SEVEN/SEVEN M A G A Z I N E
07
HUSKY
WWW.SEVENSEVENMAGAZINE.COM.AU facebook.com/sevensevenmagazine twitter.com/sevensevenmag enquiries@sevensevenmagazine.com.au EDITOR IN CHIEF
PAIGE RICHARDS paige@sevensevenmagazine.com.au DIRECTOR OF PHOTOGRAPHY
IVAN LEE @ IJ PRODUCTIONS ivan@sevensevenmagazine.com.au ivan@ijproductions.com ART DIRECTOR
NICHOLAS CAIRNS @ KINGDOMS & WOLVES nicholas@sevensevenmagazine.com.au kingdomandwolves@gmail.com CONTRIBUTORS
KATE COCHRANE NIKITA ALLAN RUSS BENNING SIMONE VINSKI LEIGH CROW DALE BORDIN JAYNELLE LORDING
Family Portraits
Nightclub Photography
Model Portfolios Private Functions
EDITOR’S and welcome seven of Hi,Hello, and welcome to issue to fiveissue of SEVEN/SEVEN! summerissues, tour season If SEVEN/SEVEN. you’ve read ourThe previous you will know that we the are corner big supporters the is just around and we canofnot Australian featuring best be morecreative excited!industry, To get you in thethe spirit
up and coming talent we can every issue. So (and maybe help you decide on what sets when it came to putting together this one, we to catch!) this issue we chat to Husky, the decided why just feature one creative from the very talented Melbourne four-piece about industry, when we can do a full-issue focus? their latest record, and Falls Music and Thus, the industry issue was born! Arts Festival (which they’ll be playing).
also to the incomparable Tex In We music, wespeak have the biggest feature selection about hishistory latest adventure in Perkins SEVEN/SEVEN - speakingwith with Melbourne Callingand All home-grown Cars, Sydney The Darkband, Horses, singer/songwriter/producer, Elizabethahead Rose, We’ve focused very intently on the arts in guitar wunderkind, Joe Robinson In culture, resident Instagram addict Russ a nof d his S ehomecoming a t t l e - b o r n /tour. A u s t r a l i a n - r e s i d i n g culture, with interviews and features on Isobel Benning talks about the origins of his songstress, Kym Campbell, and a bumper Knowles (Artist and musician extraordinaire), addiction, we speak to PR maven, Stacey reviews section featuring new records from The the future of projection art, and seasoned In fashion, we take a fresh look at the Piggott about her book, Blow Your Own Temper Trap, Olympic Ayres, and Jackson photographer (and new columnist) Russ Benning minimalist make-up trend (with all the speaks vs.at prof essional Trumpet,about and weamateur have a look what’s to Firebird. photography. products featured under $50!) Our come from Optus Flix in The Stix this year.
montha features In editorial fashion, this we have fantastic fantastic editorial, next time! fashion the fromtalents up and coming label, featuring of designer, Amelia Until From all of us at SEVEN/SEVEN, happy Agosta and the and beautiful model,ofPaige Gwenadue, speaking up Royal. and holidays, and we’ll see you next year! In coming, addition we to the spread, we also have have full coverage of interviews with Rose’s the twoinaugural ladies, asfashion well as and Sarah Chandellier Willcocks of StyleMelbourne, creative industry arts evening, Underground Collective. all-rounder, Corrine Grbevski.
ge i a P
Until next time;
Paig e
THIS ISSUE
music tex perkins joe robinson husky reviews
p/10 p/14 p/18 p/22
the new nude anywhere but here underground collective
p/28 p/30 p/44
page 10
fashion
page 44
culture Blow Your Own Trumpet Love independent music? Stacey Piggott does. The publicity maven behind boutique publicity house, Two Fish out of Water, Stacey has funneled her experiences in the industry into what has shaped up to be Blow Your Own Trumpet: A Musician’s Guide to Publicity & Airplay; a must-have book for all up and comers. We spoke to Stacey about the book, her experiences, and the happy accidents that led her to finding her place in the music industry.
words: Paige Richards
page 5 6
memoirs of an instagram addict p/52 blow your own trumpet p/56 flix in the stix p/60
music
/INTERVIEW/
TEX PERKINS WORDS: PAIGE RICHARDS
What can you say about Tex Perkins that hasn’t already been said? A legendary presence in Australian music, he has been a part of Beasts Of Bourbon, The Cruel Sea, TnT, among many others, he has performed onstage in The Man in Black, written the score to the acclaimed film Beautiful Kate, and is the band leader for The Dark Horses—our topic for the day. Tex speaks to us about the new Dark Horses record, his writing process, and the art of interpretation.
p 10
/INTERVIEW/ Always the consummate professional even after a long day of interviews, I was greeted with a warm hello, and an eagerness to talk about the new record. Provocatively titled, Everyone’s Alone, I wanted to know what made such a bold statement a great fit for the record. “Well that’s questionable; is it a great name? I’m not even sure what I’m trying to say there”, offered Tex with a charm that undoubtedly has made him such a fan and critic favourite. Serving as a follow-up to 2011’s Tex Perkins and the Dark Horses, Everyone’s Alone sees the band move from Tex’s backing band into a unified front. “[On this record] I was able to use the band as part of the songwriting process. Last time, it was Murray [Patterson] and myself that would write the songs, demo them on our computers, and present the band with arrangements and they’d take it the next step, but this time I had the band around while I was still writing, so band arrangements were written while the songs were still being developed so it does have a more unified band sound.” “A lot of the music started as demos and I’d take those demos to the band and we’d start a rudimentary recording then I’d listen to that recording and write lyrics and a melody.”
