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Noctis Issue Two



Welcome to the second issue of Noctis magazine. Once again we received some fantastic contributions from all over the world and have been able to put together another truly exciting issue. Our contributions have come from some of the best up-and-coming photographers, stylists, makeup artists and writers around. The amazing quality of the contributors, coupled with the hard work of the team has allowed us, once again, to put together another fantastic magazine. As it’s the New Year we decided to give this issue the theme of decadence as a celebration of things to come in 2012. Our idea was to celebrate the indulgent, outrageous and excessive in this issue. As always the amount of work and fresh ideas we received from all of our contributors was incredible and everyone has taken the theme of decadence and brought us their own interpretation of it. Meaning we have a truly brilliant and unique issue which celebrates the ornate, indulgent and beautiful. Not only have we got previously unpublished shoots from some fantastic up-and-coming photographers we also have interviews with the likes of We Have Band, Surkin, Hey Today!, Bastille and The Juan Maclean. We’ve also got features on Hot Boy Dancing Club and one of London’s most decadent organisations The Last Tuesday Society, along with a specially written article from DJ Eddy Temple Morris, All in all this issue is full to bursting with some of the most innovative, exciting, indulgent and fantastic content you are likely to find anywhere. We hope you enjoy reading it as much as we have enjoyed putting it together! Dolly

3. Fashion 140. Hey Today Q&A 4. An Hour of Decadence More 16. Monte Carla 143. Thank you from Noctis 24. Neo Noir 144. Contributors 30. Illustrations by Caleis 34. The Garden of Eden 39. Gallant 48. Woman in Red 54. Amour Pour Amour 60. Romeo Bryan 3. 66. Sophie Monroe-Pruett 72. Decadent Beauty 74. Paulina Surys 80. The Hand Drawn Maiden 86. Polly Bean 92. Alila Magazine

99. Music 100. The Last Tuesday Socitey 104. We are the Physics 110. We Have Band 114. Surkin 118. Hot Boy Dancing Spot 120. The Dan Maclean Q&A 124. Eddy Temple Morris 130. Dems 134. Bastille



Editor-In-Chief Dolly Dyer

Picture Editor Leoni Blue

Music Editor Erin Davies

Design & Web Editor Joe Stephens

Advertising & Features Carl Ellis-Coward

Editoral Assistants

Bee Wilson & Rebecca Evens

Staff Writers

Hayley Meredith, Greg Swaby, Nikki Merrifeild, Chantel Beaven, Chris Newman, Louise Hisayasu, Bryony Wilson, Rebecca Evans, Amy Emerson.


Advertising Enquireis


This Page & Next Velvet bralet: ASOS High waisted knickers & Frill Shrug: Lulu and Lush Headpiece : Mich Dulce Shoes: Irregular Choice

aN HOUR OF DECADENCE Photorapher: Leoni Blue Photographic Assistants: Joe Stephens & Bee Wilson Stylist : Sophie Monro-Pruett Hair: Ross Cosgrove Makeup: Camilla Fernandez Manicurist: Maz (Chelsea Dagger) Models: Marinna (M&P Models), Bara (D1 Model Management) & Sapphire Lewis


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Hat by: Sophie Monroe ThisPruett Page: Dress Chain by:Dress: Someone UmeFabulous Sacranie High Underware waisted knickers: by: Fantastico Lulu and bagg Lush Moon head piece: Chloe Monro-Pruett

This Page Left Model: Bara Velvet Bracelet: ASOS Heigh Waisted Knickers: Lulu & Lush Frill & Shrug: Lulu & Lush Headpeice: Mich Dulce Shoes: Irregular Choice Right Model: Marinna Dress: Rhenanna Lee Bangle: Yorkshire Pearl Shoes: Irregular Choice Opposite Page: Model: Marianna Fur Stole: “Oh you Magical thing“ Vintage Velvet Kimono: Evil Twin (ASOS)


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This Page Hat by: Sophie Monroe Pruett Dress by: Someone Fabulous Underware by: Fantastico bagg Oppisite Hat by: Sophie Monroe Pruett Dress by: Someone Fabulous Underware by: Fantastico bagg

This Page Model: Bara Velvet Bracelet: ASOS Heigh Waisted Knickers: Lulu & Lush Frill & Shrug: Lulu & Lush Headpiece: Mich Dulce Shoes: Irregular Choice Opposite Page: Model: Sapphire Sequin & Tassle Neck Peice: Klaudia Krol Bracelet: Stylists Own Sequin Hotpans: Ann Summers Knee High Socks: Fralke


This Page Model: Bara Headpeice: Mich Dulce Striped Dress: Frances O’Leary White Rope Piece: Jylle Navarro Opposite Page: Model: Sapphire Headband: Top Shop Neck Piece: Hayley Kruger Sequin Top: Beyond Retro Heigh Waisted Kneckers: Beryond Retro

Model: Sapphire Headband: Top Shop Neck Piece: Hayley Kruger Sequin Top: Beyond Retro Heigh Waisted Knickers: Beryond Retro

mONTECARLA Photography: Ilaria Gambi Styling: Camilla Bresci Hair & Make up: Nhami Model: Deborah Parcesepe Location: Montecarla, Florence (Italy)


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Opposite: Headpiece: ELY B Fur piece: Zara Necklace, belts, rings & bracelets: Limelight Studio, Firenze Body suit: Natasa Filimonovic This Page Top: Natasa Filimonovic Leggins and shoes: Stylists Own Bracelets & rings: Limelight studio, Firenze Head piece: ELY.B

Headpiece: ELY B Dress: Braez Accessories: Limelight Studio, Firenze

Opposite: Dess suit: Caterina Montagni Knigt Headpeice: Ely B Metal Necklace: Limelight studio, Firenze Feather Necklace: Nanรก, Firenze This Page Leggins & Cardigan: Ante Metal Necklace: Limelight studio, Firenze Feather Necklace: Nanรก, Firenze

Dess: H&M Headpeice: Ely B Accessories: Stylists Own Feather Necklace: Nanรก, Firenze

nEO NOIR Photography: Kim Akrigg Styling: Christina Sasilva Hair & Make up: Shawanna Downing Model: Vanessa (Next Models)


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Shirt: Cheap Monday Denim Jacket: Urban Renual Trousers: Guess Spiked Ring: Topshop Linked Double Ring: Topshop


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Both Pages Dress: Carin Wester Ear Peice: Material Girl Ring: Material Girl Rosary: Stylists Own

Opposite Page Dress: A Movable Feast T-Shirt: FCUK Trousers: Top Shop Hat: Park Hurst Chain Bracelet: Pewter Expression Stone Bracelet: Luv Rocks (Luv AJ) Ring: Cheap Monday This page: Top: Silence + Noise Jacket: Top Shop Trousers: Top Shop Sunglasses: Ray Bans Body Chain Top: Top Shop



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tHE GARDEN OF EDEN Photography: Claire Huish Styling: Amy Newsome Hair & Make-up: Amy Newsome Model: Hannah (Oxygen)


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Hooded Dress: Scottacus Anthony

Opposite Page Dress: Esme Bradshaw Collar: Stylists own This page: Dress: Ara Joe

Dress: Esme Bradshaw Shoes: Office Collar: Stylists Own


gALLANT Photography: Nick Matthews Assistant: Jack Notley Styling: Sandra Aji Make up: Jody Collins Hair: Kelly Phillips & Ian Hampson Models: Josesph Botham (Premier), Matthew Dyer (Premier), Luke Bennett (D1 Model Managament) & Joe Sanders (D1 Model Management)


Model: Joe Sanders Shoulder Peice: Francesca M Taylor White Cotton Shirt: Francesca M Taylor



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Model: Luke Bennett Shirt & Trousers: Francesca M Taylor Bow tie: Aaron Ray Dowie

This Page: Model: Matthew Dyer Trousers: Michaelyn Coxon Shirt: Michaelyn Coxon Opposite Page: Model: Matthew Dyer Blazer: Francesca M Taylor


Model: Josesph Bothan Waist Coat: Aaron Ray Dowie Trousers : Michaelyn Coxon


tHE WOMEN IN RED Photography: Jude Tsang Styling: Vincent Choi Hair & Make-up: Hillary Hui Model: Eugenia Wong


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aMOUR POUR AMOUR Illustrations: Sara O’Neil


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rOMERO bRYAN (Fashion Designer)


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When you hear some of the hype surrounding British born designer Romero Bryan - he’s dressed stars such as Cameron Diaz and Alicia Keys and been placed 6th on the Royal Bank of Scotland predicted 2020 rich list – it would be easy to assume he would have a slight air of arrogance about him. In reality, despite reaching overnight fame at the tender age of 17, Romero Bryan has managed to remain a very humble and grounded young man, worthy of every piece of praise he receives. Now aged 28, Bryan all ready has 15 years of experience behind him; having started his career at just 13. A graduate of London College of Fashion, he was dressing ‘A listers’ along side his studies. Making a move from away from his favored formula of ultra sexy, reveal-

ing garments of previous collections, his SS’12 collection (shown at Couture Fashion Week, New York) is his strongest to date. With sophisticated floor length gowns and beautiful figure defining cuts, Bryan has evolved tremendously as a designer and now has world domination in his sights. In between running his label, lecturing at London College of Fashion and his job stacking shelves, the ever polite and vivacious boy genius managed to find a bit of time to have a chat with us. We asked him about his career to date and what big things to expect from him next.



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You have a strong family grounding in fashion. Was becoming a designer a natural career route for you to take? It was such a natural route for me to take as my mother being a buyer I was always surrounded by FAB designs and FAB women who wanted to dress up all the time. My mother too, even to this very day in her 50s, is known for her FAB taste in fashion in my local town. You started designing when you were very young. At that time was it more of a hobby or were you always committed to your career goals? It started off as a hobby TBH, as I always into my sciences as a student back in school. So much so that my dad said to me; “if I don’t do science and chose fashion make sure I become the best at it” ;) You first grabbed media attention when Samantha Mumba wore one of your designs to the 2001 Brit awards. How did it feel being rocketed into the limelight and know you were influencing the way a whole generation of young girls would dress? Did you feel you had ‘made it’? I can’t take all the credit for that dress though. I was inspired by my sister, Shamil Bryan, who came out of the shower with her towel draped and said “Roms why don’t you design a dress like this”. So I pushed the boundaries of body exposure to the limits and Cynthia Lawrence John (Fashion Stylist) commissioned someone to re-make the dress for me. She had it remade in better quality fabric & better finishing. I have a lot to be thankful to her for ;) Since then you have developed a large and varied following. Do you have a muse or a particular type of woman in mind when you design?

