far.

Lizzy is a very special song and I’m so proud I have that to my name. One thing that’s important to understand that Lizzy was the song that got me heard worldwide and put the in the ear of the average listener, but I was getting a good amount of plays on Soundcloud aswell and an individual.

How the song came about was…shout out 4stringsz, we had a session in Brixton, but he didn’t have the set up to record, so he was playing me some beats. He played that [the Lizzy beat] and I started right at the beginning of the hook and I told him to let it run. I told him to make sure he sent me the track. At this time 199 the producer, I went to go record it with him. I thought it was cool but I feel like I’m very cynical with myself.

I believe in myself and the music but it’s really when other people are like “Yo!” that it registers. I recorded that and Do or Die at the same time.

“WERE GOING TO GO [TO THE] STUDIO AND YOU DON’T KNOW WHAT YOU’RE GOING TO GET. YOU DON’T KNOW HOW I’M GOING TO EXPRESS MYSELF.”

During that time, you also collaborated with another rapidly rising artist Octavian on ‘100 Degrees’ what was that studio session like?

In that case do you prefer to be in the studio with an artist rather than them sending you a track for a feature?

Big shout out to Octavian, it was very organic. I can across him because he had a track out and he had shouted me out on the chorus in a very cool way saying, “like Sam Wise imma get that”. I saw it and I was like “You’re Hard” and we had conversations and kept in contact. First time I got to meet and chill with him was at an IAMNEXT show, Seshie put on a show and we spoke about getting into the studio.

I mean I’m not against that but a good example of someone that has controlled that sort of outcome is when I worked with 808 Ink. Shout out Mumbles, he told me about a track and asked me to come to the studio to record. In the studio they played the beat. Mumbles rapped his verse and I was like “ Ohh Okay”, I got a vibe from that straight away and we made 45 and Sam which is an underground classic.

We made 100 Degrees and something else and everything was all good, we shot it and it did what it did. Octavian is a very talented artist

Often you get the best track when it’s done live.

You can definitely pick both of you guys out as individuals taking UK music to a higher level.

Word. That’s kind of been my mission. Just to contribute something that’s wavy. The music scene is being taken in at a high level now, people are doing well but there’s so much to UK music that’s missing and it’s artist like Octavian and myself that fill those voids

What are the key elements making a song to you? The melody/ the story?

I need to really break down the music and it’s going to come in time, but there’s something in particular that always captures me. The melody is important, the beat has to have a certain feel and when you’re hearing that sample on Lizzy, it just has powerful feeling and a warm feeling so automatically I gravitate to that. There’s stuff I hear, and it sounds like a hit but it doesn’t have that pull in the instrumental. You hear it on Do or Die, Lizzy, It’s that sort of thing that pulls me.

Also I’m an artist that; were going to go [to the] studio and you don’t know what you’re going to get. You don’t know how I’m going to express myself. I’m a fluid artist and I’m going to show the versatility.

Many say you have a resemblance to rap legend Lil Wayne, is it something that flatters you? or just makes you laugh It’s done nothing but bring positivity to my life. Lil Wayne is a f****** legend, he’s done so much in the rap game.

It’s not the worse person to be compared to, especially as a rapper. It attracts a lot of good stuff in my life; conversation from people whether it be from girls or just positivity on the streets, abroad. It’s a regular thing in my life but it never brings negativity, it just makes people want to know more about me which Is lit. One day we’ll probably cross paths anyway.

What other artists do you listen to which inspire you, present or past?

Kendrick [Lamar] has a big influence on me. That Hiiipower generation paved a lot of my thinking at that time, 15/16, very influential in how I was thinking and feeling. Shout out Jesse James, he went to my primary school, he’s a year above but we were friends from primary, were cool now. He’s someone from the UK that was coming at an angle that was unique. It’s always been like “I know him” and he’s done well.

When I discovered that some people in the UK were doing it different like Piff Gang, they were doing it from early.

High Focus, Fliptrix and The Four Owls, just to hear UK people doing boom bap like that and getting listened to, it was like; okay, there’s something going on here.

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That made it more attainable right?

Yeah, it was relatable, it was home. It wasn’t just me seeing Kendrick doing his bits…Joey Badass is a key person. Then you’ve got Larry June and Roc Marciano, artists of that ilk I really listen to and mess with more. Of course Kendrick is the #1 artist but the others have this critical acclaim which might be the sort of space I occupy because the way I go about my art, sometimes it might give you limitations as to how you can progress in ‘The Game’.

Much like lil Wayne we are sure you have ambitions to reach the top of the music scene, what do you feel like you need to do to get there from this point?

Where I want to be, I don’t know if that necessarily means ‘a number one’. What I need to do to get to where I want to be is work on myself, that’s all I need to do. To be where I wanna be and achieve everything, I need to address and deal with things as an individual. All I need to do is just work on being the best me. The best health…

The best physical health, the best mental health, putting out good energy and being nice to people. That will bring everything that I need. The universe will step aside for me as it has done.

A song that is definitely helping you to get there is Rack Up, what does it feel like to perform that song?

Performances are epic, when the energy is there. I’ve been questioning whether the energy is there in the UK for underground artists but Rack Up is just one of those ones that you play it and you don’t have to say much.

It’s another song that could be worldwide. Letting out all your emotions when performing it is a wicked feeling. I’ve had shows where its been the climax of the whole build up, for example Jay Prince.

Speaking of that Jay Prince Show, We were in attendance and saw the energy, What was it like at the show and taking the stage before someone like Jay Prince?

I really liked the energy of the crowd there. I’ve done so many shows now…you see good ones; you see bad ones, but the energy of that crowd was just correct. There was a willingness to get involved even with me as an opening artist. There were some original Sam Wise fans there but there were a lot of people that didn’t know me. It was lit but I hadn’t won them over on the first song.

When I played Do or Die, they didn’t all know it, but it was a build up and it was like yeah, they are really understanding it and getting it. For me I really communicate with the audience, it’s what I stress to all my colleagues and my friends. All you’ve got to do is win the audience, show them that you’re human and they’ll definitely mess with you. There’s so much you can do to make the audience pay attention to you, that’s one thing I stress to people and something I think I’m good at doing, with House of Pharaohs as well. But House of Pharaohs, we just have the energy of 6 crazy individual superheroes.

Was there an adjustment from performing with 6 superheroes on stage like you said or was that seamless to you?

Adjustment, but kind of seamless. With all 6 of us we all have our own presence, some songs I would perform myself are songs I would [usually] do with all 6 of us. Just knowing that you don’t have all those people to distract the audience is different. You feel it.

Often, I bring the mandem to the shows anyway. I’d bring maybe Blaze or Bandana to do a song and the energy of the night is even wavier because of that excitement. Even if they don’t know Blaze or Bandana.

In the video for Rack Up, it seems like you gave the spotlight to some young influential people in the UK right now – what was concept behind the video?

I’m happy you asked. With that video I wanted to take myself out of the equation. I see the song as being a soundtrack to a movie. One trailer I think it goes really well with is kidulthood. For me it was just perfect for that sort of thing, that’s where I wanted to take the visual.

Yeah, it’s a trappy/flexy song but when you put 2 polar opposites together it creates a new void, a new space. I could have done a trappy/flexy visual but it wouldn’t have propelled the song to where it needed to go.

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Kimono, By Walid Trousers, Marc Le Bihan Necklaces, Serge DeNimes, Feather Pendants Rings, Serge DeNimes, The Lettering, CC Steding

The video was very relatable That movement in the video is what I wanted to capture.

Initially I wanted to capture an idea where we were telling a story about an individual, but it wants going to be me, to further create that mystery about Sam Wise. It was to show their battles with wanting to make money, a similar feeling to the Kidulthood trailer. In planning that, things went wrong so the next best alternative was to capture other people but just the complete lifestyle. Get some people that I know and I like the way they move and bounce off each other and put them in different environments and film them.

Shout out Ade, Georgia and Javel, they came through for me and just did their thing. I’ve seen videos that I know their treatments had screenshots of Rack Up in it, which is sick. Shout Out Stuup1d aswell, which was the company that shot the video, they were able to capture the lifestyle and the London scene well, you just see sick moments of interaction in the video, which makes it cooler to me and more exciting

Rack Up is produced by Kadiata, what is the energy like in the studio with him?

We’ve got a good friendship, and that’s developed through the music. He’s someone that understands me and what space I should fill as an artist. There’s a certain sound in Rack Up that you can hardly hear and some drums on it. I was like; load up this beat, lets build on it. He’s someone I’m good at building a beat with as well.

I started freestyling the flow [for the chorus]. I also wanted the feel of a siren sort of sound and he was able to apply that. I made the hook and did a verse; it was a song I was able to come back to and complete which I find hard. I usually have structures that I become too use to. With that track I tried something different and we built a whole new part to the journey [of the song]. Kadiata Is just someone I’m able to focus and do the work with. I like the direction we go in when we build the beat. With some people, sometimes it can be a battle or this grey area where you don’t know where you’re going with the song. I hate it when it gets to that space. With Rack up we built that well and the same thing with When the Sun Comes Out.

You guys also have a summer anthem in ‘When The Sun Comes Out’ – tell us about this song and the different sounds you explore?

That song was the first song we made, I think. It was made in a similar vibe. He had played me a song of his that he had made a while ago and I just said let’s make something on that vibe. I learnt another lesson about completing a track because sometimes I can just be like; this is long, But we took the whole day to complete the track. It’s a vibe, all smooth.