p 12
of the time. I only really get to know what they’re about when people hear them, and they tell me what it means in context of their lives. I really enjoy that; I’m not dogmatic about what my songs are about. I’m actually deliberately leaving them openended and open for interpretation. They’re songs in search of meaning, and they find them in the lives of the listener.” “I mean, I have written songs with a lot of detail, where there’s a narrative and a story, but I’ve written just as many that have the possibility of many interpretations. You’ll lead the listener down a certain track with the choice of words, but I like to let the listener of the leash...you like the alliteration there?”, he laughs.
It is tremendously interesting to hear how one of the great Australian songwriters crafts his art, and Tex is more than happy to offer insight into his writing process. “It’s really about opening your mouth and making sounds come out. It’s a terrifying thing we all face, the blank page, the black canvas. You’ve got nothing and it’s a tremendously exciting and terrifying thing - the first opener. I don’t know what it is, but you just need to get the ball rolling. Sometimes I’ll go in and just make sounds that fit the phrasing of the music and eventually, you come across something that sounds like a word like that, and you can work from there. I don’t think any of these songs started with me having that specific idea and tried to impose that idea onto the music. I’ve just had to face that terrifying moment of having nothing and opening it up.”
The art of interpretation is something that seems to serve as great inspiration to Tex. “A lot of great art, especially paintings, are open to interpretation. Ten different people could look at a painting and see ten different things; physically see different things, and therefore will have a different emotional response. There’s a few instrumentals on the record, and the same can be said for that, it’s completely freeing the listener up [to their own interpretation]— freeing their imagination.” What else seems to be open ended is the cover art for the record. A barren landscape, (photographed by Tex’s partner Christina in New Zealand) is devoid of life seems to echo the title, but in the background a hopeful mountain-scape appears. A classic ‘half empty/half full scenario. “Originally, we were heading towards a different cover, one that included the title, but once we’d decided on Everyone’s Alone, this seemed like the right fit.”
Continuing on, he adds, “a lot of these songs [on the record]...they come charging up from my subconscious. You do start to recognise themes, and ideas and try and connect them all together, but what a lot of these songs are about alludes me a lot
The record itself is wonderfully crafted, with many interweaving themes running throughout the tracks, but is it a concept album? “I am a big fan of the concept album, and if I had added some sound effects, a little bit of dialogue floating here and
/INTERVIEW/ there a la Dark Side of The Moon, I almost feel like there was enough elements to have it as a concept album. So it’s almost there. Last album was more like an accumulation of songs, written over a period of time, and it was like ‘oh, I’ve got a lot of songs, I’ll go and record them’, but this record was written within a confined space in time. Without really having a true concept, the songs are certainly are connected to each other and I see them as a group, existing much more comfortably together than individually.” Having been a part of iconic bands The Cruel Sea, TnT, and Beasts of Bourbon, written the score to Beautiful Kate, and starred in The Man in Black: The Johnny Cash Story, just to name a few of his projects, it seems that there’s nothing that Tex hasn’t tried his hand at. I asked whether there was anything more he wants to accomplish. “All of those things are opportunities that people bring to me. I guess I could go out and spruik myself - yelling ‘soundtrack writer available!’, but I have to wait until I’m invited to be a part of these projects. I’m very lucky to be in a position where people do think of me, but I kind of just have to wait for opportunities to come up. That’s one of the wonderful things about all the other aspects of my career, other than making music, I don’t know what’s coming next. I don’t have any goals, my only goal is to accept opportunities as they come along. The exception is creating music, putting a band together, that’s the only thing that I truly have control of.” “Something else I’d like to explore more and more is to really find out what The Dark Horses is. For a long time it’s existed as my backing band, I really want to explore the idea, and provide a platform for these interesting musicians to interact. I struggle to really nail down what sort of band this is, I guess it’s sort of a folky/country/acoustic centre to it, but it can go all sorts of ways and can expand, so we’re still exploring where this band can go.” What will be exciting for fans to hear, is there may already be plans for the next record underway. “We planted the seeds of this record touring the last record, so I imagine we will do that again this time. I get very anxious if I’m not doing things these days, I really get a sense of wasted time. Maybe it’s me getting older, but I really feel a true anxiety building, so I really need to get involved in these projects just to relieve that anxiety.”
One thing that he (and the fans) don’t have to wait for is a tour for this record. At the time of the interview, The Dark Horses had just played shows in Tasmania, and were preparing for the record’s release and the rest of the tour. I asked what should audiences expect from the shows. “The show is] a great blend of interesting personalities and musical styles. Basically I’ve got a bunch of interesting people on stage with me; there’s a lot of instrument swapping...we’re all in the centre of a very confusing mix of crossed leads and equipment.” A bunch of great musicians playing songs from our past, songs from the new record...I’ve done a little bit of polling on Facebook, looking for obscure gems [people want to hear], and we’ve been paying attention and putting a lot of the requests in—especially the interesting ones that we haven’t done in a while, or even those that we’ve never done. We’ll be continuing to do that. I think the show will get broader, and longer as we go along.” Tex’s passion for his craft is apparent throughout our conversation, especially as we had long past the allotted time for the interview, he showed no sign of fatigue speaking about the record. Although having been a mainstay within the industry since the 80s, Tex seems to be no less excited to be making music now than at the beginning of his career; a testament to why audiences continue to fall in love with his music time and time again. Everyone’s Alone is out now through Dark Horse Records/ Inertia.