I LOVE confident women who are brave and push boundaries. Sexy comes from within everyone, I say. Is there anyone who you haven’t dressed yet that you really aspire to? More importantly is there anyone who would make you cringe if you saw them in one of your designs? (I bet your way too nice to answer that one!) I’d love to dress Michelle Obama. I think her power as first lady is so admirable. Behind every good man is a good woman. I know they […Michelle and Barack Obama] must have had some terrible times reaching the point they’re at now in life, but they have inspired a generation and have given life to our ancestors through their achievements. So most definitely Michelle Obama. Plus I think she is so gorgeous too. Barack Obama is a lucky man! And youre right I WONT answer that cringe section of the question lol :p You were dressing the likes of Cameron Diaz and Beyonce before you had even graduated. How important to you was it to get some formal training and qualifications under your belt? Cameron Diaz bought a dress from a stockist I used to stock to years before anyone knew my name, so I’m very grateful. I haven’t actually seen Beyonce wearing my designs as yet, but her stylist Ty Hunter is ever so supportive. One of my most treasured moments is receiving a message from Ty Hunter via Facebook, saying he was proud of me. I believe getting formal training and all qualifications are important, as once you have that, no one can take it away from you. And besides without my formal training and qualifications I wouldn’t be able to teach now at the London College of Fashion, which I love doing part time also, as I meet the most amazing people 63

Your designs have matured and evolved a lot since the Mumba days, is this a reflection of I am fund-raising indeed hun. I was aphow you yourself have grown? proached by a top PR firm in Hollywood I have grown so much since then. I mean its who fell inlove with my SS’12 collection. I am been 10 years lol... £8,000 short of my next project goal. I love I’ve shed the naive years and hit real adult the support people give via my social networkhood. All my designs now are informed via ing sites. Its so humbling. market research & conceptual ideas. Before I And I love being out in public and people I’ve designed pretty dresses, but now I design with never met, asking to take pictures and tellthe market in mind.  ing me how much I inspire them. Its weird but very heart warming ;) Your designs ooze sex appeal with use of sheer   fabrics and large flashes of erogenous zones, I say everyone can help via diverting traffic to like the back and chest. Do you feel that being my ROMERO BRYAN Facebook FANPAGE to a male designer gives you an upper hand when drive the numbers up. it comes to knowing what is an appealing cut Donations to Romero Bryan is also welcomed, on a woman? however big or small. All is appreciated. People with venues I can use for sample sales Apparently so. lol. I don’t really like answering etc is a great start too. ANYTHING HELPS. questions that could have me replying back in So get in touch y’all and lets do this! ;) a way that some may read as being arrogant, but yes I suppose this must have some truth as Amidst the fundraising you were placed on women have said season in and out, that they the predicted 2020 rich list at an estimated love the way I compliment the female body ;) 30million. What are your thoughts on that? It must be quite surreal? In contrast to previous collections, your SS12 collection is less obvious in the sex appeal. Yet I don’t use money to monitor my success. I use your opulent long sleeved floor length gowns my happiness to judge my success and right still accentuate sensuous allure of the female now Im VERY HAPPY for every bit of praise form, what was your inspiration behind this my work receives from all publication levels, collection? people coming up to me in the streets, EVERYTHING from EVERYWHERE brings a smile Its my favorite collection to date. I love it with to my face. a passion. I wanted to explore GLAMOUR I mean it’s very nice to be predicted to be throughout the ages known to man, giving it a worth a certain amount by a certain time, but “Sophisticated Trendy BUT TIMELESS edge” I will never use money to defy who I am or not forgetting the classic shapes ROMERO what Im about ;) BRYAN is known for worldwide. And VOILA.... Its hard as a black designer in Europe as inthis is the final outcome ♥ vestors dont take you very seriously and fear that the public wont buy into your products. At the moment you’re fundraising for the Fashion is very RACIST. But the best thing to money for a Hollywood show room, hows that do is just keep it going. and thats exactly what going? It must be quite a humbling. In what ROMERO BRYAN will keep doing ;) ways can/do people get involved to help you How much of it have you mentally spent all reach your goal? ready and on what!? 64

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Well I’ve promised my parents a lovely mansion in a place of their choice. I’m not materialistic, Its the small things in life that make me HAPPY ;)

HOLLYYWOOD, OSCARS, WORLDWIDE BOUTIQUES and more teaching but in worldwide colleges ;) Interview: Heyley Meridith

What’s next for Romero Bryan?




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Sapphire (Top) Wears: Necklaces worn as headpiece: Forever 21 Spiked and chain top: Ume Sacranie Sequin hot pants: Ann Summers Tights: Henry Holland Bara (Bottom) Wears: Sequin Snake Sticker: Stylists own Leather and chain dress: Ume Sacranie Star necklace: Primark Image: Joe Stephens

One of the most striking things about stylist Sophie Monro-Pruett - other than her impeccable dress sense - is how down to earth she is. Having a job that requires her to be mega organised and constantly running around, she could be forgiven for being an ultra diva; she is anything but. She runs her own vintage market stall, website, blog and styles photoshoots during the week, and as she explains, she finds it hard to balance


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everything; “Say if I have a shoot on Wednesday, I’ll spend Monday and Tuesday preparing for it, Wednesdays the shoot, Thursday I’m taking everything back and Friday Saturday Sunday I’m at the market.” But Sophie loves being busy, especially as she previously worked as a PA and has done administration work, which has really helped her organisation skills. Coming from the sunny town of Bournemouth,

Sophie explains there wasn’t much going on there, and she found the bright lights of London way more exciting. Having moved 3 years ago, she’s gone from Brick Lane to a cosy flat in Dalston Kingsland, complete with her own hut and caravan in the back garden which she uses as her personal studio. The flat is a stylist’s dream, with rails of clothes filling the majority of her room, magazines stacked under the coffee table and accessories galore in the living room. Sophie appologises for the mess as I enter her humble abode, but I don’t even realise as I’m way more fascinated by the light green silk kimono she’s wearing today. “I’ve always been interested in what to wear myself, so I thought if I can dress myself I can dress other people, and it kind of went from there.” She explains as I ask her how she became a stylist.

ridiculous but Twitter is brilliant. It just makes all the information a lot more accessible, and you feel like you can contact everyone, and in styling thats one of THE most important things to have - contacts.” We talk about Facebook too, as she hasn’t of yet made a page for her styling, worried she might only gain a few likes (“But what if there’s only like 5 people that like it! Argh only 5 people like my styling!”), but we both agree that social networking is one of the best things to have come out of the internet. Being a stylist has it’s highs and lows, after all, stylists are under a lot of pressure to make sure the models look absolutely amazing in what they’re wearing. Sophie gives some sound advice, telling me her key motto is to “be prepared”, as clothes are often really difficult to work with. “If [the clothes] are from designer and not high street, then they’ll all be small sizes, so you’ve got to be prepared for them not to fit the model,” she informs me, “basic guidelines are to be prepared for everything and have lots of safety pins, bulldog clips and lots of options!” The image of having a bare model and nothing fitting her seems like a massive disaster, but with the huge amount of clothing hanging up around Sophie’s room, I’m sure she’s prepared for anything.

Sophie’s market stall that she runs in Brick Lane is becoming increasingly popular, with a range of tshirts bearing old fashioned moustache silhouettes selling fast. The tshirts are made by her sister, and come in plain black with different fabrics. She’s even gone as far as to donate £1 per tshirt to Movember during November, which she describes as “a massive amazing charity”. And although the tshirts were popular during November, she says she was surprised at the amount of people not buying them for Movember’s purpose; “obviously at brick lane we get a lot of foreign people so they just liked Along with styling, you might be surprised to know that Sophie once was a keen actor and it and thought it was funny!” singer, doing musical theatre from the ages of Having done a part time short course in sewing 3 to 17. Still doing backing singing, she is indeed at Central Saint Martins, Sophie says she got a triple thread. Even though she has so much lucky when she was picked with another girl to on her plate, she is certainly one of the most assist the man who ran the course. She gained calm people I have ever come across, and her experienced which really helped her, and as she list of talents are quite something. But for now, explains, having contacts is key in her job. So- Sophie focuses on her vintage stall and styling, cial networking sites like Twitter and Facebook doing shoots for Noctis magazine regularly. We really help stylists, make up artists, photogra- look forward to seeing more from her in the fuphers and pretty much anyone starting up in ture, which I have no doubt we will. the fashion industry. Sophie tells me, “I’ve got Words: Bryony Wilson a lot of things from social networking. It sounds Images: Joe Stephens & Leoni Blue


dECADENT BEAUTY For every inspiration there is always an icon. The beauty of this is that for every girl there is always an iconic look. Be it a celebrity persona or catwalk beauty that will always work.In hard economic times there has never been a bigger need to express a fantasy of pure luxury. Never be afriad of colour! Instead keep in mind the technicalites of a modern face;thank Diana Ross and the hedonistic days of Studio 54 but keep it ,modern,keep it real and keep the skin polished and not overdone. As Senior MAC artist James O’Riley puts it;“Initially it’s about beautiful skin...but then injecting colour onto the face in an untraditional manner”.

seeing hues of terracotta,mustard,everything ranging from sunset orange to copper reds. Textures are powders that contrast with fresh girly glosses.Try Laura Mercier’s Lipliner in Baby Lips;scribble over the lips and finish with Nude Lip glace in Bare Naked.The look at Balmain’s Autumn Winter show was about taking colours that were already skin tone and translating that to create a poetic dreamy haze. Opulence at it’s best is that moment you get the best dress on and everything is done to perfection.Finish your nails with OPI’S DS Magic on rounded nails.