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Producer NYGE worked with you and the HOP crew on the new project ‘Season’ what was the creating process for the new project like?

We love your video for ‘Afro Samurai’ what inspired that video and song?

Me and Nyge have worked less, mostly with House of Pharoahs and we made LED, him and Clones collaborated on that beat. Nyge is pretty chill, He just comes in and gets the job done. He’s a get on with it [type of] guy.

Shout Out to Sunny Jake, the director on that one. That was kind of his idea, he suggested a whole Samurai theme to it and me being an artist that likes to push boundaries I said, lets give it a go. We all worked hard on it to make it what it was and its an interesting piece.

What it different to creating your groups breakout project The Fix?

The current UK scene has many talents coming up, who in your opinion are the top 5 artists in the UK right now?

We were trying to take the sound to a different level.

Seasons is a collaborative project, just coming together with Nyge and Arson. We are very versatile, and we try to show that and Nyge was the sort of tool to do that, and that’s what we did.

Argh, that’s a hard question. Top 5?... Top 6, Me, BlazeYL… this is not in any order by the way. Bandana, Kevin Taylor, Danny Stern, AJ.

What is the reason behind the title of the project ‘Seasons’?

It stemmed from ‘HO Season’, then it went into tapping into the idea of different seasons and the vibe for those seasons.

You’re a very versatile artist that can tackle many musical lanes, who are some individuals you would like to collaborate with that you feel may throw off your fan base a little?

There’s a lot of artists I respect man. When the right time comes, there’s a lot of artists that I think we’ll collaborate.

We also did an interview with frequent collaborator of yours Allegorical, what is it like working with those guys?

I like Alia man, he’s just a cool guy, he’s funny, he makes me laugh. I think he gets me to a certain level as a person and I think I get him to a certain extent as a director. He’s just a cool and interesting person. I like the way he goes about depicting us on camera

Please tell us the story about the small motel room that was meant to be used for the 1:11 video Did we get in the room? We got in the room, right? [looks over to G Lo]

What do you hope your first full length project to be sonically and when will that be coming?

Sometimes I don’t know what I want it to sound like because I’m always thinking about everything, sometimes I think I get too obsessed with trying to cram it all in, when it just has to progress over time. But there will be a project dropping very soon. It won’t be an album but even if its just an EP to give a level of me, to understand my music and my direction.

Even you are asking, it’s necessary, but then there’s so much music it can be difficult at times. Right now, I’m just sorting out certain tracks and piecing the whole thing together. I think the people will like and appreciate it.

This issue is centred around the topic of ‘Positive Masculinity’- what does that phrase mean to you?

I don’t know, it’s kind of the first time I’ve heard it. I can interpret it based on the shoot; I’m guessing it’s embracing masculinity in a sense. Of course, if fine to be feminine and there’s different forms of masculinity. It’s praising masculinity and it’s alright to express yourself as a man in a strong way because some do clamp on that a bit more.

Yes, we feel as though positive masculinity isn’t just all the opposites of Toxic Masculinity, its deeper than that.

The positives of being a ‘go getter’ as a man is cool to demonstrate as much as other aspects, and that’s fully being free.

Part of the concept for our shoot today was creating a sort of crown out of your hair, does your hair have a deep meaning to you?

G Lo: I don’t think so. We went up and security were like; too many people.

I feel like we looked in the room… but it was just like…yeah it wasn’t going to work. That’s the sort of energy we have as House of Pharaohs, just make it work and Alia was on the same thing, so we just shot on the street.

Both my parents have locks right now, even when I was younger It’s something I always saw as something I would get at some point. There’s also the historical aspect and the teachings people give us about locks and what I represent, the higher power sense of it is a nice thought to keep about your hair.

I also feel like it suits me. I probably do want to start mine again, which means I probably will cut then to start them again.

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Silk shirt, Daniel W. Fletcher Jeans, Michiko Koshino Necklaces, Serge DeNimes, Feather Pendants Rings, Serge DeNimes, The Lettering, CC Steding

You mentioned your mother; how important do you think women are to mould a positive male figure?

Women are very powerful. Very Very powerful and important.

How do you feel like they can help bring positive masculinity to the forefront?

From how we treat our women we should understand that they are Queens and to understand the sort of level and power that they come with, of course we all came from a woman. For me a woman can make or break you. If you find the right woman, she can be the reason for all your success or [the wrong woman] the reason for all your failures. Its all about how you make to decide what way it goes.

Women in the same way have to uplift us men as well.

The same way we have to empower them, they have to empower us. We should all have equal right but that doesn’t mean that we are the same. A woman is so many things that a man isn’t and vice versa

Who are some positive male figures in your life?

Me and my pairs are doing our best to be positive male figures, we’re very young still but we do our best to uphold certain standards and morals. Also, doing our best to share knowledge and positivity. That’s something we all pride ourselves in, even if it’s to someone slightly younger than us.

What do you feel like Nipsey Hustle represents to people now?

It’s not up to me to decide really but he was just loved. And represents a certain type of person trying to do better. His death has hit people a lot and it’s obviously going to stay.

It’s a big thing.

What do you hope your legacy will be beyond music?

Just to contribute something positive. I want to add a positive contribution to music more than anything.

Bringing light to the world in some sort of way.

How does getting recognition from some of the major figures in the Uk music industry feel?

JME showed love, Donaeo showed us love as House of pharaohs, Chipmunk. Chipmunk, that crazy, these are not only big boy people in the scene but big people in the scene for serious content, for being considered serious artists. It’s a good feeling.

If we could gift you a conversation with one person right now, who would that be?

The tragic loss of Nipsey Hussle shocked the world, what is your earliest experience with his music?

Who would I want to talk to right now… that’s a very hard question...Dead or alive?

Nipsey Hussle is someone that I dabbled listening to from the days of discovering Kendrick [Lamar]. I never listened to him heavily, but I have a few favourites of his that I bang out. I’ve followed his journey and understood he was someone of a certain level.

Any, doesn’t have to be music either

To hear that he died, especially at this time and with the things he was doing in his community is heat breaking. It’s sad. It’s an example of some of the evil in the world but, he was really setting standards and really pushing for good things, something I want to do myself.

Malcom X. He would probably get us all militant right now [Laughs]

What would you say to the version of yourself that was just learning how to make music?

I would just say do you. Don’t hang around too many people and stay on your path.

Thank you for the interview Sam, and we wish greater success to you in the future.

Thank you. Bless

“ I WANT TO ADD A POSITIVE CONTRIBUTION TO MUSIC MORE THAN ANYTHING. BRINGING LIGHT TO THE WORLD IN SOME SORT OF WAY..”

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PHOTOGRAPHY KEMKA AJOKU MODEL AMAARAE

WORDS DANIELLA FRANCIS PHOTOGRAPHY TSE

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There is now a broader audience worldwide paying attention to the Nigerian music scene especially the Afrobeats scene. We see the likes of Wizkid, Davido and Tiwa Savage helping to put the universal sound of Afro-beats on the map. We also see artists from Nigeria who try to push a more alternative sound which incorporates Afro-beats whilst adding different influences such as dancehall, HipHop and Indie. The Nigerian artist Santi, who currently lives between the two cities Dubai and Lagos, is an example of a Nigerian alternative rapper/singer Santi is a 26-year old musician formerly known as Ozzy B. Santi’s music taps into the 90s-2000s Nollywood aesthetics recreating the trends from the old school and creating a sonically different, fresh sound. Santi was especially influenced by cult Nigerian horror movies that filled his childhood. His creative ability is applaudable not only is he listed as a musician but as a director of his own visual work.

Santi dropped an EP called “Suzie’s Funeral” in 2016 which created a buzz. Odunsi (The Engine) another unconventional artist and Santi’s chemistry is most definitely unique creating songs such as ‘Gangster Fear’ from the EP. Tay Iwar also appears on “Suzie’s Funeral” EP on the smooth track ‘Summer Time’ alongside Santi. The vibes on this project are innovative and absolute genius, the combination of genres is done effortlessly showcasing originality and individuality. The feels this EP provokes are inexpressible, this project gives a good introduction to alternative sounds from Nigeria.

Santi has continuously created waves throughout the recent years making listeners aware of the alté scene.

This movement is special, as it celebrates a breakthrough from the status quo and pushes freedom of expression in a culture accustomed to conforming. The track released in 2017 “Jungle Fever” brings an upbeat and jumpy sound whilst referencing Chipmunk “Fire Alie”. This song is a smooth collaboration between Santi, Genio Bambino and Odunsi which executes a garage and UK vibe. The release of the single “Freaky” featuring Bridge and Nonso Amadi is heavily influenced by Nigerian music as Genio Bambino samples “Shobedobedo”, a song from a Nigerian artist called Ikechukwu.

We saw Odunsi, Zamir and Santi release “Alté Cruise” which appears on Odunsi’s “Rare” album released in October 2018.

This single is a perfect representation of the “Alté” scene in Nigeria. The release of “Alté Cruise” depicts the young musicians, stylist and filmmakers from Nigeria telling a slightly different story to what is traditionally portrayed on every day social media. The song depicts their daily lifestyle in the Nigerian scene coupled with catchy lyrics and some hypnotic upbeat vibes. “Rapid Fire” is another single released in 2018 from Santi featuring South African rapper Shane Eagle and, Ghanaian singer Amaarae which is also directed by Santi and produced by Genio Bambino. Similarly, we see the influence of the 90s with grainy VHS footage and a dancehall enthused rhythmic flow. This single is waving the flag for the alté scene, which through the music video we visualise several scenes exploring the themes of freedom.