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/INTERVIEW/
JOE ROBINSON WORDS: RUSS BENNING
Earlier this month I had the pleasure of
with my audience and just release as much
chatting to home-grown guitar hero and all-
stuff as I can.” Australian fans will be well
round nice guy Joe Robinson closely
advised to check out the current tour
following the release of his new EP, Toe Jam
bringing to our shores a more local flavour;
and preceding his current Australian tour
“In the past I have had American musicians
(check out http://joerobinson.com for
come over with me, from Nashville, but this
dates). Over the course of our conversation,
tour I’m using all Aussie bands, so that’s
Joe spoke to me about the tour, his
pretty cool and this show is a little heavier
influences, and a surprising collaboration
than the others I’ve done in the past; its
aspiration.
definitely got more of a hard hitting
Joe’s unique style is heavily influenced by
influence to it”.
‘classic era stuff’ including 50’s psychedelic
Although Australia is “always going to be
rock, and blues rock, as well as groups like
home” for Joe, and he adds that he “will
The Police that inspired the ‘power trio’
always be coming back here”, currently, he
style of his last show. Listing his current
is based in Nashville, Tennessee.
motivations, Joe mentions a lineup of
with writers, musicians and studios,
alternative music including artists like Gary
Nashville was a logical step forward for Joe’s
Clark Jnr and the Black Keys, admitting,
music and has pushed him to enhance his
“there is a lot of modern music that is really
music due to its competitive nature. “I think
good”, and quite wisely pointing out that as
Nashville is a place with a legitimate music
an artist it is important to “let as much
industry, it’s really a huge thing, and I think
influence you as you can”.
unless you’re in Melbourne [in Australia] it
New fans will enjoy the fresh, smooth and technical sound that Joe has personalised, and will undoubtedly be impressed by the
Littered
can be hard. I'm from the mid-north coast and up there it’s really hard to be a professional musician”.
standard and professionalism of the 21-year-
Another tick for the music city; Vegemite
old artist. Existing fans are in for a treat with
and Weet-Bix available, providing a little
the new EP, bringing a ‘rawer’ sound to the
taste of home! As much as he loves our fair
table, promising to “capture the feel of a
land, "it’s hard because it’s so far from
live show.” The super talented artist wrote
Europe and America”. Plans of moving to
and recorded Toe Jam in just five days, and
Los Angeles are in the mix, however, to
is constantly working on new material with
somewhat bridge the gap between home
another few EP’s on the way.
and abroad, as well as to further develop his
He is very
mindful of the fans and his plans are to “keep the lines of communication flowing
p 16
career.
When asked about his career highlight we
the foot down and write”, wanting to
are taken back to Tennessee for a festival
release more music as soon as he can. Joe’s
that was named one of the "50 Moments
Australian tour wraps up on the 15th of
That Changed Rock & Roll" by Rolling Stone
December, then he’s back off to the States
magazine; Bonnaroo which he performed at
for Christmas. Be sure to check out the new
in 2010. The four-day festival hosts some of
EP ‘Toe Jam’ available in stores and iTunes
the biggest and most diverse names in
now, and keep an ear out for the name Joe
music including the Red Hot Chilli
Robinson; I have a feeling this young star is
Peppers, Alice Cooper, Skrillex, Eminem
only just getting warmed up…
and Stevie Wonder. Number one on Joe’s wish list of collaborators (much to this reporters surprise and delight) is Kanye West.
He explains that Kanye is “really
creative and pretty brilliant” regardless of if ‘you’re into hip-hop’ or not.
Toe Jam is out on iTunes now. For upcoming
Joe is back to the US in 2013 for a jam
tour dates, go to
packed calendar of gigs as well as to “put
joerobinson.com.
p 17
/INTERVIEW/
HUSKY WORDS: PAIGE RICHARDS
HUSKY have certainly had a massive year. After releasing their debut record Forever So, late last year, they’ve been touring extensively throughout Europe and the US to rave reviews. Now back in the country, the Melbourne four piece are heading back on the road ahead of the Falls Music and Arts Festival. We spoke to frontman Husky Gawenda about the festival, life on the road, and what inspires him.
/INTERVIEW/ You’ve just wrapped your North American
sense of where they’re from, and what makes
tour, but are back in the country for a
them think. It’s an amazing experience.
national tour ahead of the Falls Music and Arts Festival; How does it feel getting
Do you find that the US and Europe have
back to some familiar faces?
a different response to the show?
We only just got back yesterday, actually. We
I think there are probably small differences in
had an amazing time and got to go to some
audiences in different places, but I think it’s
incredible places and meet some amazing
hard to generalise about audiences, for
people, but it’s always really nice to be back
example, all over America, or all over
home. We’ve been away so much of this
Australia. I think you find differences within
year, and we really missed it. I think we’re all
audiences in different places in Australia, and
really happy to be back, and can’t wait to get
the same definitely goes in America, with it
out and play some shows, and see some
being so huge and having so many people,
familiar faces and old friends. It’ll be good to
and such different states. I will say though,
be back on the road in Australia, that’s for
being a foreigner in a different place, people
sure.
generally are very open and interested in you because you’re from somewhere else, and
Having toured through Europe and have
the audiences [overseas] have been very
Forever So out in the US, how does it feel
warm and welcoming to us, which has been
having gained an such an international
really nice because we were so far away from
following?
home, playing in places we’ve never been before. It’s been really nice.