In the darkness and short hours of winter we’re finding a new persona this season. Mood is very much reflected within the colour palettes on the Autumn Winter Catwalks. Decadence equals a sumptuous berry lip; whether you choose to wear it blood red bold or touched lightly with finger tips. Prepare lips with Burt’s Bee’s Lip Balm and roll Illamasqua lipstick in Kontrol into the lip. Use Mac Beet lip pencil and arch around the cupid’s bow. No soft rounded shapes with this one; you’re bad ass. Nature always plays a key role on our reflections and this should be translated with heavy, fierce, dark eye makeup. A tarnished, antique forest green is the way forward in a new way to wear a smokey eye. Grab any deep eye kohl pencil and blend over the lid press and blend Nars eyeshadow in Fuji over the top. Keep the lashes bare and curl with Shu Umera Lash curlers,feel free to set with Mac Clear Brow Set. Monochromatic is an easy way to do natural makeup this season. Instead we are 72

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Words: Dionne Lea Taylor Illustration: Becky Hatwell


pAULINA SURYS Ms O’surve is one of the true greats of her field. With her beautiful eye for detail and colour, she transports us into a different world; one of wonder and mystery. We are lucky enough to have a sneak peek into the wonderful into her wonderful world. We admire her old school approach and Technique to photography which is so refreshing in an over satiated market of digital imagery. She truly is a practitioner to look up to and admire. With her first exhibition The Perverse Art of Craft (Objects of Desire) up and running at the Shopping Exhibition in Hazelwood Tower london you can now own a piece of this wonderful series. Otylie Surys calls her self the dream catcher, and we at Noctis think this title suits such a creative photographer. Her imagery pays homage to retro and vintage styles, she captures dream like qualities and processes them all by hand to create fantasy dreamscapes, Tim Walker would aspire to. She plays with fetish and seductive themes and her colours bring her images to life. One of the reasons Paulinas images work so well and tell a narrative is her creative team including stylist Irene Manicone. The team help transform the models into seductive goddesse, or creatures of the night. The whole team and process is important to Paulina as she wants to create imagery that will stand the test of time, and have more to say than your normal photoshoot, this woman has a voice and she wants it heard. To see her work up close go see her exhibition, Peccavi, or flick to page 80 to see her editorial for Noctis. Having recently discover the powers of your work, what drives you to create such wonderfully different imagery? Experiments play an essential part in my work. I am playing with techniques and mediums and cannot wait to try a few more very niche techniques later on this year.


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Photography: Paulina Surys Stylist: Hope Van Joel Hair & MUA: Phillppe Tolimet Model: Victoria (Models One)

Image: Ballad OfMagazine

How did you get started in the industry and what was the defining factor that pushed your forward?

There, I was surrounded by nature and beautiful antique furniture. I like coming back to these memories through my works. At my mother’s house, there were piles, and whole walls, of books and exquisite art albums. I used to spent lots of time discovering painting and photographs. My mother would also take me to the opera, ballet, theatre and museums. I must admit that it shaped me profoundly as an artist.

It was merely an experiment. I wanted to take a portrait and used the clothes to create a certain shape and composition in the image. I styled my first “fashion” shoot myself. I do not consider myself as just a fashion Photographer. I use fashion as a beautiful medium to create certain moods and composition in the What have been your inspirations, and how do photographs. I still realise personal art projects, they help shape your work? working on an exhibition at the moment. As I have just mentioned, mostly art albums, as Where did you grow up and has this helped you a child I discovered Hieronimus Bosch, Breugel, become the artist you are today? Jan Saudek, Henri Matisse, Boticelli.. these were artist of my choice when I was a child and now I grew up in a little town in Poland and spent I comprehend how massively they influenced most of my holidays and free time at my grand- my work. parents’ house. Later on I discovered Andriej Tarkowski and Joel 76

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Peter Witkin~I am still completely in love.

Your work is very conceptual, how do you differentiate each shoot you do, what is your proWhen you first started in the art world, was it al- cess? way photograpy you chose or have you worked with other art forms as your photography could It is usually the theme given me by the comeasily sits heavily in the fine art world as well as missioning client that inspires me. But also cerfashion? tain clothes, models etc; it’s all affecting the final results. Yes, I used to study painting. I also practised My personal projects are inspired by my own sculpture, installation, painting on ceramics, obsessions and nightmares. The beautiful ones drawing, seriography and other graphic tech- and the scary ones as well. niques. You hand paint the colours onto the photoWhat excites you about fashion photography graphs, a technique Japanese photographer today? Arkaik uses in his work, how would you say your finished produce differs? I am quite happy to see that fashion photography is becoming more creative again. There are Every artist is different.  We shoot in a different more and more analogue photographers who way, using different angles, process the images create stunning images. It’s getting closer to art differently and that is whole beauty of photogphotography. raphy. The difference also comes through personality, skills, even materials we use. There’s


whole range of different papers, dyes, waxes, oils which create different results. Hence I am still experimenting, as experiments take a crucial role in my work, even my personal works differ between each other when I am trying different materials for hand colouring.

When I began, it was the only way to show my works, however these days I am looking into exhibiting in good galleries and art magazines. My work will slowly disappear from social networking!

What advice would you give budding photogThe cover image of the new issue of Ballad Of raphers? features one of your images, what’s your thinking process to shooting a cover, instead of an Experiment! experiment! And do not fear to editorial? make mistakes, they are an essential part of becoming an artist, they create your style. The cover image is accompanied by the cover story in the magazine. I have not noticed any difference. It’s is my second cover story already, I treat every shoot as if it was a cover story and every single image should look equally good. One thing that’s so unique about your work is the styling, as it really compliments your practise. On the shoot who has more creative control? I art direct all my shoots. It was quite tricky for me to find stylists I really love, who understand my aesthetics and who are equally creative. I do not need a dresser. I work with people who are able to create a wonderful creation out of paper or a piece of string. If I am not happy with the result, I tend to interfere. What’s it like working with your agency in london, Mystery Management: Do they help fuel your creativity, or give you a platform to do it on? The relation is built on mutual trust and they are really supportive. Do you believe that social networking has gained you celebrity, and is it a good way of promoting yourself? Words: Leoni Blue 78

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Image: Ballad Of Magazine


tHE HAND DRAWN MAIDEN Photography: Paulina Otylie Surys Stylist: Irene Manicone Make-up: Megumi Matsuno Model: Bethany (Profile)


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pOLLY BEAN Created by Neil Kerber, Words by Aimee Emerson


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Noctis magazine managed to get an interview with fashion cartoonist, and creator of Polly Bean, Neil Kerber. Here’s what he had to say: For those who have never heard of Polly Bean, please could you describe her in three words?

style of endless catwalks, photo shoots, fashion parties and generally being fabulous? The truth is it’s very difficult. She’s extremely busy, everybody wants her at the moment and her schedule is hectic, she tries her best to keep her head together, fulfill her commitments, and generally maintain her incredible amazingness.

Beautiful, sexy, funny How did Polly Bean become the first 2-Dimensional model to get signed to the well-reputed model agency, Premier?

Polly’s new blog for is already gathering lots of attention; weekly updates depicting her glamorous yet hilarious life as a supermodel. What’s next on the cards for Polly Bean?

She was spotted walking in Covent Who knows? Hopefully some incredible Garden by Premier Model Management high profile fashion campaigns for top bosses. The rest is history. brands, some front cover shoots, the perfume launch, a top 10 single, and of How does Polly manage her hectic lifecourse the Hollywood movie. 88

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Polly Bean most certainly knows her Mulberry from her Moschino, how does she keep up-to-date with all the new fashion trends and gossip? Polly knows what’s going on. She knows everything about the latest looks, and she even starts a few trends herself. She is the queen of fashion. What made you choose the fashion industry as a theme running throughout your work as a comic artist? The fashion industry is fascinating. As a cartoonist I think it’s important to have good subject matter, and when you look at fashion: the looks, the trends, the people, there is always so much material to work on. And we are all affected by fashion in some way or another. It’s

also an industry that lends itself so much to humour. When did you know that you wanted to draw for a living? When I realised that I couldn’t do anything else! Would you be able to give an example of a typical day in the life of Neil Kerber? Wake up early, help get my 2 young girls ready for school and nursery, and then disappear out into my office, which is at the bottom of my garden. Then it’s all about the coffee. Coffee, brain-racking, drawing. Polly Bean requires a lot of time and attention so I usually start on her quite quickly. Every day at 3pm I start


working with my best friend/partner on our daily cartoon for a national newspaper. At 6 I finish, come into the house and spend time annoying my family. What do you love most about being a comic artist? I suppose it’s the fact that I create things from nothing, which are then published and enjoyed by lots of people I’ve never met. I love the fact that I am bringing a little bit of happiness to complete strangers. Also I love the fact that I don’t have to commute into town every day, working in a mundane job, for a nasty boss.

In both the ‘Supermodels’ comic strip and the artwork created for Polly Bean’s blog, you provide a refreshingly satirical outlook at the dazzling worlds of fashionand celebrity. Do you think the fashion industry is guilty of taking itself too seriously? Yes. And I have been told this many times by people in fashion. If you were not a comic artist, what would have been your Plan B? There was never a plan B! Where do you look for inspiration?

Where did you grow up? Southgate, north London. What have been the biggest influences in developing your style as an illustrator? I have always been proud of my simple, silly cartoon style. With fashion cartoons, especially Polly Bean, I have developed the style a bit more towards fashion illustration...more loose and flowing. I’ve looked at lots of the great fashion illustrations. However, that aside, the key point is to not lose the humour. Looking over your career so far, what are you most proud of?

Everywhere. I like to sit and watch people. And I suppose now, with Polly Bean, I am looking a lot more at how people are dressed. The world is such an interesting place, but you have to take time to walk around, and actually see things. We spend so much of our lives stuck in our cars, rushing from A to B, we miss a lot. Your artwork has been featured regularly in the likes of Private Eye, The Times and The Evening Standard over the last twenty years, do you have any advice for comic artists or illustrators starting out in the industry today?