The narrative Santi conveys through his songs and visuals inevitably triggers a reaction from the listeners. Storytelling is evident in the latest single from Santi “Sparky” released in February. The self-directed video explores themes such as betrayal, death, grief and friendship.

The groovy and dancehall infused beat is paired with visual content that is vastly cinematographic. Santi doesn’t directly imitate the typical sounds or trajectories of today he forms his own sound which is a fusion of the western culture and his Nigerian roots. The alté movement is important for the young adults growing up in Nigeria, and better yet can be an inspiration for young people worldwide. The importance of freedom of expression can be suppressed in society where it’s normal to “fit in”.

However, through artists such as Santi we see the core of his music centred around an unorthodox approach. For the next body of work from Santi we encourage more eccentric, unconventional, youthful and of course alternative visuals and sounds. The release of his first studio album Mandy and the Jungle’ featuring worldwide artists such as Big Baby DRAM and Goldlink has furthered his status as one of the premiere musicians in african. Hovwer his influence does not stop there as Santi has been announced as the newest member of the LVRN team which houses artists like 6lack, Boogie and Summer Walker.

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WORDS ELLE EVANS PHOTOGRAPHY LISSY ELLE

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“NOT ONLY MUSIC DRIVES OJERIME TO HER GREATEST BUT ART, FASHION AND PHOTOGRAPHY ARE ALSO CREATIVE DIRECTIONS THAT OJERIME EXPLORES”

Ojerime, born and raised in South-East London has created her own distinct sound within R&B. Growing up listening to the likes of Destiny’s Child, SVW, Aaliyah and Missy Elliot, channeling her inner 90’s and 2000’s definitely reflects in her own music. Singing since she was little, to uploading covers to YouTube, to the progression of getting in the studio only came naturally to Ojerime.

Carrying with her a good and positive demeanour really contrasts with her sound in music and lyricism which can be portrayed as having a dark projection.

Not only music drives Ojerime to her greatest but art, fashion and photography are also creative directions that Ojerime explores. Growing up painting and being creative through art has also helped in paving her career today not only as a Musician but also as a Creative Director.

Attending two Art Universities and taking up photography lead her into the world of Fashion. With a built up portfolio, this enabled Ojerime to take a University course in Fashion Promotion which after graduating helped her think of her music as more of a business. With now a small standing creative team behind her, Ojerime as a Creative Director is able to pitch and bring her visions to life with the help of her team, whether this be musically or creatively. ‘Fang’ is a brand that Ojerime and her peers have created that showcase all of her creative strengths, which again correlates with all her projects musically.

In 2018 she dropped her latest project ‘4U’, which consist’s of 7 tracks with dark and murky felt tracks.

Within these are layers of her 90’s signature tone, husky harmonies and R&B melodies. The type of sound made for the night riders and ‘after hours’ driving around the city at night.

This project in particular embraces the idea of empowerment, femininity, passion and loss executing a perfect modernised sound that she calls a ’sonic experience’. Ojerime isn’t shy to express femininity and sexuality either, in a previous interview she stated ’There is beauty in a black woman who expresses her vulnerability, sexuality and power at the same time. I do this for other black women first, we are not one-dimensional’.

In 2015 Ojerime dropped her first EP ‘Ojerime: The Silhouette’ which was shortly followed up with another EP in 2016 named ‘fang2001’ with another prominent track of hers ’56 Plate Corsa’ which was influenced by Coko from SVW. It’s hard to define her sound into something so specific, in a past interview she states her sound is ‘just a collision of my influences’. Ojerime carries with her a sonic type of aesthetic, which reflects throughout her music and choice of imagery, the album artwork for ‘fang2001’ was an image she chose from press shots she had taken. Throughout these two projects is a sustained dusky atmosphere over melancholic beats.

One distinct track off of ‘4U’ named ‘I Know Now (2003)’, really fulfils an essence of nostalgia. An ambient, electronic beat with a sultry tone woven on top. Ojerime, previously mentioned that ‘I Know Now (2003)’ was written back in 2016 about a relationship that had panned out the way she wrote it. Other tracks on the project like ‘Handle’ boasting to her lover and ‘Greasy’ bring back an element of trap and seduction effortlessly. The visuals dropped correspond to the feel of her songs entirely, self directing the visuals for the track ‘Greasy’ Ojerime showcases a glamorous, seductive yet beautifully dark vision.

As for ‘I Know Now (2003)’ this vision undertakes a different perception of the city night scape in London.

Taking to YouTube and SoundCloud earlier this year with ‘whiskey demo’, a track of resentment and stacking money “Wait ‘til I get my money right / I’ll be on the next flight’’.

Again, Ojerime has brought back an essence of nostalgia with a 90’s feel in her vocals alongside a hitting beat to make your head bounce. Ojerime’s songs are guaranteed to fill a void in any listener, the depth within her songs both lyrically and musically are bound to tune you into your feelings. Drawing from

personal experiences of her own and others, through her use of lyricism Ojerime is definitely in tune with her emotions.

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Architecture is an art that has a heavy influence on how we remember and recollect. Building are often reminders of the journey we have taken and an indication for what is to come.

Sir David Adjaye OBE is a UK based architect born in Tanzania to Ghanaian parents, David Adjaye’s influences range from contemporary art and music to science and African art forms.

Adjaye studied architecture at the London South Bank University and the Royal College of Art before setting up his first office in 1994 which was later reformed as Adjaye Associates in 2000. His work creating striking private houses for artists and high-profile clients in London, led to several new public buildings such as the Idea Stores and the Stephen Lawrence Centre.

Over the past few decades Adjaye has established himself as one of the leading architects of his generation. While his portfolio is diverse, ranging from private residential buildings to massive civic institutions, there are several recurring themes in his work. One of those themes relates to monuments and memorials: complex spaces of public memory which can elicit raw emotional responses – from celebration to loss.

The Making Memories exhibition was a beautiful presentation of numerous architectural pieces designed by Adjaye, giving a detailed insight into the through processes and importance of memory in the different structures. Although these structured were designed in contrasting locations and for a multitude of reasons, the concept of building structures that can collect last memories or develop new ones were a very important thread throughout these seven amazing buildings.

An important aspect of being an artist with a strong message is storytelling, this is something that Adjaye illustrates candidly through careful study of the site and culture of where he designs his structures.

WORDS DERRICK ODAFI

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Monuments are a record of who we are and are deeply ingrained in our psyche as a way to recollect our triumphs and failures. However, the forms that monuments take are constantly changing. In periods past monuments would take form of a sculpture or beacon as a point of gathering to remember a specific moment that occurred in human history. Adjaye through is designs takes concepts from structures and combines this with functional space that can be experienced externally and internally. The intriguing exhibition features projects such as the Smithsonian National Museum of African American History and Culture in Washington D.C, Sclera Pavilion for London design festival in 2008 and the Gwangju River Reading Room in South Korea.

Adjaye’s easily adaptable design ethos allows the surroundings of the building and some external influences to inform his design language in the process of any given project. Master planning is a fundamental aspect of this process, configuring the core of the space and orientation to build a relationship with key features around the monument; Adjaye creates conversation with his monuments, they open up the mind to connections that may have not been realised on the surface and allows for a gateway towards a deeper understanding of history. One example being the Smithsonian Museum, the design of the building is derived from ancient West African, specifically Yoruba, sculptures. The great carved wooden figure from west Africa, whose three-tiered crown inspired the form of the building, has a huge influence on the structure and extends the buildings memorial references to not just Black American history but ancient African history. The arrow-slit windows in the facade tie the museum to the surrounding context of memorials, echoing the masonic lines of Pierre l’Enfant’s plan for Washington DC. The threetiered structure covered in bronze panels are a visually strong and hold weight within the space. The panels are designed to shade the glazed façade and the filigree cladded patters are a reference to African American craftsmanship.

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Similarly, in the city of Gwangju, the main aim of the project was to relate to the location and history of the 10-day prodemocracy uprisings in South Korea, 1980, ending in a tragic massacre of hundreds of students and citizens. Gwangju being the official city of human rights in South Korea, Adjaye created a striking link between the political history of the city and architecture. Adjaye however, ironically did not go into the project with the formality of making a ‘monument’.

Adjaye intended to plan the space/structure in a way that it would give visitors a strong connection to literature and access to knowledge. The monument was designed to operate in the dual way of activating an awakening into the world of literature but at the same time making the space as simple as a structure to reach higher ground and back down.

The structure was also to be dressed in the narrative of the Korean, almost doll, like constructions of bucolic landscape that rarely exists any mare due to the developments in infrastructure and concrete precautions to prevent natural disasters. Creating a pavilion that sustained the DNA of these native Korean structures while also causing visitors to be intrigued and question the space

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Another key aspect of the development of this building is Adjaye’s collaboration with writer Taiye Selasi, the writer curated the library of 200 books about histories of social justice and protests. The open pavilion is open to the public as a reading room and a place of gathering, easily accessible from the nearby river. The books and also the space stimulates discussions of progress, equality and community.