It feels kind of surreal on the one hand; it was not something that I thought that would
The record, Forever So, has such a
happen at this point, if ever, really. When we
stunning, engaging quality to it; where did
made Forever So and released it, we had
your inspiration for the record come
fairly humble plans and we only really
from?
thought about Australia and touring around Australia and that was a dream for us, so to
I think that inspiration is a very mysterious
go beyond these shores and go all over
thing; I think it comes from not any one place
America, and the UK and Europe, it’s kind of
- not for me, anyway. I think at the time of
surreal. But it’s great; it’s such a privilege to
making the record and writing the songs
get to travel the world, and see so many
what was inspiring me was internal and
different and interesting places, and most of
external. Things that had happened in my
all, just being able to meet people from all
life, happened in my past, memories, and
over the world and have them come to our
dreams.
shows, and listen to our music, and get a
p 20
/INTERVIEW/ That, as well as things that I was seeing in
the shows and getting to know them, and
the outside world; everyday things...a
learn more about the place they live...that’s
beautiful spring day, a bird singing outside of
always the highlight.
a window - anything, as well as books I was reading, or music I was listening to. I think that it sprung out of so many things. The other thing that I think was inspiring us was just the idea of making something worthwhile, something that people could listen to and get something out of - that was definitely inspiring and motivating us. Are there plans underway for a follow-up record? We’re probably done with the overseas touring for a little bit - we’ve really spent most of the year touring, so now that we’re back and we’ve got a few shows and some great festivals to play. At the beginning of the year we’re going to start recording, I’ve been writing as we travel, so we’ve got some songs to start off with, and we’ll continue to write. It seems like you are constantly touring; what’s been a highlight from the road?
What should audiences look forward to for your set at Falls? If they know us, and our music, hopefully they’re looking forward to hearing the songs in a live setting. I don’t think there’s anything like hearing live music. I’m a big fan of records, and always have been - you can have amazing experiences through listening to them, but I think live music is the soul, it’s the heart of what we do. We put everything into our live performances so I hope we rise to the expectations. Is there anyone on the roster you’re looking forward to checking out? Yeah, there’s lot of people. From an international perspective, I’m excited to see Rodrigo y Gabriella, First Aid Kit - I saw them for the first time in LA and they were beautiful singers, our Sub-Pop labelmates Beach House, I haven’t had a chance to see them yet, and locally...there are so many
I think it’s hard to pick one highlight; I could
great local bands, some of which are our
pick a few cities that I’ve loved visiting....I
friends - Tin Pan Orange, The Trouble with
guess going to places like New York, or San
Temperton and many others. It’s a great line
Francisco, or Berlin...places I’ve grown up
up.
reading about, and seeing films about, it’s been amazing to actually go and get to
HUSKY are touring nationally now, and will
know a little bit. But the highlight of the
be playing Falls Music and Arts Festival in
touring is always getting to play these great
Lorne. Forever So is available on iTunes and
shows, and the warm responses we get from
in record stores.
the audiences. Getting to meet people after
p 21
/REVIEW/
THE DARK HORSES EVERYONE’S ALONE There isn’t a lot that Tex Perkins can’t do, or for that matter, be. Having been a vital part of Australian music for decades, we’ve seen him as a singer/songwriter, rock legend, pub rock icon, and now with The Dark Horses, one fifth of a well-oiled machine. Following up from 2011’s Tex Perkins and The Dark Horses, Everyone’s Alone explores Tex, the bandmate, rather than Tex the solo artist.
Fans of Perkin’s work with The Beasts of Bourbon will appreciate ‘You Already Know’ and ‘A Real Job’, both featuring fuzzy guitars and Perkin’s distinctive growl.
The piano-driven title track is a world-weavy musing, with lyrics like,“we use a word like ‘forever’, but it’s just pretend”. The subject matter is handled brilliantly by Perkin’s delivery with the instrumentation serving as a stunning back drop. The tone of the track is carried through to beautiful ballad, ‘Who Do You Think You Are’.
Everyone’s Alone sees the The Dark Horses move from Tex’s backing band to a full entity, and if this is a sign of things to come, the Horses will take their place alongside Tex’s previous vehicles in Australian rock royalty.
p 22
What is a highlight is the beautiful instrumentals punctuating the record; keeping the tone running throughout, and uniting the songs with a common thread.
Download: ‘Everyone’s Alone’, ‘You Already Know’.
/REVIEW/
LISA MITCHELL BLESS THIS MESS Lisa Mitchell; Australian Idol, Hottest 100 entrant, Australian Music Prize winner, and Triple J darling. Following her debut record, Wonder, her latest effort, Bless This Mess (with production of Dann Hume of Evermore) shows a more mature Lisa, full of variety and confidence.
announcing she’s “Still filling my space, still finding my place,”
Recorded in rural Victoria, Lisa took notes from the area and took the time to explore and experiment, and the record is much richer for it.