Never be put off by what people say. I suppose it’s the fact that I have been Rejection is part of the process. Howable to earn a living as a cartoonist ever, the business has changed a lot, since the day I started. It’s a really tough and when I started there were lots of industry to be in, there isn’t much call for magazines and newspapers interested cartoonists, so I reckon I must be one of in new cartoons, whereas now the printthe top guys in my field. Also I am proud ed press is giving way to iphones/ ipads to be a part of such establishments as etc.. where there is less requirement for Private Eye, and of course cartoons to fill pages. Saying that, tech90

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nology opens up different doors, so you just have to find new places for cartoons. I would tell anyone starting off in this business that if you want to be a cartoonist, stick at it, don’t change your style too much, and treat every rejection as a stepping-stone to greatness...I think this is true for all businesses.  You can find more information and artwork by Neil on

Words: Aimee Emerson


aLILA mAGAZINE An interview with Editor in Cheif Ilaria Gambi


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Firstly, it has to be said that Alila Magazine is aesthetically lovely, but there are already so many magazines out there, why did you decide to create the magazine and what makes it unique? Me and Alice were eating in an Asian restaurant in Holloway Road chatting about how stressful was working for other people (often without being paid!) when we decided to set up our own thing; both of us have always been dreaming to work in the magazine industry, therefore the decision to run a digital magazine looked pretty obvious… what makes Alila mag unique? It’s full of young talented people out there and they deserve a chance to show the world what they are able to do. Alila mag it’s the right place for them cause is free and available worldwide, and this means great exposure. For those who are new to it, sum up the magazine in four words 4 words? You should read it Why is the magazine freely available online? Is the fact that it’s so easily accessible important in this modern age of instant availability? I guess I’ve already answered this question before, being free and available online is essential for our aim (promote new talents)… this doesn’t mean that we won’t like to have Alila mag printed and available at the news agent one day! But, in that case, a free digital version will still be available… What magazines do you read yourself? In U.K., Lula, Dazed & Confused, I-D, Another, Tank, Let Them Eat Cake, Vice. In Italy, Velvet, D, Pig… and Vogue Italia, of course! 94

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Uh, and I’m quite in love with the Austrian Indie and Material Girl! Did being a photographer beforehand make it easier to start setting up Alila? Not really… I enrolled in a short course at CSM to learn how to build a website, cause I had no idea about how to do it, and we looked a lot at other digital magazines to get an idea of what works and what doesn’t. Being a photographer probably makes easier to choose contents and build stories. The co-creator of Alila, Alice Mafroni, is a stylist, this seems like a dream combination when setting up a magazine! Do you use each other to bounce creative ideas around? Of course we do!!! The moment I prefer is when we brainstorm to choose the theme of the next issue… it’s exciting to decide what we’ll be working on for the next two months! The combination of beautiful photography, fashion, interviews, music and even the odd recipe makes Alila more than just your average magazine based around one or the other, do you think this has helped to broaden your readership? Yes, having so many different things means that Alila mag is not only for ‘inside the fashion industry’ people. I had some feedback from musician friends that had never approached a fashion magazine before… they now read Alila regularly, and not only the music section! We are always up for new stuff, at the moment we are looking for an astrologer to join us! You lived in London for two years, do you feel



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as though this experience helped you evolve as a photographer? Living in London means, first of all, having the chance to meet loads of interesting people to connect with; in two years I’ve been shooting with many different models, stylists and make up artists, and all this practice has helped me to gain confidence in what I do. More over British aesthetic is much closer to mine than the Italian one, and this has stimulated my creativity a lot… and second hand fashion magazine available at the market stalls (£1 only) is something I really miss…! The editorial you shot for us were in Montecarla, would you say that setting is just as important as the model clothes etc? Can setting completely alter the feeling both in the actual photograph and also at the shoot itself? I have shot a lot of stuff on white backgrounds in the past few years cause I believe that having a good model sometimes is enough to have a good shot. On the other hand, it’s clear that a good set adds much to a picture… and that’s the case of Montecarla. Do you look to other photographers for guidance? Yes, but not to someone in particular… I read a lot of magazines, I go to photographers exhibitions and I spend (too much) time surfing the web and collecting pictures I like, but I often have no idea who the photographers are! What or who inspires you in life? Dreaming and traveling are essential. Words: Rebecca Evans Images: Alila Magazine 97


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“Decadence comes from the latin word cadere – which means to fall. It is the beautiful way to fall. It’s a ve

Photography This Page & Previous: Sin Bozkurt


ery slow movement which has lots of beauty. It can be a kind of self killing in a beautiful way, a tragic way�.

Magic Lantern Show with Professor Mervyn Heard to A the History of Taxidermy: Art, SciWith these words The Last Tuesday Society’s ence and Bad Taste with Dr Pat Morris. These current chancellor Victor Wynd introduces lectures are both an opportunity for individuals us to the Society’s website. The Last Tueday to learn interesting arts and professions but Society is hard to put into words; part shop also to celebrate the diverse and fascinating. (on Mare Street in Hackney); part art collecThe lectures vary in length depending on the tive; part education organisation and part subject and are held at various venues (often organisers of some of the most decadent and the Society’s shop). There are also a series of extravagant nights the London party scene has podcasts available on the Society’s website to to offer it’s an oddity in itself. Wynd explains download. it as a “Pataphysical organisation founded by William James at Harvard in the 1870s presBut what really sets The Last Tuesday Society ently run by the Chancellor, myself Viktor as one of the most decadent and outlandish Wynd and the Tribune, Suzette Field with the celebrators of diversity are their fancy dress aid of The Fellows of The Society”. Whatever balls. Throughout the year the society host a it may be, what The Last Tuesday Society does number of the most extravagant parties Lonis celebarte the bizzare, curious and generally don has to offer. These are certainly not your fascinating in whatever form it may be. run of the mill masked balls. There’s no chance you’ll see a banker in a tuxedo with a £2 mask The shop is a two floor emporium that is filled on here. The dress code for the Society’s upto the brim with curiosities of general intercoming New Years Eve ball sums up their take est from all over the world. It’s the kind of on things perfectly “Dress Code: Divine Decaplace where it is no surprise that they had until dence – Masks Obligatory – Clothes Optional”. recently a collection of genuine shrunken huThey aren’t kidding when they say this either, man heads from the headhunting tribes that you can expect to see any number of fantastic inhabit the north-western Amazonas region and wonderful sights at any of their parties. (which they have recently sold to a musem in From 12 foot long tables covered in food and Belgium). Or that they have the jarred poos of naked people reminiscent of a Roman feast, to Amy Winehouse and Kylie Minogue. Spread Victorian popcorn sellers, to a cages full over two floors Victor Wynd’s Little Shop of of semi naked dancing people. The idea beHorrors is Wynd’s brain child and you can see hind these parties is simple; for everyone preshis personality shine through in his vast colent to celebrate their differences and creativlection of Naturalia and Artificialia. The shop ity free from any inhibitions. I’d liken it to the is full to bursting of taxidemy, human remain, hippy movement in the sixties but for the fact historical artefacts and bizarre and fascinating that you are unlikely to attend one of the balls objects from all cor without seeing a large number of stuffed or ners of the world. The back of the shop is skinned animals and that there’s a certain tendedicated to displays by artists of all discidency towards the macabre. The parties are plines all curated by Wynd. more like a Victorian aristocrats’ party coupled with a Roman orgy but taking place in venues Alongside the shop The Last Tuesday Sociusually reserved for techno raves. ety also hosts lectures throughout the year in association with Hendrick’s Gin. The subjects The nights are usually a multi-room cavourt of these lecture varies wildly from the Erotic through all varieties of decadent debauchery. 102

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In each room you will find dancers, musicians, and attractions of all shapes and sizes. Imagine a Victorian or Edwardian dance coupled with Shakespear’s A Midsummer Night’s Dream on acid and you’d be about there. For these reasons The Last Tuesday Society’s Balls are some of the most fantastic and different nights you can have out in London. They are truly a celebration of everything life has to offer. There are two balls left before the end of 2012 one is the New Year’s Eve Masked Ball on (unsurprisingly) New Years Eve and the final of the year is the Animal New Years Eve Party on Saturday 31st December. There are tickets still available for the New Year’s Eve Ball. However the Animal Party is, unofrtunately, sold out. Do not despair though, 2012 sees not only 7 balls being hosted by the Society but also Wynstock. Wyndstock is a country house party set up by Victor Wynd and Mark Holdstock of Bourne & Hollingsworth. Set in the beautiful surroundings of Pylewell Park country house, the weekend promises a games tepee, badminton, croquet, wild swimming, midnight feasts, live music, hot tubs and Victor Wynd’s Famous Cheesboard. All in all it promises to be another mythical celebration from the Last Tuesday Society. To sum it up the Last Tuesday Society is devoted to exploring and furthering the esoteric, literary and artistic aspects of life in London and beyond. So if you want to celebrate the curious and wonderful get involved with one of London’s most decadent groups!.

Words: Carl Ellis Coward 103



‘Hailing from Glasgow, Scotland, We Are The Physics are their very own brand of ‘Mutant Punk Rock’. It’s a rare gem where you’ll find a band made up of Three Michael’s and a Chris. This alone will help them to make their own mark on history. Compared to the likes of Devo and Polysic, their energetic, choppy punk fuelled sounds are sure to grab your attention. The Frivilious stage shows and awkward leg shakes are worth a watch if they hit a town near you. We caught up with the Micheal’s (and Chris of course) to find out what really goes on behind the scenes with We Are The Physics.’