Along with creating monuments to remember the past and cultivate building blocks for the future, Adjaye also takes the theme of Making memories into a space inspired by science or most specifically, the human eye. This takes shape as the Sclera Pavilion, conceived as a contribution to the 2008 design festival in London. This piece of architecture was an exploration of form and space. Designed to give inhabitants a calming and uplifting effect at the heart of the city, the Sclera Pavilion was definitely a one of a kind construction that would be almost impossible to forget. The structure made of American tulipwood is inspired by the surface level form of the human eye, encouraging a space for contemplation and better understandings of the world around. as a small, simple structure it best exemplifies Adjaye’s use of architecture as dynamic spaces for experience.

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TOP LEFT GWANGJU PAVILION BOTTOM LEFT SCLERA TOP RIGHT THE SMITHSONIAN NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE

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The Making Memories exhibition was an immersive experience that brought all of these amazing structures to life within built installations and models, life size and at smaller scales. It gave an intricate look into the processes of architecture at the hands of a practitioner that not only thinks from a design and construction perspective, but subtly incorporates the fabrics of the locations of the buildings into the architecture. With architecture you are always dealing with time, Adjaye is not interested in being of the time in which he creates, he understands that there will be times when his concepts/ideas will be totally unfashionable.

Adjaye is not interested in having his structures represent one sole memory as overtime; narratives and ideas may change. He designs for his creations to evolve with the conversation, he uses memory as a trigger to question and to discuss through the vessel of design. Ironically David Adjaye actually doesn’t believe in ‘memory’ but he believes in the power that form possesses to create questioning, which in turn leaves a constant narrative in our minds when we see a specific monument. That is what he is interested and he is calling that ‘memory’.

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PHOTOGRAPHY BY EAZY VISUALS MODEL JADE LAURICE

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“I KNEW MY PERSONALITY WAS GOING TO WORK IN MY FAVOUR ONE DAY”

London native Seyi Shay, born Deborah Oluwaseyi to Nigerian parents, began singing at the tender age of six years old. Nurturing her talent during her high school years, it became apparent that she was destined for great things after performing with the London Community Gospel Choir during a world tour that included 13 cities in Japan.

The singer’s career continued on an upward trajectory when she signed her first record deal with The Beatles producer Sir George Martin at only 18 years old.

It was at this time that Seyi began to explore her skills as a songwriter, writing and producing three major songs for the company Komani game “Crime Life” soundtrack in addition to the song “You Will See” which was performed by former Spice Girl Mel C, appearing on her on Album “Beautiful Intentions” which sold over 1 million copies.

Following a highly publicised national audition Seyi Shay became front woman of the British Pop/ RnB girl-band, ‘From Above’, who were signed to Sony/Columbia Record company and Music World Entertainment owned by Beyoncé’s father; Matthew Knowles.

The band went on to support Beyoncé on her “I AM” UK tour in 2009/10 and in 2011. Continuing to build her name as songwriter Seyi Shay wrote the song ‘White Lies’ for UK rapper Chip with Coleena of P.Diddy’s Dirty Money, that very same year.

Fast forward to 2012, following her move back home to Nigeria the singer released the single ‘Irawo’ which showcased her versality by combing her western and Nigerian roots.

Continuing the streak of versatility, the singer has released several successful song including, her dancehall-influenced single ‘Murda’ (2014) and ‘Crazy’ (2015) featuring Wizkid.

Still riding on the success of her latest single “Gimmie love”, taken from her forthcoming EP to be released later this year, Seyi Shay career has come full circle. She returns to the place when her musical journey first began, for one of the biggest moments in the career so far. The singer will become the first African female to be given a residency at the boysdale in the UK. From the 29th -30th May the singer will perform alongside a live band for her first headline show.

WORDS RAY SANG PHOTOGRAPHY AARON WATSON-MCNABB

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How do is feel to be back in the place where music first started for you?

What was it like having lived in London adjusting to life back home?

I come back to London quite often because my family, my immediate family, are still here. Yes they come to see me sometimes in Nigeria but erm…I always feel cold when I come to London.. haha I’m Joking.

It was fine. I mean this was five or six years ago, so Nigeria had advanced. It wasn’t like stone age. I moved back and there were basic things that I had grown up seeing. I had gone back to Nigeria with my mum anyway for Christmas holidays, so I just fit right in.

I always feel really very happy, very positive and very hopeful because I’ve got my friends here and a lot of my old friends have become influential people in the industry. Even in just the six years that I have been away. But yeah…very happy.

Could you pinpoint the moment when you realised that music was more than just a hobby for you?

Yeah I think my trip to Japan with the LCGC choir. I mean at that point I got paid £5000 to tour japan with the gospel choir as one of their lead vocalists and I was like “yeah I could get used this”

At the time you were quite young, did you ever find the experience to be quite overwhelming?

It was a bit weird for me, that trip, because I was away for so long; three weeks away from my mum and my family. I came back and it had all come to an end. I found myself telling my mum that I wanted to sing, I wanted to be a musician for the rest of my life and she was not having it.

Fast forward a few years and you are now a part of girl group From Above. What were the key lessons you learned from that experience that have helped you as a solo artist?

Erm I think it’s more about who was managing us that kind of helped me to learn the lessons. Matthew Knowles is a disciplinarian. He’s a great teacher and he brought in all the right ingredients. You know…when I say ingredients I mean the people. So the choreographers, vocal trainers the stylists, photographers, fitness trainers, and things like that.

I feel like that has all added to who I am today and why I’m still standing, why I am still singing and why I am still raring to go.

After quite a lot of success here in the UK, you made the decision to continue your career in Nigeria. What sparked that change?

The group had broken up and I really wanted something to do. I could have moved back to America with a friend of mine to do music but I decided to listen to my mum’s advice.

Before she passed away she said “I had a premunition that you went to Africa and you became very famous there, that’s where your fame really kind of took off”. Of course I felt like at that point, she was just talking gibberish but so many things that she had said were going to happen had happened. I now think that my mum was a prophetess or something. I’m telling you…I mean God rest her soul, may her soul rest in peace. This is one of those things that have happened where I’m like “yo – she said it!”. That’s the whole reason I moved back to Nigeria.

How would you say that your culture influences your sound as a musician?

The rhythm, the beat, the dance.

What are your thoughts/relationship with the Alté movement in Nigeria?

I love it! I’m down with it, I’m for it. I feel like its such a good thing that’s happening. I have always been a supporter of the Alté group even before they were properly established. If you listen back to my album ‘Seyi or Shay’ album you will hear Alté sounds and that was back in 2015. A lot people were scared to kind of do that music in Nigeria because they thought that there was no audience for it. But there has always been an audience for it, someone just has to do it first.

As an artist or someone with so much influence do you feel as though you have a duty to be involved in politics or social conversations?

No…just live your life. Make great music and make people happy. Sometimes these kind of conversations only bring about depression. But when you are making music, that frees people’s minds you’re already playing your part. You are already doing what you are supposed to do. Just sing.

As someone who has been in the industry for such a long time, what has kept you going?

The idea that I still have a lot to do. I’m just living my life (laughs). I love meeting new people, making music and being paid for what I love. If that doesn’t keep me going what am I really doing?

Turning to the business side of things now. Do you think that a lot the upcoming creatives coming into the industry now enough about it, and if not how do you think we can improve this?

You can never know enough, especially with an industry that is constantly evolving. Its always growing and morphing into something else. Like social media now. All you need to know is how to operate Instagram or Facebook; that’s it. You don’t even need anything else anymore. You just need to have the brain to hire those who are better at those things than you, so that you can focus on the music, while your team focuses on the mechanical side. You can never know enough; tomorrow something new will come out and then all of a sudden you need to relearn things.

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“I’M A GIRL, SOMETIMES WE JUST NEED SOME LOVE.”

Let’s talk about your latest single “Gimmie Love”.

How did the collaboration between you and Runtown come about?

What was the most challenging aspect of the role?

It was probably turning down appearances, events and shows because I had to be on set for 19/20 hours. I didn’t know that it was going to be that demanding as I had never acted in a movie before. But I am very glad that I did it. Its been shown at a few festivals and its going to be on Netflix one day. I never thought I would do anything like that; it’s amazing though.

I recorded the song in Atlanta and we were all thinking that it needed a feature because the song is so sparse. As the song is quite sexy we were thinking that we should put male feature on it and my manager suggested Runtown. As soon as he suggested it, we are like “why didn’t we think of that” as its his kind of vibe. If you’re familiar with Runtown you’ll know that he is quite big in South Africa and Europe. So it was a strategic and creative decision.

Do you plan to do any more acting in the future?

Oh yeah. I mean, I’m lucky though because Lara and the Beat was a really high quality production. It wasn’t like a home movie, where you are used to witches flying around in the village, it was a real movie. So I am lucky that this was my first movie. If I could continue to do that level of movies moving forward I wouldn’t mind acting more often.

What would you say is the story behind the song?

It was a freestyle. I was just saying how I felt at the time.

You know…I just needed some love. I’m a girl sometimes we just need some love.

How do your other creative disciplines influence your artistry as a musician?

Within your visuals tend to incorporate striking and sensual images, how does it feel to be such a symbol of femininity?

