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MGMT Sorry The Magic Gang Parquet Courts Hookworms Sunflower Bean

Hello 2018, Sorry grace our first print cover of the year.

Since releasing their debut single via label faves, Hate Hate

We caught up with Louis and Asha in a London pub as they

Hate, the band have embarked on a year of copious drinking

bid to overcome the South London tag plus discuss how

and developed an infectious sound. Trekking up north to

they aim to weave electronic music into their guitar heavy

Leeds, we grab a few moments with Hookworms who have

live set. We then make two calls to MGMT, one to Ben and

made their successful return this year with the incredible

one to Andrew. The duo have released some of their finest

‘Microshift’. Bassist, MB, took the time to talk about the

work in new record ‘Little Dark Age’ and we gave them

response to the new record. Staying in Leeds, newbies

both a call to discuss it as well as their passion for cooking

Drahla have been turning heads as they visit the nations

and keeping a strong identity. The Magic Gang release their

small venues. They tell us about their formation as well as

self titled debut on March 16th. We lured them to a pub to

the great sounds coming out of the city at the moment. And

discuss the long overdue first record and their intention to

if that wasn’t enough interview for you, Gengahr return too!

rid of musical genres. Swooping over to New York City, we

We spoke to frontman, Felix, about capturing performances

chat Danger Mouse and artwork with Parquet Courts, who

in the studio and keeping things personal. On page 29

release their new record ‘Wide Awake’ in May. Sunflower

you’ll find out about the amazing Femme Collective. Ugly,

Bean have returned with a run of triumphant singles from

Sistertalk and Black Midi are three of our bands to look out

new album ‘TwentyTwo in Blue’. We talk united cities and

for in 2018 and finally, Who Are You? returns including

the power of social media with the band. Back to London

chats with Nilüfer Yanya, Stella Donnelly, Touts and more.

via Ireland, whenyoung have been pricking up the ears of the underground over the last 6 months.

3 whenyoung

28 Black Midi


29 The Femme Collective

12 Gengahr

31 Sorry

15 Sunflower Bean

36 Parquet Courts

17 The Magic Gang

37 Who Are You?

25 Sistertalk

39 Drahla

26 Ugly

42 Hookworms

Pretty Pure

When You Die

Where Wilderness Grows

Damned Love Children

Golden Years

Suit Up


Too Tangible To Ignore

Guardian Angels

Home Demo/ns

The World is a Vampire

Get To Know

Fictional Decision


Opposite, So Young Illustration Competition Winner, Danny Miller (Chuck Berry)

whenyoung Limerick trio whenyoung were first acquainted through the

not necessarily people who we’ve networked our way into

universal bonding experience of sneaking bottles of vodka

knowing, but just people we’ve met and got a long with. It

into the local indie night- a rite of passage for all regular

was essentially a year of being an alcoholic, which helps

underaged pissheads. Dissatisfied with the dire indie scene

with meeting people.

offered by the Irish city, however, they moved to London in search of more- although exactly what more was, was yet to

With the sexism rampant in the music industry, do you

be decided.

feel being a female fronted band affects the way the industry at large (Promoters, labels etc) treat you?

Brilliant new single Pretty Pure, released on Yala Records, is a track of blissful, feel good melodies, underscored by a

The line-ups we’re booked onto all seem to share something

throbbing bassline, whilst intermeshed with spiky, uplifting

like a woman singing, even if the music isn’t actually

guitars. Lead singer Aiofe Power’s angelic voice floats

similar to ours at all. They seem to find it less about the

ethereally above a rawness and simplicity evocative of

music and more about the ‘image’ of what they’re doing. We

the rawness and simplicity of early Libertines, but with

are also on the receiving end of constant lazy journalistic

pure pop melodies replacing the chaos and smack that

comparisons to other bands with women in them regardless

characterised the Libs. Yet rather than another run-of-the-

of genre, which would never happen if the band were all

mill pop-rock band, what sets whenyoung apart is that


their music is underpinned by a sense of tenderness and unashamed vulnerability, truly capturing the sense of how

You covered ‘Fairytale of New York’- what inspired that

it feels to be young and uncertain of the direction one’s life


is taking. We just absolutely love that song, we’re massive Pogues Perhaps the teenage ubiquity of their meeting is mirrored

fans, and we wanted to do a Christmas cover, so decided

in the music they create. They’re not trying to reinvent the

to just do the best Christmas song there is! We got Gabriel

wheel- but traverse the borderline of pop lionisation with

Bruce to do Shane’s part as well, and he was brilliant.

something more nuanced and subtle. They may yet be on their way to fulfilling their less underground aspirations,

And did that lead to doors opening?

but no matter how much “bigger” their sound becomes, whenyoung are sure to retain that unaffected edge found in

Yeah, someone heard it and liked it, and we were then

all great pop bands.

invited to Shane McGowan’s 60th birthday party! Real A-List stuff, Nick Cave, Sinead O’Connor were there. I

Not hailing from London originally, do you think this

was quite nervous to be coming on to sing Dark Streets of

has impacted the way you’ve been received in the city?