How were you brought together to make the energetic noise that is We Are The Physics? During the writing process do you compose together or does one of you run the show? There have been about 16 (approx) lies regarding how we actually formed, so we’ll perpetu- Usually it’s a case of someone digging up the ate the myth further by adding this one to the bare bones of a structure by stealing it from mix. We met at a car boot sale near Coatbridge, another band and then we all work on it from where each of us had our eye on a rare pre-cert there. There’s no real running of the show by copy of Tenebrae that the owner had no idea anyone - if we stopped writing the music colwas worth at least £17. In truth, we all went to lectively, it’d stop sounding like us. Maybe we school together, and it was mostly through be- should stop. ing bored by the bands we were seeing at the weekends in Glasgow that we got together. Everything we did, and still do, is a direct reaction It’s been a while since you’ve released someagainst what we’d see in clubs. So, if you don’t thing. Is there a new record on the horizon anylike us you can pretty much just blame Glasgow time soon? . We’ve been doing a new record for ages, but What drove you to make music? it’s one of those political and economic things There’s no real crusade going on with We Are dragging it out for so long. We’ve had it writThe Physics, we’re not trying to alter people’s ten for about a year, and we’ve written another perceptions of music or anything - which is waiting in the wings. But, the music industry is just as well, because they’d be thoroughly dis- a creepy swamp of a place at the minute - if appointed. We just wanted to be the band we we could afford it, the new record would be out never got to see, so that if there was anyone tomorrow. But, we’re waiting on a new format else out there who wanted what we always being invented. We’re thinking about releasing wanted from a band, they had a chance. There this album as a self-replicating virus that dewas nothing like us in Glasgow when we start- letes the rest of your mp3s so that only We Are ed. Fortunately, we never actually have to look The Physics remains. Apocalyptic rock! at our own shrieking faces on stage, so that’s a bonus. But we do have to look at you lot staring Explain to us what your self titled genre ‘mutant back at us with that grimace of hatred. punk rock’ is all about. 106

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Basically it’s a way of making derivative music seem a bit more interesting. It means nothing. It was something we slapped on the posters and flyers for our first gig to try and get people to come. I’d much rather go and see a band claiming they play music that’s mutant, science and punk than beardy, lo-fi and It sort of sums up what we do anyway, it’s basically punk music based around human reaction to the democratisation of technology. There’s, what, 60 years of love songs? Might as well write about how redundant men will feel when teledildonics replaces them completely as viable sexual partners. What is it like in the rehearsal studio for you guys?

we played to 8 and they even put their cutlery down. Our throats. I’ve been hearing lots of stories about what you get up to in your spare time when touring. I’m sure our readers would love to know more about your escapades (including re-building hotel furniture and playing trivial pursuit with groupies)... Our favourite one is definitely the furniture dismantling. We have the best nights; we’ll usually start by taking the wardrobe apart, followed by any cabinets, and we’ll lay all the bits on the bed. If a screw goes awry, it can go mental! We’ve never been banned from any hotels yet because we truly do reassemble the room slightly better. Sometimes they even give u money off our room for improving it. We lost our travel Trivial Pursuit, but we’ve got a slightly dented Ker-Plunk. It’s a bit phallic though, and I prefer Ghost Castle. We’re not the most ‘rock n’roll’ band, we’ve never thrown a TV out of the window. We have, however, tied bed sheets around it and lowered it to the ground an in effort to improve the reception. We certainly give those groupies a night they won’t forget. A definite mental scar.

Stinking. For a while we used to write our music as a formula in the rehearsal room. None of us can actually read music, so we’d write it out phonetically - like Weeezzzoo, Booooosshh BrrruuMM, NEowzz - then work on it from there. Turns out formula-written music is a bit too regimented, and we preferred the bits where someone fell over and made a noise by mistake. I’m sure it’s the same for every band, but rehearsals either go really well, or it’s like being trapped in the last escape pod from a bombed spaceship with three other guys who’d rather you’d died in the initial explosion. We’ll either You have quite a stage presence, is there any leave a rehearsal excited or suicidal. kind of formula to a show, or is it completely spontaneous? It’s a rough plan usually. But, like everything in You’re on tour at the moment, how is that all our lives, it usually goes wrong fairly quickly. going? We never ignore the audience, I think that’s the worst thing a band could do, and you can Pretty good, ta! We haven’t done anything for never anticipate how they’ll react. So you have ages, so we’re always surprised at how many to bounce the performance off them, and that’s people still come out to see us. We’ve just what makes each one interesting. Sometimes come back from Russia; the last time we were we literally bounce off them. We’ve seen so there was in 2007 and we played to about 7 many bands who just act like they’re playing to people in a bar while they ate dinner. This time nobody; it just strikes us as self-indulgent. 107

People have come out to see the performance of the music they like, not just to hear the record played note-perfect. Whereas we generally actually play to nobody, and even they don’t like it.

gry and not having enough clean underwear. We find it so hard to get on with a lot of bands though, probably because they really don’t like us. But it’s always great to tour with The Victorian English Gentlemens Club. While we’re at opposite sides of the playground musically, we You’ve toured with some really amazing bands. do have that mutual square peg/round hole Who was your favourite touring partner and syndrome. I prefer to go to gigs like that, with why? completely different bands on the bill - why would you want to see the same type of bands We’ve really lucked out with some of the bands three times in one night? we’ve managed to hold at knife-point and force to take us on tour, but we’ve definitely had the most fun with bands like Art Brut, who are If you had the chance to collaborate with any just such a great live band. Plus they stole our act in the world, who would you choose and moves, so we don’t feel so bad about ripping why? them off all the time. The huge venues we did with 30 Seconds To Mars were unreal - that’s We’d have loved to have done something with the sort of gig you imagine playing when you’re Cardiacs. And one of our favourite bands is Ser13. The reality of it, though, is being really hun- votron, who’d dress up in makeshift robot out108

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tough? Sometimes you wonder if it’d be easier to jump a bandwagon, as we see so many other bands doing. Just hopping on a musical style that’s popular, a quick conveyor belt to some money. But, it’s just not us. The only thing we have going for us is that, regardless of whether you rate us or not, we’ve at least got some conviction. There’s a lot of emphasis on longevity and adaptation in the music industry like it’s an indicator of success if you can morph yourself around styles - but, I just think it shows insincerity, Music can evolve, but if you just suddenly switch genres to suit the times, it just seems unnatural fits and do their entire gig in the guise of hu- - like you’re choosing the sort of artist you want man-hating artificial musicians. We’d cut off our to be, or you want to be seen as. Integrity’s not a very attractive or lucrative ideal in the indushuman arms just to even see that live. try, but you can see through bands who don’t have an identity immediately. So, in answer to What new bands should we look out for? Who’s your question, bitterness impressing We Are The Physics? There is only We Are The Physics.

What advice do you have for people who want to form their own bands?

What has been your biggest challenge as a There’s no room for you, music is full. Actually, the opposite - do it and do it because you have band? to. Just don’t be better than us, please. Managing to afford food, really. When you start a band, it’s all about you, then people start coming to see you and it’d be rude not to take their thoughts into consideration. Then people invest money in you. It’s easy to lose a sense of who you are once there’s something riding on you, whether it’s dough or just people’s feelings. As much as we do WATP for ourselves, if we disappointed someone who came to see us, that’d hurt. Having been disappointed all through our lives by bands we’d grown up with, you wonder sometimes if you should just quit while you’re ahead. Luckily, we’ve never really been ahead. What pushes you to keep going when times get

Words: Chantel Beaven Images: Peter Hill 109



The brilliantly named We Have Band have been a staple of the indie scene now since they burst onto it with their energetic disco-pop back in 2008. In 2010 they released debut album WHB to much acclaim. The debut album introduced us to their unique style of upbeat disco-pop which gets people dancing but belies the poignant and sometimes dark narratives of their songs. A catchy and sometimes haunting record it certainly caught our attention. The London-based three-piece is made up of husband and wife duo Thomas WP (WeggProsser) (vocals, guitar, bass, programming), Dede WP (vocals, percussion, sampler) and Darren Bancroft (vocals, drums, percussion, sampler). The trio met working desk jobs at EMI and bonded over a love of synths. Since they formed in 2008 We Have Band have been a headlining act on the pyramid stage at Glastonbury (2009) and have had their songs re mixed by the likes of Bloc Party and Carl Craig.

We were lucky enough to catch up with We Have Band in anticipation of the release of their second album in January 2012. Here’s what they had to say: Hello We Have Band how are you all? We’re very well thanks. Firstly, we’ve always wanted to know this, where did the name We Have Band come from? Dede came up with the name and it was the only one we ever had, there were never any other options. It’s primitive and primal. We can image an angry tribe chanting it just as much as we can a small child who’s just learned the phrase and just wants to say it over and over. Noctis magazine have been fans of your work for a long time now and are very excited about your forthcoming album (being released January 29th 2012). What’s the new album all about? Thank you! This album is a lot more personal than WHB, its about the many experiences and things we’ve seen over the last 3 years of being a band and furiously touring the world! Sometimes its great and sometimes its really hard. You meet great people but it’s hard to hold onto relationships and you see amazing places but you miss your home. You’re super excited lots of the time but you get hardly any sleep. Because this band has become so much of a big part of our lives we kind of had no choice but to write about all of this, its really making up most of who we are at this moment in time. 112

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Visionary (the new single from the forthcoming album, released this week) seems to be a darker departure from your previous album. Is that what we can expect from the new album? Yes and no. We feel that we’ve always been attracted to the darker side of pop even on the last album. Songs like ‘You Came Out’ were sonically light but the subject matter of a night going badly wrong was pretty dark and the video was very dark! But we choose to have ‘Visionary’ as a teaser specifically because it was such a mood unto itself. The first proper single ‘Where Are Your People?’ is a bit more pop, but it’s a fairly dark subject too! We like that though, thinking that people will be dancing around and having a great time and then might be like “hold on, what are they actually talking about”. Some of the best disco songs are like that. Which other artists have you been listening to while writing the new album? St Vincent, Wild Beasts, Tune-Yards, Gang Gang Dance, Girls, Washed Out, Austra, The Horrors, Beirut, Slow Club, Planningtorock. They’ve all been getting played a lot.. If you could only listen to one album for the rest of your life what would it be? Dede - Off The Wall, Michael Jackson Thomas - Dummy, Portishead Darren – Vespertine, Bjork What’s the first record you ever bought? Darren – The Score, Fugees Dede - Fools Gold, The Stone Roses Thomas - Electric Avenue, Eddie Grant

What did you do to relax while writing the new album?

It’s a privilege. It’s not always easy, but we genuinely couldn’t do it without each other.

Lots of baking went on by Dede during the recording. She’d bring in cakes and stuff for us all which was very nice. And we’d often take the pace down in the evenings in the studio and have some drinks, wine in a box!

We love your disco-rock style and can hear some obvious influences. But who would you describe as the top 5 most influential artists in shaping your style?

The new album cover is amazing. What was the inspiration behind it and who did the artwork?

We like so many things and its ever changing so we cant really make a list. We the trick is to absorb all your influences and then forget them when you actually start writing.