It keeps me versatile and different. Like I know my fashion sense is different but I think people like it. But I dress according to how I feel. As you grow in this industry you start to realise the components that you need, the people that you need. So I have a fantastic stylist and a brilliance brand manager, photographer all of these people I didn’t know that I needed when I first moved to Nigeria. But thank God I have another chance to do it properly this time. So I am really excited about everything coming, including my fashion. I love my stylist. If ever I am slipping she will always pull me up and be like “hey…you cant wear that” and I trust her so. You know, all these things influence the growth of my brand.

It feels good, it feels like an achievement. There’s this whole concept we like to play with and I am so happy that my people back home have started to play with it too. Its this whole concept of Seyi or Shay. So Seyi is the traditional girl, so you will see her wearing a suit and flat shoes but Shay you will see in hot pants and a bra top and be giving some zanku in the videos. So that’s the idea behind my performances and my videos.

Its not really intentional just a multifaceted experience.

You also dabble in other aspects of the creative industry and recently had a leading role in the film Lara & The beat, can you tell us a little more about that?

Finally on fashion, what are three items in your wardrobe that you cannot live without?

It follows Lara Gawa & Dara Gawa who was played by Somkele Iyamah-Idhalama, It’s the story of two sisters, who fell from grace to grass. They were hedge fund babies, their parents passed and their uncle squandered the money and so they have to find their way back to grace on the hardcore streets of Lagos.

Leggings, underwear (laughs)…you didn’t say fashion items, you just said items. So leggings, underwear and a white tee.

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PHOTOGRAPHY MOYOSOROBRIGGS MODEL BELLA

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In 2011, Asap Rocky’s Live.Love.Asap mixtape contained many tracks that massively influenced the rap game at that specific period. Asap Rocky’s style of rap which was at times reminiscent of Bone Thugs n Harmony, also brought back glimpses of Memphis rap, but nonetheless had his own Harlem imprint. This was rather unorthodox package was incredibly rare (some may disagree), especially within this era of Hip Hop. Not many people would have been a fan of the type of style that ASAP Rocky was trying to convey at the time, however, it was a breath of fresh air for many others that embraced this brand of music.

This mixtape also brought about the era where Asap Rocky’s videos were controversial and many viewers claimed Asap Rocky was part of some sort of devilish elite (Illuminati). Many also accused ASAP Rocky of taking credit for other artists who may have adopted this type of flair prior to Asap Rocky The tracks that stood out from this mixtape which made Asap Rocky a huge influence was ‘Peso’. A track with a rather unorthodox beat and flow that asap rocky brought the table along with bars that we would normally here every day that were also quite hilarious at the time. Another track that stood out was ‘Wassup’ which gained considerable amount of views at the time. His most controversial track Long Live Asap also got the music world talking and intrigued about the artist, wheather good or bad. ‘Purple Swag’ featuring fellow ASAP Mob member Asap Ferg was also a prominent feature as it elicited the exploration and effects of drug use.

It can be said that Asap Rocky brought a lot of old school sounds back and combined them altogether with his own unique elements which made Asap Rocky appear so rare in 2011. It was not just the music that Asap Rocky had a huge influence in with this mixtape, but also the huge impact he had on fashion as well. This rather unique style also somewhat paved the way for other young musicians with unconventional styles whether in terms of music/fashion as well as embracing the individuality that comes other inspiring musicians.

WORDS SEUN LASILE PHOTOGRAPHY CLAY PATRICK MCBRIDE

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Drake, transitioning from an unknown artist from the depths of Toronto to now one of the biggest rapper’s worldwide, who has helped cultivate and shape culture within Hip-Hop all while building a legacy of his own in such a short period of time. Earning credit from previous projects Drake was paving his way into the Hip-Hop community, with fellow creators Noah “40” Shebib and Oliver El-Khatib. Prior to releasing one of the most dynamic mixtapes, Drake knew what was coming. This mixtape was going to change the way artists made there music, as well as how they were going to perceive it. So Far Gone became the foundation towards the construction of Hip- Hop and Drake’s career as a whole.

So Far Gone gave a new shape and feel to the sounds of Hip-Hop and R&B, it became one of the most cohesive projects that had been dropped in that decade of its release. Following up from Comeback Season, Drake obstructed the conception about masculinity by discussing relationships within the landscape of Hip-Hop instead of violence and street life. Drake had the capability to throw you into an emotional space through 18 ambitious, atmospheric and brave songs filled with introspective thoughts. Whilst other projects were making a come up, he had the ability to connect with a strong female audience whilst still captivating the ears of masses. Kicking off the mixtape with songs like “Lust For Life” and “Successful” formed an ideology of a life only one could dream of which soon became a projection of thought once the reality of “Say Whats Real” hit. Ambitious, his determination to sing on beats that were heavily inspired by R&B didn’t go unseen. Tracks like “Houstatlantavegas” is where we saw a more seductive side as well as on “A Night Off” which features songbird Lloyd. The vulnerability given in these tracks are what started to trigger the persona of ‘Heartbreak Drake’ and it paid off. However, this didn’t stop him from showing his versatility to wider audiences, collaborating with Peter Bjorn on “Lets Call It Off” as well as Lykke Li on “Little Bit”. Not to mention one of the most prominent tracks off of the mixtape “Best I Have Ever Had” which had huge impact on the radio charts at the time. Even though this mixtape was full of emotion, Drake wasn’t not going to prove his pen game and made his presence known on “Ignant S**t” which featured his mentor and boss at the time Lil Wayne.

Considering this mixtape was Grammy nominated and went Gold on the Billboard Charts it’s safe to say the general consensus around the success of this mixtape is very much certified. This project wove rap and singing together on instrumentals that had never been challenged to the fullest in mainstream Hip-Hop and Rap. Giving life to new sub genres within Hip-Hop, unmasking hard hitting drums and gritty lyricism allowing a generation to breathe and feel. 10 years later and it’s been re-released on all streaming services, this mixtape made monumental history.

WORDS ELEANOR EVANS

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Looking back, 2011 was one the most monumental years in music, it saw the birth of many of the biggest artists today and saw an important shift within in the music industry. With releases like Beyoncé’s ‘Run The World (Girls)’, Adele’s “Set Fire To The Rain” and Jay-Z and Kayne’s “N*gga’s In Paris”, history was made. 2011 coincidentally is the year in which Frank Ocean released his debut project Nostalgia Ultra.

Self-released in February 2011, Nostalgia Ultra drew inspiration from harder times in Ocean’s hometown New Orleans as it fell subject to Hurricane Katrina, and he relocated to L.A. In a fashion well-align to Ocean’s now understood enigmatic nature, Nostalgia Ultra was self-released with no prior promo. It was one of the earlier introductions to the alternative R’N’B sound that now thrives worldwide. For Frank, it also marked his switch from being just a songwriter to a singer songwriter.

A 10-track mixtape which was raw, openly emotional and an overall vibe – Nostalgia Ultra was controversial, it differed from what was mainstream at the time. Although an amazing era within music, 2011 was straddled by a variety of big pop hits from the likes of David Guetta, Lady Gaga, Flo Rida and Taylor Swift so a project like Nostalgia Ultra was the perfect alternative.

WORDS SHANTE COLLIER MCDERMOTT

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A time where many of us were ripe in teen angst and spent hours scrolling on Tumblr, it was inclusive and subsequently gained love from the mainstream and indie audiences. Songs like “Swim Good” and “Novacane” went onto be the standout tracks of the tape but it also had gems like “Strawberry Swing” and “American Wedding”. “Strawberry Swing” a rendition of the original by Coldplay, one of the tracks that encompass versatility. “American Wedding” is a 7-minute long song that samples American Rock band Eagles.

Sampling classics is common amongst mixtape culture and I believe it to be one if it’s best feats, with Nostalgia being one of the key elements on Ocean’s tape’s, his use of samples made a lot of sense. Nostalgia Ultra taps into more than one genre, it spans across field and as I and many of us music lovers do, I find myself enjoying all types of music – so I appreciate(d) this partially because of that characteristic.

Nostalgia Ultra was not only popular with the masses but also gained critical acclaim from the likes of Pitchfork, Rolling Stone, NPR, Metacritic and more; making many of the ‘best of’ lists that year. Support in the celeb world came from Beyoncé, Jay-Z, Kayne and Trick Stewart and of course Tyler the Creator, all noting Ocean’s prowess. The tape also went onto be nominated at the BET Awards and Grammy’s an impressive accolade for a self-released mixtape.

That in mind, it shows how game changing Frank Ocean was – back then, being independent and self-releasing was not as common as it is now so for a mixtape to do so well with no initial label support, it was a big deal. All in all, Nostalgia Ultra was and is a tape for the ages. It catapulted Frank Ocean into an unmatched career which would see him sell millions and win big. The now Grammy award winning artist helped paved the way for new age R’N’B and most of our neo-soul faves.

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PHOTOGRAPHY CALEB DESOUZA MODEL VANILLE, SOROM STYLIST LOTTIE DION, SEYON AMOSU

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Allegorical – The representation of abstract ideas or principles by characters, figures or events in narrative, dramatic or pictorial form. A fitting title and description for one of the most interesting independent production companies you will find. Cofounded by Director Alia Hassan and Graphic Designer/Producer Sam Campbell are the spear heads of the operation. Their careful planning and attention to detail are some of the key reasons why we believe this production company has exponential potential. Allegorical gives its audience an authentic and layered visual arts perspective. The do not compromise the end product and are constantly searching to capture unique memories within their work.