London with the Pogues at the National Concert Hall. But it was a real party, really emotional too- being there and

We didn’t know anyone, and so we had to really start from

watching Shane perform live too, it was very emotional.

the bottom. We got lucky with our manager, I was her gardener, so that’s how that started. We made connections

Describe whenyoung in five words.

as well, just hanging out drinking a lot, meeting new people. And a lot of our videos are made by friends of ours-


Irish Popstars in Boiler suits.

Words by Dan Pare, Illustration by Chiara Dal Maso

So Young Illustration Competition 3rd Place, Bo Matteini (The Beatles), opposite, 2nd Place, Nan Lee (John Lennon)

MGMT Everyone knows MGMT. The band who dominated the

The other weird thing is listening back to ‘Kids’ now. Or

late noughties with their synth pop smash hits, have spent

‘Time to Pretend’ say. Those are weird songs. They’re

the last ten years putting out brilliant, if at times baffling,

not like verse-chorus pop songs.

albums. With their new album ‘Little Dark Age’ out in the world, we called up Ben and Andrew (in that order) to talk

At the time it was not apparent that they were songs that

cooking, computers and why the kids might just be alright.

could be hits. When someone at Columbia Records reached out to us and decided that they wanted to give us a five

The new songs are great. ‘When You Die’ particularly.

album record contract, we were just laughing, you know. We

There’s something about that song that feels really new,

couldn’t believe that they actually thought that people were

it got us really excited about MGMT again.

going to want to listen to this. But we were like, ok, you know, if you think this is a good idea then I guess you’re the

I’m glad you felt that way. I think we like to change it up on

record label! But we didn’t really see the commercial angle.

every record. I don’t know. Like to us, we don’t really have a sound that’s like our sound. We just keep trying stuff. But

Do you ever just feel like, what the hell. How did this

I’m glad you felt that way. ‘When you Die’ was the first


song we finished off the record actually. Yeah, kind of constantly. But especially the last couple of It seems with you guys there are a lot of narratives

years. Andrew and I have been living very normal lives.

floating about. MGMT is a name a lot of people probably

Getting more into things like cooking or whatever, and then

know, but the image beyond that can maybe get pretty

to be going back out on this little promotional tour and


being back in Europe and talking about ourselves all day [laughs] it’s a strange life.

Yeah, I mean when we put our first record out we appeared wearing a bunch of face paint and psychedelic clothes

So is cooking you’re thing?

and all this stuff and people just assumed that’s what our identity was, but it was just for the video for ‘Time to

Yeah, cooking. I’m also into computer programming. That’s

Pretend’. So we dressed like that and then people thought

something I started doing to keep sane on the road. To do

that we were always like that and were coming to our

a disciplined thing where there’s a right way to do it and if

concerts dressed up… In reality, I’m a shy nerd who

you make a mistake it doesn’t work.

likes to spend a lot of time at home and wears jeans and a t-shirt most of the time and I was like, this is kind of

This is a segue, but are you one of these crypto people?

ridiculous. And then it’s been really strange to hear people’s interpretations about what’s happened over the last 10 years

I think it’s like in some way it feels just very telling of

as a band. Because I think a lot of emphasis gets placed

the time we’re in right now. I think it’s such a confusing,

on us reacting to a lack of commercial success on our last

interesting thing. It’s almost like an alchemical thing. It’s

few albums. Whereas for us, it’s been a great opportunity

just like creating something out of nothing. And assigning

to make the music that we want to make and to be able

meaning to it. But then money is kind of like that too, but

to make a living in this industry and not to have to be too

then we all believe in money…

obsessed about having a big single.

Words by Rob Knaggs, illustration by Alec Doherty


Do you get a chance to listen to much new music?