Overall, the record strong statement of Mitchell’s career progression. Her voice is stronger too (although fans will be happy to know her pixie range still comes into play). A grown up record for a young girl becoming a strong woman.
Arcade Fire influenced, ‘Providence’ opens the record and sets the tone for what’s to come. Lisa appears much more confident her songwriting, with larger scale instrumentation entering the fray. On ‘So Much More to Say’, she speaks to the audience directly,
‘The Present’ is a standout, featuring vocals from Clare Bowditch and Georgia Fair’s Jordan Wilson, and first single ‘Spiritus’ marks the graduation from her debut.
Download: ‘Providence’, ‘Spiritus’, ‘The Present’.
p 23
/REVIEW/
FLUME FLUME S i n c e w i n n i n g Tr i p l e J U n e a r t h e d ’ s competition to play Field Day, 21-year-old Flume (AKA Harley Streten) has gone from strength to strength, and now with his debut release, his reign as Australia’s electro wunderkind is only cemented further. The self-titled record is full of Flume’s signature swooping melodies, synths, and trip-hop beats, extending the sound introduced with ‘Sleepless’, his breakthrough track that caused audiences everywhere to fall in love with him. The record isn’t all a rehashing of what we’ve already heard though; ‘On Top’ (featuring rapper ...) sees the producer delve into hiphop, and Bring You Down is a sweeping, ethereal pop song, punctuated perfectly by vocalist George Maple.
p 24
Featuring appearances from Chet Faker, Jezzabell Doran, Moon Holiday and George Maple, the guests (and the diversity of) is definitely the highlight of the record. Each bring another dimension to the tracks, rounding them out and breathing more personality into them. Overall, the record is a solid debut. A departure of the bastardised dance scene, the record is a polished, well-presented set of tracks that is sure to be the beginning of a long and successful career. Download: ‘On Top’, ‘Sleepless’, ‘Bring You Down’
/REVIEW/
SAN CISCO SAN CISCO With the refrain from their mega-hit,
‘Metaphors’ is surf-pop at it’s best, and is sure
‘Awkward’ still collectively stuck in the nation’s
to be a go-to for any summer barbeque mix.
mind, San Cisco don’t call for an introduction.
Delving further into unknown territory, ‘Nepal’
Following their EPs, Golden Revolver and Awkward, their self titled LP is sure to
sees the band play with electronica. The track itself is built around strong verses; showing a
continue the bands success.
lot of growth.
Album opener, ‘Beach’, continues the theme
San Cisco’s work ethic is incredibly evident
of Jordi Davieson and Scarlett Stevens
with this record. Lesser bands may have fallen
sharing the vocals over the breezy track’s catchy melody.
back onto previous hits to power the record, but the band is more than happy to let the
‘No Friends’ is definite single-material, with the band returning to the fast-paced and youthful sound that gained them recognition.
music speak for itself. Download: ‘No Friends’, ‘Nepal’.
p 25
fashion
/BEAUTY/
TREND REPORT:
THE NEW NUDE
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one - a bronzer, an illuminator, and a blusher. Sparingly sweep the bronzer from your ear
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towards your chin to contour, apply the blusher
To create the look at home, all you need is the
to the apples of your cheeks, and use the illuminator across your brow bone, and down
products below. Want to know the best part?
the bridge of your nose.
Every product is below $50! For a subtle eye colour, e.l.f. Studio Cream To start, apply a thin layer of Garnier Miracle
Eyeshadow ($.9.99) in bronze is a perfect fit.
Skin Perfector BB Cream ($13.95) to your face.
Creamy in nature, the shadow blends
Matching to your skin’s natural tone, the cream provides great coverage without feeling heavy,
fantastically into skin, setting as a light shimmer. To complete the eyes, L’Oreal Paris Mega
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Volume Collagene 24H mascara ($27.95)
To cover any dark circles, or blemishes, use the
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NP Set Concealer set. The palate can be built
lashes to create more volume, then sweep out
upon and blended to match the coverage desired, and with five creamy shades for $28, it
almost horizontally for silky, non-clumpy lashes.
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To finish the look, apply a dash of everyone’s
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For the illusion of razor sharp cheek bones,
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1. Garnier Miracle Skin Perfector BB Cream $13.95 2. NP Set Concealer set $28.00 3. L’Oreal Paris Mega Volume Collagene 24H mascara $27.95 4. Napoleon Perdis Ultimate Contour Palate $45.00 5. e.l.f. Studio Cream Eyeshadow $.9.99 6. Lucas Pawpaw Ointment $4.99 p 29
anywhere
but here
photographer: leigh crow photographer’s assistant: dale bordin stylist: simone vinski hair/make up: jaynelle lording model: danielle @ gear models
previous/this page: earrings: stylist’s own top: naven from scene fashion & lifestyle (107 High Street, Preston, Victoria, (03 90041310) pants: gwenadue(www.gwenadue.webs.com) Shoes: stylist’s own
previous/this page: necklace: stylist’s own jacket: gwenadue (www.gwenadue.webs.com) top: stylist’s own skirt: gwenadue (www.gwenadue.webs.com)
necklace: eat.me.do (www.etsy.com/shop/eatmedo) top: someday’s lovin’ from scene fashion & lifestyle (107 High Street, Preston, Victoria, (03 90041310) jacket: gwenadue (www.gwenadue.webs.com) skirt: stylist’s own
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earrings: bam bam vintage (www.vintage-clothing.net.au) jacket: sgt sookie (www.sgtsookie.com) top: stylist’s own skirt: stylist’s own
UNDERGROUND COLLECTIVE
Melbourne’s finest up and comers from the world’s of music, fashion, and design gathered at the city’s favourite art space, Revolt Productions to celebrate the Underground Collective—brainchild of stylist, Chantelle Asciak and graphic designer, Tom Fancke, and featuring fantastic labels, Sol Hermana, El and Tino, Tee Ink, and many more.