Cinematographer Alex Odam and Sound Engineer Marco Leon complete the inhouse team and are extremely important to the Allegorical catalogue. Allegorical has been active since 2014 and have since attracted over 500,000 views via their YouTube channel. However, views and engagement are far from their goal, Allegorical aims to create stories and narratives that have a lasting impact, they seek to develop new formats of cinema and work like a high budget production company while having only the resources of 4 talented creators.

Over the years Allegorical has continued to create high quality visual presentations while constantly challenging themselves to push the envelop and inspire. From music videos to short films, they maintain a specific feel that is associated with their films. Productions such as 1:11 for frequent collaborators House of Pharaohs and Kintsugi, a cinematic film about the trials and tribulations of a young man who feels trapped within his stereotype, are a few stand projects that puts the West London based, soon to be film powerhouse a cut above the rest in many respects.

We sat down with the team to get an insight into their craft. Alia Hassan - the architect behind the modern structure that is Allegorical, speaks his mind on various topics with extreme confidence and assurance of what his team brings to the table.

As we settle down from our earlier shoot and the interview begins‌

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Please introduce yourselves, who you are, where you are from and your position within Allegorical.

A: My name is Alia Hassan, I’m the Co-Founder and creative director of Allegorical S: I’m Sam Campbell, I’m the Co-Founder and producer AO: My name is Alex Odem, I’m the DOP and editor of Allegorical M: My name is Marco Leon, I’m also a producer on the team.

What is Allegorical and where doe the name derive from?

A: Okay so, end of 2013; me, Sam and 2 other friends decided to take some Acid on New Years Eve. This was just at the end of our time in school, we had just finished year 11. We decided to take this Acid and we ran through all of our memories, all the prime locations we had been to during secondary school.

We saw the fireworks in the sky [on New Years Eve] and after some time of being mesmerised and crying [laughs] we went back to our friends place and began talking about Barak Obama. We were trying to find some sort of word to describe Barak because we thought he was such a powerful and influential figure. I started saying to Sam “He’s like an ‘Alle-Dorical’ man…”

Sam: I had written some of the words in my notebook A: Sam found the word ‘Allegorical’ the next day and the definition of the word encapsulated exactly what we wanted to do. Its not literally the word we came up with, but its very close and has a good meaning to it.

You touched on the topic of memory in your very subconscious revelation of your name, is memory a big part of what you guys do?

A: Yeah! A lot of the work we have produced thus far is very personal and nostalgic but we try to open up certain ideas that we have, making them more accessible in a way.

There are certain lifestyle traits, memories and our general culture that we try to develop on.

M: It translates quite visually as well with respect to the [colour] grade and he concepts within it, if we speak about the Bittersweet Bahgdad Documentary, it kind of looks like a postcard from a different time

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AO: It’s kind of memory but at the same time nostalgia. A lot of the content we create has the idea that the first time you watch it, it holds a certain level of value to you, it’s a timeless piece. We don’t want to create something where in a year it’s bygone, it doesn’t matter anymore. Especially it’s a piece that you can watch today, tomorrow, in 10 years’ time and it’s still fresh. Even though its only 4 of us we hope that it looks like something a whole time has put time and effort into.

A: Just to touch on that, I think I’ve got a little bit of neuroticism when it comes to the work, I’m very precious about it. These guys definitely know that.

S: We all are to be fair

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So, what is the process like with so many perfectionist minds?

AO: I’ll be perfectionist about a particular thing, but then I may miss something and then Alia would catch it. Then he may be real tight some something and I may still find a little issue unresolved.

A: sometimes it’s done in a healthy and organic way but sometimes I am just very angry [laughs]. It’s something where we all established a long time ago, what we are doing isn’t necessarily about fun, I think a lot of people try to get a lot of enjoyment out of what they do and I’ve said to these boys it’s not about having fun. We do [have fun] at the same time but there are some tasks that are very meticulous and draining to achieve a certain level of perfection That’s the same reason why we don’t release things if we believe that it is no quite ready.

Does this get in the way of growing your brand?

A: To be honest we don’t really care too much because we are trying to prove something to ourselves. The meticulousness we apply to the work is a very important aspect of what we do and the timelessness of what we create.

AO: essentially, we are making something that we want to enjoy because if you make something with the mindset of it being for someone else, you’re falling at the first hurdle.

We definitely see the level of quality you guys bring to the table and the team effort, with that being said, is communication a key part of what you guys do?

Seems like there has to be a lot of synergy between you guys during these processes.

A: The way we communicate with one another is very open. I’ve gotten emotional or angry at everyone at a certain point, sometimes being able to just let it out is important.

S; I think we all understand each other quite well.

A: We laugh a lot together, we enjoy each other’s company while working with each other. At the same time, we have heavy and heated discussions, work related or not. We communicate in a very organic and open way, what makes Allegorical work is that it’s not a conventional production company structure, because if it was, I think we would be a lot slower.

AO: We are very honest with each other, I think sometimes there is a fear that “He’s the director”. Sometime if it’s only the director’s vision it’s not really neat. It’s a team of people, not just one.

How do you guys handle bringing everyone’s vision into your work?

A: Because I understand what people’s skillsets are, it would be detrimental to me if I decided to take [one minded] positions or not allow conversation. There is a lot of freedom in the group, if there is an idea that works better then it works better, I don’t care.

A: Absolutely, the thing about the structure of allegorical as opposed to a camera operator working on music videos that won’t necessarily take direction from anyone is that we try to apply a very filmic structure. Pre-production is a massive part of what we do. Me, Sam and Marco deal with that aspect of what we do and it sometimes literally takes months.

M: In addition to that we all know each other’s tastes and what each other may like to some extent.

Please inform us and our readers on the distinct roles in a production company like yourself.

A: The only ‘forceful’ aspect was setting the role structure in place at the beginning stage

A: Um, there are kind of established positions to an extent, and that gives us an understanding of the structure of the company but everybody does everything. Everyone has worked on editing, we’ve all worked on doing notes, we all produce to an extent.

AO: Over the years there has become such a synergy that Alia trusts the shot is right, he trusts that the graphics are right and that Marco will make the audio correctly. Being able to rust one another and not feeling like “I’ve got to watch everything you do”. That allows us to work the way we do.

Fundamentally the driving of what we as a company are going to do next is something that me and Sam discuss a lot.

There are various different tasks and they range from project to project. If we are working on 100mph for AJ for example, that requires a whole different skillset than if we were working on Bittersweet Bahgdad. Everything from the pre-production to the edit is always completely different.

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S: And those tastes kind of combine subconsciously, we want the same cleanliness and the same sharpness in the product.

Would you say that your documents are a form of creative content in itself?

What would you say are the key feelings or emotions you want to create within your work?

A: Me and Sam are huge fans of archiving, I think we have every single prop still, every single document we created

There’s Nostalgia, but then there’s also a lot of sadness to the work. It’s very melancholy. There is a lot of happiness presented visually but for n=me there is also a level of sadness throughout.

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When I see Bittersweet Baghdad I see a beautiful representation of people, but there is an undercurrent of sadness to it.

A: It reeks of desperation as well [laughs]in the sense that everyone involved is trying to make it in a way. When I see Nysh running into a hotel lobby [HOP 1:11 video]. As much as its pretty, it reeks of desperation to me, running up in a casino, we got a great scene out of it but it’s desperate.

I’m proud of it. As much as there is a myriad of feelings associated to what we do, determination and desperation are two that stand out.

Allegorical in the English dictionary means a story/ picture in which characters/events represent certain morals or ideas, do moral’s/religion play a part in your work?

For example, with the AJ project [100MPH] you see his hair change, seasons change.

AO: We want to make pieces where you can’t just look at it and say “that was 2018”. Also, on the editing, we cut out so much stuff, AJ’s video is a good example. Any shot that had any other people in it or rubbish on the ground, it was cut.

A: I point I always make to Alex is that we’ve got to be like watch makers, the people who make the finest watches in the world, as much as they may care about the aesthetic of the watch, the most important part is the clockwork itself

A: Not in a conventional sense, but some of the morals and ideas that I think about when coming up with concepts is to try and show people that there is more to something.

We take things that are seen on a day to day bases but work on them to a point where it fleshes them out. There is always a sense of capturing something that is pretty ‘everyday’ and opening it up.

It forces this idea of acceptance to a degree. I want people to accept certain ideas, not be scared of them and not feel intimidated by the way some people look or dress.

One thing that’s important about Allegorical from a moral perspective is that we truly understand that everyone has a story. There is more to absolutely everything, and we try to push that in so many different ways. We can take anyone or anything and tell their story.

Do you feel like you guys have a responsibility to find the detail in everyday life?

A: I Definitely do, there are 2 reasons why candidness is a fundamental part of how we create. Reason one is for production value purposes, if you capture what’s around you in its most organic natural form, you never have to work about production value because it is what it is.

AO: As long as you have a certain eye of what you’re capturing A: Yes, and the other reason is; since we are in the position that we are in, our moral responsibility is to flesh out what is around us more. If there is any way of giving back to the community, this is the best way to do it.

AO: An upcoming project that may yet take another few years titled ‘West London Story’ is a great example of that.

A: Yeah, That is a passion piece that I am very attached to because after the Grenfell fire, there was a lot of detail in the way I saw the community afterwards. Details that I felt needed to be captured. We are documenting West London and different parts of West London in the space of 5 years.