Its done by a Greek artist called Brittle who’s based in Athens. We’ve actually never met him but we found him in a book about contemporary collage and we liked his work so we got in touch and started skyping and emailing ideas and then he went away and came back with this amazing image. We took the photos in London and sent them to him to mess around with. We’re so happy with it and he’s done all the single artwork too. With the launch of the new album early next year there will, no doubt, be a load of touring for WHB. But what has been your favourite WHB gig so far? Glastonbury is always very special. Why was that gig so memorable for WHB? Its just has an amazing vibe and we all have so many memories of being there watching bands so to end up on those stages is something very special.

What would you say has been your favourite record of 2011? Thomas: Girls - Father, Son, Holy Ghost Dede: The Horrorr - Skying Darren: Girls – Father, Son, Holy Ghost If any of the lovely Noctis readers see you at the bar what drink can they buy you? Darren: Tequila and Tonic (with lots of fresh lime) Dede - Whiskey Sour Thomas - Whiskey Sour Who can we expect you to be touring with in 2012? We haven’t decided that yet, you’ll have to wait to find out.

What’s it like being on tour as husband and wife? Words: Carl Ellis Coward 113



You have recently finished working on your debut album U.S.A which you have released on your label Marble. How was it working on an album rather than E.P’s that you have released in the past? Actually it’s my first experience with a L.P. Releasing it on our own label. It’s a different experience as I don’t think club music works on an album. As the music isn’t suited. I didn’t want to just put club tracks on it with 30 second intros and outgo’s as it needed to be something more compact and that you want to listen to from the start to the finnish. It’s an entirely different process. When you make a 12 inch you just want Dj’s to play it. But I wanted a special aesthetic which is why i went for the 90’s radio fm sound. Which wouldn’t be appropriate on a 12 inch as the tracks would suck in clubs. It wouldn’t work on big sound systems. Talking of Marble. You set up Marble after the end of Institubes. How is it working on your own label? We kind of new Institubes was going to end. From like a year ago we started to realise that it really was ending. So what are we going to do? do we just release our stuff on other labels, but seen as we are sharing studio. not the same one but all of them are in the same building and we always have lunch together, having drnks after work. We were talking about it and wanted to keep the family vibe from institubes was the best idea. Istitibes was a very special label that we could do what we wanted. and we decided to give it a try. Lots of peopleare under the misunderstanding that we ran institutes but we weren’t we were just signed. At Marble you have already developed a dis116

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tinctive style especially with your visuals. How do you decide on who you work with? I used to be a graphic designer. I went to art school and have always been really obsessed with the graphic side of music. I couldn’t imagine a label without a strong visual identity. Some guys are doing it and it’s working for example Boys Noize records works well as it’s done in a tchno way. Maybe it’s just the french way as french labels put a lot of energy into the usual aspect. We ask whoever we like. A guy from Japan or Sweden of the Uk. Usually it is working for us. As Surkin you are well known for your remixes, but have recently been working on much more original material. Are there any plans for doing more remixes? When you make like 10 to 20 remixes in a year it starts becoming automatic and not fun anymore so i just stopped to make the album. Also we have realized a lot on side projects like the 2 Marble players E.P and High Powered boys as well. I focused on originals but I will start doing remixes again. But I don’t want to put them before originals as they have a shorter life span than original tracks. Talking of your collaborations as part of Marble players and High powered boys. Do you have any other upcoming collaborations that you are working on?I have been working by myself for a long time. But it is fun to work with someone else. Due to our studio we have friends show up and when people play in Paris they come over and we make tracks together. I have started a lot of tracks with different people just jamming in the studio. Is there anyone who you wool like to collaborate with? I always dreamed to make a record with Todd

Edwards. He is a main influence of mine. Although it is in the process. Sound Pelligrino are making a crossover series where they ask producers from different genres to make a record together. I am supposed to make one with Todd Edwards and i look forward to doing it in the near future What influences you as an artist? I start new stuff all the time. It can be anything from a track I heard to a film. I really start to make things and then decide i need a baseline. then think what do i need. then i remember something i heard. But it’s just like that. I’m not normally inspired by one thing, it’s like all the shit you hear in the week. When it comes to making music you are known for using a computer yet recently have been using analog synthesizers. What are you working with?

labels like Bromance which is Brodinski’s label. With MArble we are trying to push a new generation of French sound. Whats next for Surkin? I have been playing one or 2 shows a week. Been to Japan, Autralia and all around Europe. I’m trying to not play like 4 shows a week. Because if you say yes to everything you spend your life in nightclubs. When you party till 6 our not really in the mood to be in the studio the next day. I’m trying to play weekends and maybe go and do some tours like going to the US. I’m going to stay on tour from now on. A lot of collaborations and trying to build Marble and take it to the next level. Its about the future of the label and making it bigger and have a structure that we own so we can make new things.

I am a big nerd and I bought the Arp 2600 be use i love the object and i really wanted to understand synthesis a bit more. It’s good working with other people tweaking synths and freestyle with it. Recording live sessions and editing. Its just a different way of starting tracks. I generally use my computer, i am still very computer centric.. What is the music scene like in France at the moment. Especially with this new breed of artists like the Club Cheval collective? I think whats happning in Paris at the moment is really exciting. There is a new wave of producers., we are also excited with MArble as we are pushing a new sound to the kids. People in france are influenced buy the UK and the resurgence of Funky and labels like R&S which has been played out a lot by British Dj’s. People are mixing the cut up french sound with people like canblaster coming up and

Words: Aaron Davies Photo: Romain B James 117


Although Hot Boy Dancing Spot (HBDS) can be traced back to a small Soho bar in 2006, it wasn’t until a couple of years later and a move to East London that things really started to kick off. Founded by The Lovely Jonjo, and now co-promoted with Hello Mozart!, it was started as a place for alternative gay boys to hang out who wanted something a bit more edgy than what was going on back then. Just under three years on; it’s hard to imagine what was in East London before Hot Boy Dancing Spot! Over the past few years Dalston, Hot Boy’s spiritual home, has seen a bit of a metamorphosis into a hub of creative energy and great nightlife; started, as usual by the gay scene. It wasn’t until Dalston Superstore popped up that people started to take notice. Hot Boy Dancing Spot is also about forging relationships. They are constantly looking for new creative collaborations; like the recent one between the night and multi award winning director David Wilson, who created live visuals for a recent event. The HBDS website is an extension of the club night – a place to promote interesting, mostly queer-releated finds from around the internet – a chance for conversation to start. The night has also played host to some of the UK’s most exciting live bands including TEETH! and We Have Band, who recently tested their new album at HBDS with a secret gig. 2012 will be an exciting year for HBDS – lots 118

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of things are in the pipeline including expanding to more cities around the world, a small gay art, music and film festival in a secret island somewhere very hot (early days yet!) and continuing to promote the most exciting DJ’s and creative talent in London and the UK. Hot Boy Dancing Spot is a monthly night in various venues around East London. Check for up to date listings.

Words: Jason Bradbury





We recently caught up with the Juan Maclean while he took a break from writing his third album: How is everything going and where in the world are you at the moment? Right now I am on a train from Boston to New York City. Tonight I am DJ’ing with James Murphy in Brooklyn, and tomorrow we are going to Barcelona to play a big DFA night at one of our favourite clubs, Razzmatazz. At that point I’m in Europe for a few weeks, with some days off in London and Paris, so things are going pretty well I should say. You are playing in London at the Queen of Hoxton, what do you think of England and our music scene? Honestly London is one of my favorite places to play in the world. I love England because there is a rich tradition of dance music there, so you get pretty knowledgable audiences. At the same time, they tend to be people out for a good time, not beard stroking trainspotting types who stand around analyzing your track selection and mixing griping that you aren’t playing some fucking disco record that only 5 people in the world own. Most of my favourite music comes from England. Plus I have many great friends in London, so I love taking time off there. Also you are known for calling the UK part of Europe? How much trouble do you get in from friends in England about this? This is very confusing because actually the opposite is true. I got taken to task from English people when I would post something like ‘getting ready for my upcoming 3 week tour of Europe and the UK.’ I had a lot of my English friends complaining ‘BUT WE ARE PART OF EUROPE.’ I tend to think of the UK as a 122

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separate entity, you know, the people who oppressed my Irish forebears and all that. Plus, they speak English in England (well, apart from up north I guess) and aren’t on the Euro, so to me that all adds up to being a separate entity. How has the new compilation album ‘Everybody get close’ worked out? The response has been much better than I expected. A slight annoyance has been explaining that it is not a new album but a compilation of older tracks, some previously unreleased. Basically it’s the sort of thing you put out when you are taking a long time to make another album, which I am in the middle of doing right now with Nancy Whang. We are both perfectionists and highly critical and tend to take too long to finish things. You were originally in the post hardcore band Six Finger Satellite, how was the progression from post hardcore into the dance music that your are currently releasing? For me it was pretty logical. A lot of the postpunk bands that were huge inspirations for 6FS, like PIL, Gang Of Four, The Pop Group, New Order, The Human League, etc (all from the UK!) were very much influenced by disco or funk, New York Electro, etc. 6FS were a post-punk band utilizing dance music elements. The Juan MacLean started as a dance music project with punk sensibilities, so it’s just a reversal of a formula that I was already comfortable with. In fact, my first 12” By The Time I Get To Venus features lots of samples taken from 6FS recordings, all the drum sounds are 6FS samples. You are now signed to DFA records and have worked on numerous occasions with Nancy Whang from LCD Soundsystem in the past. how did that collaboration come about?

Well it’s more than a collaboration, Nancy has been a member of The Juan MacLean since very early on. In fact, the first The Juan MacLean live band lineup was me, Nancy, and James Murphy on drums. Nancy was a good friend of James’ in the early days, before there was a DFA. When we were in the studio working on my second 12”, ‘You Can’t Have It Both Ways,’ I was trying out a bunch of vocal ideas and we decided it really needed a female vocalist. James called Nancy, who had never sung on anything like that before, and she came in and nailed it. You are also producing under the name Peach Melba. How do you separate what you are producing and which project it fits into? Peach Melba was something I activated so I could put out proper House tracks that have no pretensions to being song oriented in any way. Even a track like ‘Happy House,’ I don’t consider that a proper House track. Nancy’s vocals aren’t very House-y, they are what made that track much more interesting, more than a loopy dance track. So with Peach Melba I could do tracks that have just a kick drum and some weird stabs for 5 minutes. Pure DJ oriented stuff.

out him, but we’ll deal with that when the time comes. What equipment are you currently running for your live setup? Well we aren’t on tour right now so there is no setup. But we always take an arsenal of analog synths and there never a laptop in site. It’s pretty live, with human beings playing instruments. Finally what is next for you after your album and the touring which you are continually involved in? I’m in the middle of making my third album right now. It is a bit similar to my last album The Future Will Come in that it is very song oriented, more for home listening, without any concerns for dance floor viability. It will be out next year at some point, then we’ll start touring again in some capacity.