Melbourne’s Revolt Productions served as
and SEVEN/SEVEN favourites Sol Hermana
the perfect backdrop for the Underground
brought the fun with innovative shapes and
Collective to take over on a
punchy prints.
Wednesday
evening, with the many quirks of the venue echoing the unique and talented artists
Jewellery was supplied by bohemian inspired
showcasing their work. Organised to launch
Barbarian Gypsy, and for those that like
the rebranding of Chandellier Rose: Online
their pieces a little tougher, the rock-chic
Independent—an online store allowing up
aesthetic of GMK Exclusive.
and coming designers to get their work shown (and more importantly, worn), the
Ameca Calleja gave a different take on
evening was filled with amazing designs,
spring/summer, playing with shapes and hem
fantastic music, and delicious drinks.
lines, offering the crowd something to stand out in.
Soundtracked by local bands, Jakubi and Good Morrows, the vibe of the evening was
For the boys, Sydney brand, Tee Ink showed
fun, fresh, and exciting—much like the labels
off their take on mens fashion with their in-
on display.
house designed prints on tanks and tees, and for the boys in the audience, Mijanou
Not a conventional runway (and, really, who
Swimwear’s sexy take on beachwear had the
would want that!), the models made up
models beach-ready.
flawlessly by Academy of Make Up and Biba sauntered across the floor in front of a pop-
Closing the show was the ‘grade A best sh*t
art inspired film spot for each designer.
in town’, Harry Wragg, showcasing the best vintage pieces you can get your hands on.
Opening the show was El and Tino’s special brand of alternative evening wear from their
If you missed out this time around, don’t
latest collection, Ti Voglio Bene (translated; I
worry! Plans are underway for the next
love you so much it hurts), the feminine
showing of the Underground Collective for
shapes punctuated by the hand embroidered
early next year, and in the meantime, don’t
take on Russian prison tattoos.
hesitate heading to Chandellier Rose: Online Independent to get your hands on the
Fiends and Lovers showcased their clash
fantastic pieces from the designers now!
between hard and soft, with flirty dresses
chandellierrose.com.
paired with studded jackets and punk prints,
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All images courtesy of David Harris Photography DHphotographics.com
culture /LOOK! IT’S ISOBEL KNOWLES/TO INK OR NOT TO INK/ FUTURE PROJECTIONS/ BEYOND KONY/ OH, YOU HAVE A NEW CANON DSLR AND NOW YOU’RE A PHOTOGRAPHER?/
Memoirs of an
Instagram Addict
Words: Russ Benning
Instagram; I am an addict.
stickers and my personal favourite pillow
I denied it for a long time and covered it up
cases! Too far? Probably.
when I realised what was happening, but I
Photographers quickly jumped on board
can’t deny it anymore and I need to admit it
seeing it as the compact, go-anywhere
to the world…I am addicted to Instagram.
version of what we do professionally. In fact,
An #igaddict is what they call us, and what
Damon Winter published a summer series
we call ourselves. How did it happen? I’m
for the New York Times using Instagram, and
glad you asked…
got a third place in the ‘Pictures of the Year
The global phenomenon, accept-nosubstitute, instant photo sharing sensation that is Instagram didn’t start off as gloriously as its current market position.
The retro-
rehash, square format, smartphone photo craze started almost as early as the first sales of the original iPhone with its 2 megapixel camera back in 2007 (smartphone photography exists on Android and Blackberry based phones, but not nearly as popularly).
International photojournalism competition’ for Hipstamatic shots covering the War in Afghanistan. Frowned on by many as it was seen as becoming a bastardisation of p h o t o g r a p h y, t h e l a t e r t a g g e d ‘iPhonography’ was defended by brilliant, and highly accredited photographer Chase Jarvis, illustrating the point that photography is meant to be enjoyed by everyone, therefore isn’t this a good thing?
Instagram rose to supremacy
Where it gets very interesting, and slightly
somewhere between its launch date in
controversial for me, is the point where
October 2010 to the present day, surpassing
photographers started using Instagram to
such pioneers as ‘Hipstamatic’ and ‘Camera
share their professional portfolio.
Bag’, mainly due to it’s easy clean interface
personally disappointed by this movement
and flawless marketing.
When Facebook
believing that it’s one or the other;
picked it up for a cool one billion dollars
professional portfolio through the regular
earlier this year the app exploded in
means (websites, social media, galleries), or
popularity and features. As well as the app
iPhonography which puts everyone on a
itself, there are now over 20 tag-along apps
level playing field. This was until Facebook
all trying their hand to capture a slice, from
swooped in and created the above-
extra filter apps, to frame and diptych apps.
mentioned boom and made it an
Also there was the emergence of such
undisputed channel of promotion, especially
websites as ‘Statigr.am’ which offers online
for photographers since the app is images
access to all of your pics, followers, stats,
only. It became borderline ridiculous not to
and so much more including options to get
embrace the extra channel so I gave it a go.
a collage of your Instagram pics as posters,
p 54
I was
@randrdigital’s photo stream
Sure enough after posting a few shots from a recent studio shoot I got an extra 50 plus notifications overnight. Impressive. I dug a little deeper (as I was getting followers and likes
from
users
such
as
“getmorefO11Owershere407” and “mcacashking3”) and discovered there are Instagram bots that can be purchased to auto follow, auto like and auto comment. Turns out it’s big business and some people are making a good living off such promotions.