When I feel like we will conclude shooting will be 2022. I’m also a big fan of watching time go by in one piece, I hate time stamped things.

Sam: And that’s how everything operates.

A: It’s like we’re making Audemars or Patek Phillips, it’s a well thought out piece of work.

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How tedious can these tasks get at times?

Do you feel like you have an older mentality?

AO: We can spend the last 3 days of a film coming together just exporting, watching, finding a one second issue and redoing it again and again. It can come to a point where we have uploaded the video 4 times and each time there was one second or one frame that doesn’t belong.

A: That’s the thing that I think is a flaw, if I was trying to be a YouTube star or something. For me I don’t care, I just look at it in a way that if I die, that mistake is still going to be there, and I couldn’t care less about any viewer watching it. I’m not trying to create traction, or get subscribers/views. My mission for this group of people is that we are making films AO: We are not here to make money off our films through Ads, we just want people to watch with no distractions.

A: I paid attention to a lot of my elders to a degree. A lot of people that are older than me, I understand the way they work. Again, it’s this idea that work is not fun. Why is everyone trying to have fun all the time? It’s about working hard and making certain sacrifices in the time so you can make something big.

It’s about long term thinking not short term.

Exactly, and my long-term goal is HUGE.

That creative control with these projects are also part of the long-term, how important is this to Allegorical?

On the topic of making money, what is your policy when a 3rd party requests a visual presentation from allegorical?

AO: As soon as you take that 4-grand budget, immediately you will be under the power of someone else, you are now subject to the client’s opinions and it’s not an Allegorical project. Soon as that happens once, it’s not ours anymore.

A: For me personally, I can’t look at 3 hundred or 4 hundred [pounds] and say that is what I’m worth. Unfortunately, I think I’m worth hundreds of thousands. People reach out for all sorts of things but I reject them 99% of the time because it will F*** with the path we are trying to go down.

A: Exactly, I’m happy in the sense that I own everything.

There’s nothing that belongs to anybody else. One of the problems I come across when working with clients or other people is that often they don’t know what they want. Our strong suit is that I always know what we are trying to do.

If I wanted to make money, I could have taken opportunities that would have led me down the music video director path, doing straight moist narratives. We were offered a 4-grand budget for something that literally is not in our lane whatsoever. For me, the minimum I want from a studio or someone funding a project is millions. That’s what films are made on.

Sometimes Alex may be editing something, and he has no idea what it is.

I think I’m worth millions, I think these guys are worth millions.

AO: So true, [there are] some edits where the idea is so in Alia’s head. I’ll be cutting it and half way through the cut I begin to see [what’s going on]. For example, Bittersweet Baghdad where 90% of the time I’m working on it I have no idea what is going on because the whole project is in Arabic. It wasn’t until the last week when we translated it.

Sounds like a very unique learning experience How much money does go into what you do now?

A: I will put money into Super 8 [film], Sam will put money into Super 8. Me and Sam literally spend hundreds on things that will create that little detail and feel.

AO: Out of our own pocket might I add A: Of Course, how many new pairs of Air Forces would we have bought if we didn’t keep buying these Super 8 rolls [laughs] We don’t mind eating tuna and rice with a bit of the coriander on top because at the end of the day I want to make big cake, you have to make sacrifices, a lot of people in this generation don’t understand that.

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AO: It inspired me. Personally, I wanted to learn more about Arabic. I had spent all this time working on this project, about a land so foreign to myself, the projects bring interesting and fascinating things into our lives.

A: Alex when I first met him, this guy was from like, Bath. Now this guy talks more hood than me most of the time[laughs]. This idea of learning through the work is something that we thrive off.

AO: So many of our projects release completely differently to how they started. AJ’s video is a great example of this. It started off as a Rich the Kid, Cole Bennett style video with a lot of animations on the screen, effects etc. We shot it and edited it and It’s like…It just didn’t bang.

We watched your podcast and Alia mentioned wanting to do a video like that just to have it in the portfolio, why did you feel like that was necessary?

For the dumbest reason ever, I think I was just watching a lot of Rich The Kidd videos and I just got obsessed. I would watch those videos of Rich just brushing his teeth or jumping out of a Maserati and I just thought it looked good and I want that.

Would you say that some of your reasons for going into a project are based on the romantic aspect of it and then finding the truth through the process?

Absolutely, Sometimes I would sit down with Sam and think “Bro, this is sick!”. We are very attracted to the romance in the world and the way things feel. We just go down that route where we are just chasing a feeling. We’re like addicts.

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I just went back to the drawing board and said, “Take this – turn this into an interview segment”, and think it looks way more interesting than if we did a Rich the Kidd style video.

As long as I can see it, it will always happen, regardless of how tricky it may get sometimes. Aesthetically, visually and cinematically it would work.

AO: If there’s a will there’s a way. If you know it’s doable, it can be done, I guess that applies to everything we do. There’s time when day in and day out, for weeks it’s just the work.

Is post production one of the most stressful parts of the process?

AO: Sometimes we have ‘edit lock-ins’ where it’s like 2 weeks at a time A: Cabin fever settings all the time, I love shooting then when I go to Alex’s house, I just know I’m going to be locked in, my week is gone now. It’s a lot of hard work.

S: That’s why we started running as well.

A: Yeah that’s why we started running, trying to establish a healthy system for exercise. Because me and Alex are spending so much time together [editing], i’ll just duck him and go down to the cinema [laughs]

But even when you’re in the cinema trying to relax, as a film maker you may still be subconsciously working?

I can turn off to the extent that I’m thinking about what’s good about the film. I’m not necessarily thinking about the edit at home. It feels like it’s a time when I can get inspiration, i’ll always enjoy the cinema, it relaxes me. It’s one of the things that inspired me to do this in the first place.

Is a slow reveal of your narrative for each film something that you want to bring to your viewers? Similar to Alex working on Bittersweet Bahgdad.

A: It’s very difficult to express to viewers what it is we put into the projects. One of the problems I come across is that people approach me on a level of being far more professional than we actually are. Sometimes I think to myself “This doesn’t look ‘broke’ enough”. When the production value is always on point, people don’t contact us. Perception is just not the reality.

Our piece Goodbye Horses is a start to try and express how this is not what you lot think it is.

Do you believe that your high production level now is just preparation for when you do get that big budget opportunity?

Allegorical itself is a whole big project, and how I manoeuvre to the next project is a skill set that there is always a skillset as a film maker that I’m trying to perfect. Like on the 8th video, the skillset I was working on was timing and now my sense of timing is crazy.

The portfolio that I’m going to present is going to be one where every single thing [can be done]. That’s what the portfolio is all about to me, I’m not trying to take every job that’s offered to me because I have such a clear vision of what I want to do. Sometimes they seem very shiny but a lot of these people didn’t understand anything about film or didn’t know what they wanted, and I was working like crazy for people that had no feel for what they’re doing.

I keep telling Alex, if you keep taking these jobs that pay a couple hundred and that, you might as well sell crack. [laughs] AO: for any cinematographer coming up, don’t take these £250 music videos. They will kill you [laughs]

What are some of your pet peeves when working with people with limited knowledge?

A: In my mind, the films that I’m drawing inspiration from are Eyes Wide Shut, Rosemary’s Baby. Real Movies. To work with someone why is drawing their inspiration from the new drill video, it’s incompatible. I’m trying to make movies.

If you watch Cinema, you’ll be able to see that you can do so much with so little.

Do you feel like there is a disconnect between music and film today?

A: We’ve worked with House of Pharaohs in the past. Their whole thing with me was that they trust me, and that’s still the attitude that they hold. It allows me to do what it is that I want to do, as opposed to trying to compromise or work around an idea that they want to do.

AO: We did that once [compromised] and the video never came out. You’re making a piece of art, a film. The whole YouTube industry has almost killed the idea of film. Say I make an 8-minute, 30 minute or half an hour film. If you go to the cinema you won’t walk out after 2 minutes [because] it didn’t grab your attention. In YouTube culture, I can make a film but because it’s online and doesn’t grab your attention in 2 minutes, you’re not going to watch it or rate it.

A: “I’m tryna influence a generation that’s lacking the patience” YouTube sucks man. YouTube has made everyone so fickle.

You watched it for a minute and a half, and on your phone.

One of the saddest moments during the editing process is when Alex tells me “You cant see it on an iPhone”, it’s like for F*** sake!

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Sam and I like little titles and tiny things…

AO: and they look better! We are making these films as if they are being projected on a big screen. To be timeless you can’t work in the mindset of YouTube and IPhone portrait video. In 20 years’ time, there’s still going to be the silver screen.

A: the song for 100MPH is like 2 minutes 19 [seconds], the video is like 7 minutes.

AO: The song is like 1 minute 30 mate [laughs]

are your ideas on YouTube why your films are curated on your own Allegorical website?

A: the website is just another place where the portfolio lives, where its not corrupted by YouTube statistics and comments.

Even when people leave positive-ish comments like “This is sick bro”, I feel like it’s kind of a detriment to the work. I Know it’s a compliment at the end of the day, but you’ve commented on it like it is just another music video.

S: We want to migrate to Vimeo eventually.

A: The audience on Vimeo are people that are actually interested in film, that I feel is the place for us.

With your criticisms of these online platforms, do you feel like it’s important to build relationships with people that can help get your work in physical spaces?