You are DJing in London at Scandalism but are well renowned for your Live sets, how do you differ between the two? At this point I think I am more known for being a DJ than a live artist. The live band is something I activate when I have a new album out. With an album release we go out and start hitting all the major territories of the world for a year or whatever, then I go back to DJ’ing. The live touring for my last album was cut short with the tragic death of Jerry Fuchs, our drummer and best friend. It’s hard to conceive of what the next touring band will look like with-

Words: Dan Ashcroft 123


I still can’t believe it. ‘What’s the biggest killer of men under 35 in this country?’ I was asked, by someone who knew the answer... ‘Drugs, surely...’ ‘No’ ‘OK, I’ve got it now, automobile accidents, cars OR bikes...’ I thought I was being clever here and nailing it... ‘The answer dwarfs drugs, cars and bikes all added together...’ ‘Christ...really?’ I was struggling at this point. ‘Um...prostate cancer?’ I ventured, hopefully as I could be under the circumstances... ‘Not even close’ they said, ‘the answer is...........

But now I don’t want to tell you the answer, because if I do, the chances are you’ll stop reading, and you’ll miss vital information that could save your life, or the life of someone you love, or someone you’re fond of, or someone you work with, either way, as soon as I mention the key word, over half of you will just switch off.

CALM are incredible. Just amazing. In the ONE PLACE they got some funding (from Liverpool local health authority) they managed to bring down the suicide rate in that city by an earth shattering FIFTY-FIVE percent. Just with a magazine and some targetted awareness events, they saved the lives of hundreds of men. HunYou’ll switch off because, chances are, if you’re dreds of families that didn’t have to go through reading this, you’re a man, and men don’t like to that nightmare of suicide, and the heart-breaktalk about this stuff. We don’t like dealing with ing fallout afterwards. the white elephant in the room, we’d rather brush things under the carpet than deal with If someone you love commits suicide, you get them by communicating (like girls do much no help, no support, you have to go and idenbetter and more frequently). tify the body alone. Jesus christ, there’s probThe problem is I can’t write the rest of this with- ably counselling on offer to people that have out mentioning this word, it will give context tripped up on the pavement outside the town to everything, but at the same time, will en- hall, but suicide? Naaah, you’re on your own. sure that a worryingly large percentage of eyes This can’t go on. reading this will glaze over, or roll upwards, or just go elsewhere, but I have to do this, for the Now CALM are targetting London in the same good of all concerned. way they did Liverpool. We’ve got a little funding for a new magazine, and the launch was By far the biggest, by such a long way it’s a few weeks ago at Topman, at their flagship shocking, killer of men under the age of 35, store.

in the UK, is MEN UNDER THE AGE OF 35 CALM asked me to find some DJs to play all IN THE UK. day, as they were taking over the store for the The word is: SUICIDE. There. I said it. When I found this awful fact out, at Koko, at ‘Chazzstock’, the wake of Charlie Haddon, from Ou Est Le Swimming Pool, and in the same conversation, discovered that CALM (Campaign Against Living Miserably), the main charity dealing with this staggering problem could not afford to fund ONE phone line around the clock, that was the point I started working for that charity. Months later, ‘Cage Against The Machine’ and with the help of an incredible bunch of people, we got four minutes and thirty three seconds of silence into the top twenty, for the sake of awareness and fundraising for CALM and others. 126

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whole day. So my first call had to be to the biggest DJ I know: Zane Lowe. Zane remarked what a great cause it was and that he was in-like-Flynn. I joked - in that way that’s half joke but anchored firmlyin serious reality - that we’d not seen each other for a frightening amount of time, like six or seven years. We’ve been friends ever since the day I discovered his demo video, yet we’d both got so busy with life that we’d neglected each other horribly. I joshed that given the last couple of invites from me had been spurned, the only way I’d get to see him is if he was DJing at the same place as me, at exactly the same time as me... Zane Lowe Vs Eddy TM.

For CALM. Then the idea struck me. We should get twice as many DJs as we need and put them all against each other. My own relationship with Zane was a powerful reminder of how terrible men are at communicating, and a reflection of the fact men are four times more likely to kill themselves than women. The fact that we’d be up there, in front of all and sundry, communicating on a very basic and honest level, would provide a wonderful metaphor for the key points we were trying to get across: Men need to talk more, listen more, communicate more. Simple. After Zane said yes, the floodgates opened, not just because of Zane, CALM’s cause is one that resonates very deeply with a lot of DJs and musos. We ended up with a bill that would have sold out a small festival. Mistajam, The Loose Cannons, Herve, Rob Da Bank, Dan Le Sac,

Huw Stephens, Freestylers, Wideboys, Kissy Sell Out and loads more. The press conference on the morning of the event was remarkable. I met an amazing kid called Danny, from Liverpool, who was going to kill himself, but instead called the confidential free number for CALM and ended up talking to someone who’d been through the same feelings as he’d been having, and come out the other side, stronger, better, wiser and more balanced. Danny broke down on stage after the first line of his address. Jane, the incredible driving force behind CALM read the rest of his statement to a packed room, all the way to the last line: “My name is Danny and I’m alive”.


A tear whelled up in my eye and the bile rose in my stomach as I looked around the room. I knew that the room was full of supporters but that the most remarkable thing about the press conference was that there was only one member of the press actually there. At this point all my love and respect goes out to The Big Issue. Of course they were there. They are as involved, whether they like it or not, as the Catholic church are with child rape. The feedback from all the major press was this: “it’s not a’s really boring...nobody cares”. The biggest killer of young men in the UK and it’s “not a story”?


Every DJ I approached got totally involved, from Zane Lowe to The Maccabees....”Boring”? “Nobody cares”? The CALM cause connected with every DJ on that bill, and others, like Flux Pavilion, who Issue 2

couldn’t be there in time from his gig in Italy the night before, so deeply it surprised even me. Every person on that bill had a friend or family membe that had committed suicide. They cared so much it brought a tear to my eye. Majestic, Wideboys MC, who I work with a lot these days, was moved so much, having been through depression himself and come out the other side. Being told that nobody cares was awful in the context of that much love and caring. Here’s the bottom line, with the press, if I took a knife and stabbed YOU with it, the press would write about it until the cows come home. The Daily Mail would start a campaign to have Xfm taken off the airwaves. There would be a fucking furore. But if I took that same knife and slit my own throat with it, in front of you, according to them, that’s “not a story”, no support, no help, nothing. My 11 year old son would have to identify my body, alone, and be put at risk of suicide himself.

The day after I went on a twitter tirade about how disgusting I find the UK press, Gary Speed did the unthinkable. Poor Gary felt he had nowhere else to go, nobody to turn to, he felt alone enough to kill himself. If the UK press had turned up on the day and not fallen into that trap I talk about at the top of this piece, then maybe, just maybe Gary might have seen CALMs number, just like that lovely lad, Danny had done. Maybe Gary would have been aware there is a free and confidential number he could have called and talked to a sympathetic, empathic ear, maybe, just maybe, Gary Speed would have been at the NEXT CALM press conference and broke down onstage before Jane read his speech which would have ended “My name is Gary...and I’m alive.”

Words: Eddy Temple Morris Images: Leoni Blue


DEMS 130

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So Dems, for those of us who dont know, who are you?

are unavoidable in the music industry do you enjoy being compared to your peers?

We’re Dave Gardener, Duncan Mann and Dan Moss, from London. We all play a bunch of instruments in the band, including guitar, live MPCs and keyboards. And we like sing too.

They’re obviously lovely people to be compared to, although ultimately every group is trying to find their own sound. The three of us refer to a whole range of different influences including Prince, Postal Service, Bjork, Bloc Party, DJ Shadow and loads more.

Dems’ November has been a big month with the release of your new single, does it feel like Christmas come early?

Everyone loves a collaboration, who have you guys got a eye on working with in the feature or would like to work with on future projects?

It’s been a really busy November! We put a lot of work into the record and the video we made to go with it, so it’s the culmination of a lot of effort and we can’t wait to relax and go from gigging to writing over Christmas, because there’s plenty of work to come in the new year.

Well it was amazing to have Evil Nine remix our ‘House’ tune - they’re personal heroes of ours and Dave went to Brighton University, where they’re from. We’re into so many different types of music, that there are ENDLESS people we would like to work with. We’re also really influenced by the people we play with, so people like Azealia Banks, Is Tropical, Unicorn Kid and Polarsets are great inspirations to us!

You’ve had a stream of big names from the Biz backing and bigging you up, Rob Da Bank, Jaymo & Andy George, Pete Tong, Eddy Temple Morris and John Kennedy, as well as the reams of music journalists tipping you to be in new sound of 2012 list, how does that feel? Are we in a 2012 list?! Wicked! The debut single’s had a great reception and we just want to build on that and put out more music that people are feeling. What’s on the to do list for the New Year? Album launch? Festival slots? An award nomination perhaps?

And as we are approaching the end of the year, what’s on Dems Christmas lists or new years resolutions for 2012? We’d like a new Korg MPC (one of the knobs just broke!) and some sort of super expensive guitar.