The part where I personally
draw the line is posting other peoples work as your own to grow followers and likes to sell off as a marketing tool.
You’re not
doing it right, have no morals, or are a
robot, and do not have my or any other serious photographers respect. Should we all be posting our pro photos and/or adverts and inspirational quotes or keep it strictly iPhonography? I feel there is a healthy balance somewhere in between. I love the challenge of shooting and editing solely on an iPhone, where the end result is based on your creativity and understanding of light only verses the quality of your equipment; but I also cannot argue with the marketing potential offered by such a streamlined and attractive app.
You can
never have too much exposure, and as such, please accept my shameless instagram plug—@randr_digital.
p 55
/INTERVIEW/
Blow Your Own Trumpet Love independent music? Stacey Piggott does. The publicity maven behind boutique publicity house, Two Fish out of Water, Stacey has funneled her experiences in the industry into what has shaped up to be Blow Your Own Trumpet: A Musician’s Guide to Publicity & Airplay; a must-have book for all up and comers. We spoke to Stacey about the book, her experiences, and the happy accidents that led her to finding her place in the music industry.
words: Paige Richards
I thought of other people that I could talk to to illustrate the different pathways artists can take and approached a lot of people that seemed really keen, and now it’s finished.” She explains, excitedly. The book aims to dispel industry myths, and to educate up and comers about what they can do for themselves. “I found people contacting me, asking if we could sign them and I had to explain to them that it doesn’t really work like that. You know a publicist will work with you, but it will cost you, and unfortunately, there are smaller bands that take a publicist on and end up paying much more than what they can afford. I think that to do your own publicity, it’s not hard and it’s not something you necessarily need to study for. You just need to have really good songs, and something to talk about, and have the time to be able to do it.”
Blow Your Own Trumpet was born from Stacey wanting to shed more light onto her industry, and to empower musicians to take control of their careers. It began when she started to put helpful information down in a Word document, “to give people who are grassroots who approach [Two Fish], guiding them how to handle their publicity for their single, or their first EP release, and to let them know all the things they can do for themselves first [before taking on a publicist]. [People] can end up wasting a lot of money if they’re not ready for a publicist, and a lot don’t really know what it is that a publicist actually does, or what a radio plugger does”. “I was talking to a couple of our clients about it and they offered stories about their own experiences, and what they had done for themselves and the different things that they’d learnt, and it got so big that it wasn’t going to be contained within one document, so it had to become a book. Then
p 58
Continuing, she adds “I don’t think people realise that you can get your songs on radio without paying a radio plugger, or think that without paying a publicist you can’t contact journalists, but they can. If you’ve got a really good product, or album, or a great live show, you can push a little bit harder, and contact those people.” Blow Your Own Trumpet not only is full of helpful advice from Stacey, but includes interviews and advice from artists, including punk hero, Henry Rollins, Dan Williams from Art Vs Science, and Gareth Liddiard from The Drones. “Having the different artists experiences [within the book] really illustrates that there are many, many different ways that an artist can make a career. There are contradictory opinions in there, but what works from one may not work for the other. I think that having those was a lot more powerful than some faceless publicist putting a whole lot of stuff down on paper,” She laughs. “There’s artists stories and opinions in there that other artists can relate to, because they are fans of that artist, or are aware of them, so it makes
it more realistic. Knowing that a band like The Waifs literally did all their own stuff, delivered their CDs to record stores, rang the local pub, contacted the media and built up their own database. It’s so much easier now that everything’s on the internet, at your fingertips, and all these state bodies that support the arts. It’s really broken through that outer layer.” Stacey is no stranger to starting grassroots, having started her own publicity career as a happy accident. “I started with The Waifs—they were doing everything for themselves; they were booking themselves, distributing themselves, managing and publicising themselves. I met Donna [Simpson, singer/ songwriter for The Waifs] when I was waitressing in Bondi. I was a freelance journalist at the time, and I started working with them as a bit of a joke. I was going to newsagencies with a notepad, taking down names and contact numbers for the magazines, and went home and started calling people. I had no industry experience, no publicity experience, but we had a really good time, and did a really good job with it. Through those guys I got a lot of other bands asking if I could work with them.” Stacey’s passion for her work is obvious. When I asked about what it is she loves about independent music, she responded without hesitation; “I take it very seriously when somebody hands me something that they’ve created—like an album, or if they’d put the work in to do a tour. I like knowing that if I do what I’m meant to do right, I can make a difference to them and help get them to the point where they don’t have to work a day job, and they can make a living from their music. You get to know these people when you work so closely with them, and they’re good people and they love music, and they really want to work really hard. You also get to see the joy that music brings. I remember being at a Clutch gig, these two big bikie guys were there and when the music started they had tears in their eyes and started hugging each other—just being so excited. I love being a part of that, bringing the music and people together and helping to inform people where they can get the music that makes them feel like that.”