I feel like I’m 2 projects away from people being able to say, “these guys can do absolutely everything”. I don’t want to approach people when I feel like it’s not ready. I promise we are 2 projects away from doing that.

Getting into physical spaces is the next step for me. We’ve had some screenings and I’ve really enjoyed them.

AO: I want someone to engage and have a discussion about the film, the things that they felt from it. That’s what you get from screenings.

Has your background in education influenced your work in any way?

A: Me, Sam and Marco attended a school called Holland Park in West London. I’m not saying necessarily that I’m applying work from my algebra lessons but the way the school worked as so meticulous and pushed this idea of perfection to the point where it was insane. They made me insane with that.

It’s made me nuts.

If you’re wearing Kickers on with a tag, you’re going home.

That is the extent of detail that they put into everything. We we’re 13 years old writing in fountain pens. It taught me a business structure, they scared me, but I think it’s been applied to our work in a positive way.

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How important is your ‘Bittersweet Baghdad documentary to you?

Personally, I feel like it’s one thing that’s part of my culture that I wanted to present to everyone. It’s part of my life, it’s one of the parts of my life that I wanted to express.

But at the same time I feel like where I live; I’m Indian, I’m black, I’m Iraqi. I haven’t grown up with [just] a certain kind of person. Coloured people are my homies.

Based on the way we live in this day and age, I can’t say that I’m Iraqi like that, because I’m not.

S: People live to attach themselves to identities and they don’t know what it really means when it comes down to it sometimes.

A: That’s why I try to depict black culture in a certain way, because I fully understand it. This is my life.

AO: I come from a town that’s 99% white. I go home now, and I feel uncomfortable. Thiers only one type of person.

It’s really weird.

What did you learn while creating that piece of work?

A: There was so much working out with that project.

AO: When you’re working with something where you don’t know that language, you’re completely working off of feel. Also, in terms of the grade, the pulling back of the colours made everything so rich.

In your directors note you said Baghdad was not like any location you had ever shot before, what visual opportunities this this create?

When I was there, I couldn’t adjust the colour balance or exposure on the bases that it was so sunny. Shooting that was difficult in the sense that I had to rush what I was shooting. Regardless of what I’ve shot I always felt like… look at this place, look at how different this is.

What message do you want to send to other young film makers?

I always tell them, there’s no difference between you and I. We’ve just shot 4 music videos on an iPhone, just to show that you can really do anything. I’m so proud of them.

AO: We all have out phones in your pocket every day.

Hopefully when its out people will be asking us [how did you doit?] and I can just say, pull out your phone and you can do it. We’ve gotten to a stage where, without having to spend thousands of pounds you can just do it.

A: If you need to have the full package immediately, that’s what’s going to hold you back. People’s expectations are way too high, If you try to do something beyond your resources, you’re going to be stuck.

PHOTOGRAPHY KEMKA AJOKU MODEL DANIEL BASSI

WORDS PRINCE MOLIFE

When describing Jenn Nkiru, the visionary , defying creative boundaries in the form of visual art would be one of the few many ways to define her. a British-Nigerian filmmaker, born and based in Peckham. One of London’s most exciting rising directors, she has steadily been creating a name for herself with her distinctive visual style and powerful use of sound through her short films for the BFI, Condé Nast, Channel 4 and the Tate. Her authentic style of filmmaking makes it hard for film analysts to pin point any influences she may have in her work. Upon watching her previous projects it is evident that because of her rare creative style each feature symbolizes her growth as an artist. Jenn is an artist that is tough to predict, because of her original style of filmmaking her creativity is just as unpredictable as the human race.

‘REBIRTH IS NECESSARY’ with Jenn; a dreamlike art film centred on the magic and dynamism of Blackness past, present and future. The film went on to win the Canal + award at the Clermont Ferrand Film Festival, Best Documentary at the London Independent Film Festival and nominee of the 2018 best short film award at Sheffield International Documentary Film Festival and recently won the 2018 Voice of a Woman award at Cannes. It has been screened internationally, from The Museum of Modern Art (MOCA, LA) to the ICA in London to Rotterdam Film Festival, and introduced the London premiere of Black Panther at the BFI.

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Rebirth Is Neccessary, Directed by Jenn Nkiru, 2017 (Top Left Still) Neneh Cherry - Kong, Directed by Jenn Nkiru, 2018 ( Top Right Still) The Carters - Apes**t, Assistant Directed

by Jenn Nkiru, 2018 (Bottom Right Still)

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Kids Turned Out Fine, Directed by Dexter Navy, 2018 (Top Left Still) Stussy x Converse, Directed by Dexter Navy, 2018 ( Top middle Still) ASAP Rocky - ASAP Forever, Directed by Dexter Navy, 2018 (Top Right Still)

Colourful, raw, psychedelic and unexpected, is how you would describe this filmmakers work. West London born and bred, these days filmmaker and photographer Dexter Navy splits his time between the capital, LA and Paris. The music video auteur with credentials that range from Rainy Milo, Jamie Isaac and perhaps most impressively, for “Pretty Flacko” rapper, producer, director and model A$AP Rocky’s track “L$D”, the video for which won Dexter a nomination for Best New Director at the UK Music Video Awards.

Dexters use of colour in his projects really makes his work stand out from a lot of visual auteurs from the capitol. While most artists have a very generic style that has a very trendy atmosphere, Navy makes it clear that he is on his own wave of visual storytelling.

Out of all the filmmakers that have been added to this list, this group of visual artists are probably the least well known for their work, not to say that they don’t deserve to be a part of this group of upcoming visual auteurs because once you see their work you’ll realise why exactly they a part of this list.

With projects like ‘Genesis’, ‘Thoughts become things’, ‘Have you ever seen a sistah blush?’ and many more that are found on the teams vimeo page, 33bound deliver a style of cinema that upon watching you cannot help but feel it is very emotion driven from the use of shots and angles to the colour climate in each shot, it’s as though every shot has to mean something; whether it relates to the next one or not is another thing all together.

The edit of their projects really dictates what kind of mood what you are watching will put you in, they have taken things that aren’t particularly mainstream and added a creative style to make it their own with how they tell stories in their films and videos.

Now here is a group of visual artists that have learnt and in a way mastered the art of visual discomfort being done tastefully and creatively.

Although most of their work is not easy on the eye you’ll find that this is the most appealing part of their work, in a way how audiences may view auteurs like Quintin Tarantino, no matter how bad you cant help but keep watching because of how everything is creatively put together. For those that are familiar with the work or Northampton rapper Slowthai, will know that his visuals are exactly this creative description. With best friend Alex and cousin Lewes the duo of The REST have been the brains and work behind Slowthai’s work that has grown him a really strong fan base.

The years of friendship have led to a depth of understanding and shared creative language that underpins the unwavering quality of their video production.

Such is their knowledge of Slowthai, not only his sound but his character, that their videos appear as symbiotic extensions of his tracks, sharpening his lyrics and reinforcing the acute sense of working class angst, all while staying true to the DIY aesthetic that characterised their early beginnings.

“if you were to stop one of our videos at any time, there would still be a composed frame�

Kyle Wightman one half of the duo.

Unofficially formed in 2010 Lee and Wightman met at New York Film School, their mutual rebellion against the institution is what sparked this duo to create their own lane in visual art after just 2 years of being there.

Their elaborate glitchy style is among the most imitated in pop culture today, this being the result of independent study and youtube tutorials. Their staggering collaborations with very high profile artist such Travis Scott, The Weeknd, Young Thug and their campaign for Adidas Original, has made this duo a real force to be reckoned with as visual auteurs.

Watching BRTHRS projects you cant help but feel as though you are watching the next generation of music videos and future visual artists may use their work as a point of study. Ironic how they have reached this level of creative heights without needing the validation of an institution.

With nothing but hard work and consistency Brthr is truly and iconic duo of this generation and you cant help but feel that theres more to come from the duo that will be even more ground breaking.

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EDITOR’S LETTER Since the release of our 6th issue in November 2018 a lot has changed but many things have remained constant, one of those things being our passion for providing our readers with a high level of quality and information on all things creative. Issue 7 has given us the privilege to work with a plethora of unique talents and telling the stories of some individuals we have been supporters of for an extended period.

The conversations we have had, the moments we have shared and the stories we have told are stored in this readable time capsule. Our cover story featuring the amazing musician Sam Wise is one that we would look back on as a beaming highlight in the journey of our magazine and the artist himself. His first solo magazine cover accompanied by an extensive interview about his journey thus far was a privilege to be a part of. As we have grown and opportunities have come our way, we continue to grasp them with both hands. Our invitation to be part of the opening of the ‘Making Memory’ Installation by David Adjaye at the Design Museum was an extreme privilege, giving us the opportunity to relay this experience to our readers was something we continue to take great pride in.

We also continue to strive for sparking conversations, notably with our ‘Classic Mixtapes 09-14’ story, highlighting some of the game changing projects in an area that seems to be in limbo since the dawn of streaming. Artists such as Santi and Orejime are also featured in this issue as we tell their unique stories as artists that maintain an enigmatic space within music and film.

In addition to that, sitting down with artists such as Seyi Shay and production company Allegorical brought to us interviews that we all can attain an extent of valuable information and inspiration with each read. After the amazing success of our first ever event, we believe we continue to create great value within the space we occupy within the landscape and we have greater aspirations moving forward. Issue VIII will continue to be a step in the right direction.

DERRICK ODAFI EDITOR IN CHIEF

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