This new year we’re going to keep writing new material. You’ll see another release coming soon and after that we’ll see about festivals! Your sound has been compared to Foals and The Naked and Famous, although comparisons 132

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Words: Greg Swaby


With an album due for release in 2012 through the brilliant girls at Young & Lost Club we predict big things for Bastille. We were lucky enough to catch up with Dan before he disappeared into the studio to record his debut album. This is what he had to say:

Hi Dan how are you? I’m good thanks. You OK? We are very well thanks! Your single Flaws has basically been on repeat in the Noctis office since it came out earlier this year, as has the Laura Palmer EP. When can we expect an album from Bastille? I’m actually starting the album proper this coming Monday which I’m ridiculously excited about. It should hopefully be finished by the end of the year and out sometime next year. There should be some more singles before then though. The video for flaws was an awesome edit of Terrence Malick’s Badlands. What made you chose a film about a murderous couple as the video for your first single? I love the film and it’s so beautifully shot that choosing what to include and what not to was really hard. I tried to assemble some kind of narrative that made sense to people who hadn’t seen the film, and in the process of doing that I kind of took out all of the darkness and violence. People who have watched the film off the back of the video have said that it definitely wasn’t what they were expecting. You’ve edited all of the videos for your releases so far. Are you planning on releasing a film of your own? If so what would it be about? 136

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Nah I’m not planning a film. I’d have no idea what to make it about... it would probably end up being unintentionally depressing though. When I was at school I really wanted to be a film maker but was always a bit lazy about actually getting out there and shooting stuff. That’s probably why I ended up just editing stuff for some of my videos. What’s your favourite film of all time? That’s really difficult. I loved Mulholland Drive for a long time but I haven’t seen it in years. At the moment I’m not sure. You write as a solo artist but tour with a band. What’s band life like? Band life is a lot of fun. It’s nice being able to go on tour and play live and enjoy it as a band. What is the most rock n roll moment you’ve had with the band? There have been a couple of interesting tour moments that probably don’t bear repeating, but on the whole we’re not very cool so nothing that interesting.... I mean, we were driving ourselves round the country in our mate’s Mum’s people carrier for most of it. Presumably there will be a tour when you release your album. Which city in the world would you most like to tour too and why?I’d

love to play in Berlin because I’ve never been and people say it’s awesome. I’d also love to go to New York and play in Brooklyn because loads of bands that I love come from there. What’s the best gig you’ve ever been to and why? That’s difficult... I remember seeing Laura Marling play a few years ago which was quite memorable. It was when she was releasing her first ever single and she wasn’t allowed into her own gig, so she played outside the venue in this alleyway in Soho and it was brilliant. A drunken homeless guy walked past and started heckling at a really quiet moment.

You recently covered City High’s 2001 hip hop hit “What would you do”. What inspired you to cover this track? When it came out I was pretty young, but it was a totally ubiquitous track. I wanted to cover it because I remember loving it at the time, but also because everyone remembers it quite fondly, but no one would immediately think of it and no one’s quite sure who it’s by. Our version started out as a bit of a joke, but I loved making the recording of it and it’s a lot of fun to play live. You’re songs often deal with the emotional rollercoasters that are relationships. Are they written about person experiences?

Flaws has been described as “damn close to a perfect pop song” (a statement we fully agree I guess so. I try not to write songs about relawith). Is creating the perfect pop song your aim tionships but I think often they probably end when you set out to write your records? up sounding that way. Most of my songs come from personal experience or stuff that’s hapWow, thanks man. I’m not sure... I guess when pened to people I know. Or they’re just stories I’m writing, there is a lot of stuff that I leave that I’ve blatantly ripped off. half way because I don’t think it’s going to be good enough. But I definitely don’t set my sights that high. If you could collaborate with any artist (living or dead) who would it be and why? Which artists would you say have most heavily influenced your musical style?

Man, I have no idea. Maybe Angelo Badalamentini who does David Lynch’s soundtracks. Or maybe even just David Lynch himself. He Quite a big mix of stuff. When I started record- just put an album which has the appropriately ing Bastille songs last year bands like Vampire mental title of “Crazy Clown Time”. Weekend, Miike Snow and Yeasayer were probably a bit of an influence. But mostly I’m influenced by singer songwriters who experiment and do something interesting like AnYoung & Lost Club is an amazing record label thony & The Johnsons, Sufjan Stevens and and have signed acts such as Everything EvKate Bush. And I guess songwriting wise I like erything and Bombay Bicycle Club. How did more classic, timeless, hooky (but not shit and you get with them? cheesy) songs which is pretty broad, sorry. Club. How did you get with them? I was put in touch with them and told they 137

were keen to release a single for us. Their back catalogue is just so ridiculously impressive so I was very happy that they were up for doing it.

As a fellow South Londoner I’ve recently heard Peckham described as the new Shoreditch. What do you think about that? Well South London gets a bit of a bad rep so anything that can be done to change that is a good thing. Whether Peckham being ‘the new Shoreditch’ counts as a good thing is another conversation altogether. My friend is curating an evening in a multi-story car park in Peckham... so it definitely sounds like it’s heading that way. What’s next for Bastille? I’m going to spend the rest of the year recording the album, and we’re going to rehearse until we can’t stand to hear the songs anymore and then hopefully play them loads and loads all of next year.

Words : Carl Ellis-Coward Images: Gregory Nolan




So how is it to be back in the UK again. What do you think of the clubs and music over here? I am happy to return to the UK as I like the special energy of the crowd. They are really well informed about the new stuff I play and reacting very intensly which is a great feeling as I can drop the freshest and hottest tunes for them. I met Erol Alkan 3 weeks ago at an European airport and he rhapsodized about the Orlando Boom Parties which excited me even more to get ready for the weekend. You have been touring a lot at the moment with travels to places like Korea. How is touring going? Amazing, I’ve had so many great experiences, seen a lot of beautiful places and met a lot of people in many parts of the world. There is one thing we do all love which is great music as it speaks a worldwide language. The touring will continue in 2012 after I released some new music which I’m working on right now. You have released across many labels including Turbo, Kitsune, Lektroluv and more.. how does it feel working with so many different labels. Especially when most people settle down on one? Even if the base of my music is electronic, I still like variety and therefore each track I make differs a bit from the last one. Therefore I discuss the possible label partnership with my manager to come up with the best lable for the track. Then I prepare a good selection of remixes fitting for the release. The positive thing to working with so many different labels is also to experience the planning for each release which is always different from label to label as each of them has a different focuse and promotion ideas. On the other side, it´s like a fresh start each time as we can collaborate our visions to come out with the freshest outcome and sound. So far I can say that I’ve loved all of them - Kitsuné, Turbo, Bang Gang, Lektroluv.... Let´s see where we´ll end up with the new record...


What Influences you as an artist? I like to hang with my friends and producer homies like Isi and Jence of Digitalism, Boris Dlugosch..... We talk about our road life and share experiences. Other than that I communicate on social media and share ideas with other producers in the world which generates a great energy and creativity and inspires me for current productions.

But one day before the final (already extended) deadline, I nailed it. As soon as I played it to Pedro, he loved it! If you could, who would you like to go into the studio with? David Bowie.

You have remixed for some of the top artists in dance music such as your remix of Tiga’s You gonna want me and the Boys Noize track Your production is highly regarded in dance Nerve. How do you differentiate when writing a music.. Do you have any production tips that remix to creating an original? you like to share? Doing a remix is a bit easier as the main eleNever think too much - you know when a song ments of the track are already in place and key is right and that is the time to stop working on elements can be used to re-interpretate. Once it. If you spend too much time working on a something grabs me, I can slam a remix very track you risk killing the vibe of the moment by quickly. Hoever I don´t like to do remixes too being too much of a perfectionist. often as I prefer concentrating on original material. Tell me about your studio. Do you primarily work on analogue gear? What is next for Hey Today? Nowadays I’m working digital and analogue but I started producing in a digital way because I didn’t have enough money to buy analogue it was an excercise “how to sound analogue with digital gear”. Of course, sometimes it was despairing but I’ve learned a lot about engineering during the process. In the past I’ve bought some analogue synths and drum machines and I couldn’t work without them... You have worked with the likes of Busy P who remixed your track Talk to me and his track procrastinator. How did that come about? Pedro just liked our track. He described it as like “LFO meets Herbie Hancock” so when we asked him if he would like to remix “Talk To Me”, he immediately said yes. In return he asked me to remix his track “Procrastinator”. That was a real challenge and I nearly said I couldn’t do it. 142

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There are a lot of trax I am working on at the moment but one in particular seems to be turning out to be the next single which is a collaboration with a great artist from Paris. I won´t tell you anymore now... just that once it is ready, I will definitely come back to play it to you guys first. ;) Thanks for having me here and really looking forward to the gig. Wooord!

Words: Aaron Davies

cHEERS SWEETIE Well that’s it for the second issue of Noctis magazine. We really hope you have enjoyed reading all of the fantastic shoots, interview and features as much as we’ve enjoyed putting them together. The Next issue of Noctis Magazine will be the March/April issue and will have the exciting theme of Tribes. Look forward to seeing you soon! Big love Dolly x


coNTRIBUToRS Photographers


Kim Akrigg

Rebecca Evans

Claire Huish

Bee Wilson

Leoni Blue

Hayley Meredith

Paulina Otylie Surys

Carl Ellis Coward

Ilaria Gambi

Aimme Emerson

Nick Matthews

Joe Stephens

Jude Tsang

Erin Davies Chantel Beaven Greg Swaby Eddie Temple Morries Jason Bradbury Dionne Lea Taylor Dan Ashcroft


Make Up Artists

Sophie Monro - Pruett

Megumi Matsuno

Hope Van Joel

Philippe Tolimet

Christina Dasilva

Amy Newsome

Claire Huish


Amy Newsome

Camila Fernandez

Camilla Bresci


Sandra Aji

Hilary Hui

Vincent Choi

Jodie Collins

Hair Stylists


Ross Cosgrove

Bethany @ Profile

Philippe Miletto

Victoria @ MODELS1

Shawnna Downing

Emma Elfors @ M&P Models

kelly Philips

Charlotte Grace @ Union Models

Ian Hampson

Vanessa @ Next Models Hannah Abel @ Oxygen Bara @ D1 model management Marianna @ M&P Models Deborah Parcesepe Eugenia Wong



Neil Kerber

Once again, Noctis would like to con-

Maria Casaisleis

gratulate our fantastic contributors for

Becky Hatwell

their amazing support & content.

Sara O’Neil

Noctis Magazine Issue 2  

Issue 2 of fashion, style and music magazine Noctis celebrates decadence. Bringing you some truly ornate, beautiful, outrageous and wonderfu...

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