“Also, with the bands, they put so much work into what they do. I love that independent bands they get to keep creative control, and they don’t have to bend in any particular way. I feel really strongly about bands being able to run their own brand, and their own business. I like the idea of being able to facilitate that. There’s so much good music coming out of this country, so many talented musicians and talented songwriters coming out of here.” On the subject of the state of the industry, Stacey offers “I think that [now] bands are now feeling more empowered. Some of those old record deals are archaic; making bands feel like they’re trapped in a really bad marriage, so it’s great seeing the industry as a whole is changing [to facilitate new media]”. For her hopes for Blow Your Own Trumpet, Stacey says, “I hope that it is helpful to people, I’ve spoken to a lot of artists and I just get really sad that there’s a disillusion [about the industry].” She adds one last piece of advice as our interview draws to a close; “Bands sometimes don’t know where to start, so [unfortunately] they just don’t. I think it’s important for people to know they have the power to make things happen. If you want a gig, you can pick up the phone. Want a story in stress press, get contact details, and pick up the phone. It’s all about starting talking to people; there’s no fast way to do it. For me personally, I’ve had ‘no’ said to me so many times over the years that I’m used to it - you just roll with it and move onto the next thing. [laughs]” Blow Your Own Trumpet is out now. You can order your copy from twofishoutofwater.com.
p 59
Optus Flix in the Stix returns in 2013 with a record number of events to celebrate their fifth year. Twelve regional centers across the east coast of Australia will play host to the annual evening of eclectic short films, spine tingling music performances, spoken word, comedy, delicious nosh and great company. Held under the stars in stunning surrounds, including botanic gardens; sprawling paddocks and picture perfect vineyards, Optus Flix in the Stix will undertake their most ambitious tour to date calling into multiple cities in Queensland and Victoria for the very first time.
Aside from expanding the tour, what else is exciting? Flix in the Stix is taking on it’s first guest curator in 2013; Nash Edgerton. An industry heavy weight with their finger on the pulse of the freshest short films being created, Nash took out the honour for favourite film last year. After winning the popular choice award for best film of 2012 for his short Bear, it seems only fitting that Nash would return in 2013 to share his own favourites, for an evening of the best short films on offer. Edgerton is a true multi-hyphenate. After getting his break at 18 years old as a stunt performer, he has gone on to establish himself as an multi-award winning actor, stunt performer, editor, producer, writer and director of indisputable talent. Back in 1996 Edgerton made his short film directorial debut with Loaded, a year which also marked the beginnings of the film collective Blue Tongue Films, formed with his brother Joel Edgerton and friend Kieran Darcy-Smith. A year later Nash began amassing his collection of awards, taking out the top prize at Tropfest and heading straight to the Sundance Film Festival with Deadline and he’s since directed 8 multi-award winning short films including Fuel, Lucky, Spider and last year’s Optus Flix in the Stix audience favourite Bear. This is a guy who knows his way around a good short film, which is why he’s been
p 62
asked to choose his favourites for you. Recently he’s been splitting his time between Australia and the US, working on The Great Gatsby, Kieran DarcySmith’s Wish You Were Here and Sofia Coppola’s The Bling Ring as well as directing music videos for The Hilltop Hoods, Bob Dylan, and The Killers frontman Brandon Flowers, all in between going through submissions and deciding on his personal best picks for inclusion in the program for next year’s Optus Flix in the Stix. Twelve regional centres across the east coast of Australia will play host to the annual evening of eclectic short films, spine tingling music performances, spoken word, comedy, delicious nosh and great company. Held under the stars in stunning surrounds, including botanic gardens; sprawling paddocks and picture perfect vineyards, Optus Flix in the Stix will undertake their most ambitious tour to date, calling into multiple cities in Queensland and Victoria for the very first time. ARIA Award winning collective The Whitlams have also been announced for the Optus Flix In the Stix 2013 tour. Tickets go on sale December 3rd 2012 through Ticketek. For more information, flixinthestix.com.au
head
to
p 63
/LISTINGS/
After more information on anything featured in this issue? Look no further, we’ve got it all here.
EVERY ISSUE: PHOTOGRAPHY IJ PRODUCTIONS ijproductions.com MUA/HAIR: NATHALIE PRINCE nathalieprince.com.a u
HUSKY huskysongs.com FASHION SIMONE VINSKI simonevinskistylist.w ebs.com/ GWENADUE gwenadue.webs.com
THIS ISSUE: PHOTOGRAPHY R & R DIGITAL randrdigital.com.au
CHANDELLIER ROSE chandellierrose.com
LEIGH CROW leighcrow.com
CULTURE STACEY PIGGOTT twofishoutofwater.co m
MUSIC TEX PERKINS texperkins.com.au JOE ROBINSON joerobinson.com
FLIX IN THE STIX flixinthestix.com.au
Win with
and
!
As part of celebrating their launch in Australia, our friends from Zipbuds have generously provided us with pairs of earphones to give away! How do you win them? Just be the 50th new ‘liker’ to our facebook page, and a fresh new pair of earphones will be zipping into your ears. Easy right? A runner-up will also get their hands on a pair, so what are you waiting for? Get liking! And while you’re at it, welcome Zipbuds Australia to Facebook.
SEVEN/SEVEN M A G A Z I N E . C O M . A U