And the thing is we actually sent a friend of ours to Manila to get in touch with a band called True Faith and they

I’m really bad about it, I kind of stumble across things

produced a video and made a version of the song and we

every now and then. Like Lemon Twigs, I didn’t really

made a video for that. So the video concept seems to be

know their music very well, and then I saw them play at this

happening in real life. Similarly, it’s fun to tell this sort of

festival and I was like oh man, these guys are really at the

ironic story about these college kids imagining pop stardom.

top level.

It’s kind of funny. It’s a song about our relationship in some ways.

Yeah it can be super intimidating when you see these 17 year old kids who are so switched on with music or social

Do you listen to many new bands?

media or business skills and just have their shit together. I do a little but um, but probably because I’m always I think it’s also easy for me to be jaded because I’m from

collecting records and getting into the home stereo, almost

the generation that crossed over between. I remember being

like hi-fi world I’ve really got into vinyl. But I definitely

young and people didn’t have cell phones and if you were

check out new music. I listen to the radio when I’m driving.

going to hang out with people you had to make a plan and

But I wouldn’t say I’m too clued in.

go and meet at a place and if the plan changed and you didn’t find out about it, you’d show up there and nobody’s

When you write do you write conceptually. With

there and remembering what that was like. I’m not like

narratives in mind?

nostalgic for it. It’s more like it’s confusing to me, to not be of the generation that’s just like, this stuff is normal.

Maybe more in the past. You know I think that on our first

But I try not to be cynical about it. I don’t want to judge

record we had this really strong idea of imagining this post

technology too much, but at the same time it’s a strange

apocalyptic world where these kids had banded together.


We normally have concepts but on this album we didn’t think so thematically. At least lyrically. The theme maybe

Hi Andrew, so tell me about the visual side for this

would be the rediscovery of the creative bond that Ben and

record. Because it seems to have a really strong identity.

I have, and getting it to feel as exciting as it did when we

Are you and Ben involved in that side of things?

met in college. And we actually did that by collaborating with other artists and by opening up the creative concepts to

Yeah we are. We have been on pretty much every album, but

work with friends and not cutting everyone out, like we had

with this album we went back to working with friends of

done maybe on our second and third album.

ours and it’s been way more fun. The first video for ‘Little Dark Age’ was directed and written by two close friends

As college friends, it must have been weird to have your

of ours who we went to college with. They really get our

friendship suddenly become your livelihood…

humour and our references so it was fun to take cues from that to put into the video. The ‘Me and Michael’ one which

It definitely puts a strain on the friendship side of things

came out recently that was fully mine and Ben’s concept.

when you have to deal with business or make decisions on

It’s kind of a complicated.

legal things. It’s weird to have to combine those two sides. But I think actually that we’ve weathered the 15 years or

Talk us through it...

however long that we’ve known each other remarkably well. Especially as a duo. I’ve seen other duos that have been

Yeah it’s a little bit of satire on a major label like stealing

wanting to kill each other. We’ve come back to a spot where

this song. But it’s kind of more than that. We told this tale

it’s fun again and where we get to have a normal life and a

of MGMT stealing this song idea from a Filipino band and

tour life.

in our music video the song becomes really popular and we get called out as plagiarists and it all comes crashing down.



Gengahr Time isn’t just a great healer, it also allows you to take

make it as good as it can be, especially when you’ve got a

a step back and look at the things you could have done

really strong set of songs that you’ve written and you want

better, the situations you learned from and take note of what

to make sure you’ve recorded them well and the production

you’ve achieved in that time and use it to keep building.

is the right kind of style for what it is that you’re putting

With Gengahr, we have exactly that. We chat to frontman

together; there’s so many finite details that go into finishing

Felix Bushe, before the release of their second album

the album that I think you can become a bit fixed on details

‘Where Wilderness Grows’, who echoes the feelings behind

and its difficult to be able to step back. Learning from that

time helping you learn “we have learnt a lot from playing

process, I did try and paint in broader strokes at times and

and from touring and from writing more”. With the band’s

not getting lost in the details.

eagerly anticipated second album due out March 6th, we wanted to get an insight into the minds of the 4 piece to see

Are there any inspirations or themes running through

the journey they’ve taken and what the future might have in

the album?

store for our hauntingly beautiful London pals. There’s a theme in as much a sense as I wanted the album New album out in April, does it feel like a relief to get it

to be more human and personal than the first album; that

out there?

was the main part, to try and create something that could be more relatable to a listener and something that comes closer

It’s good to have another album out, that’s an exciting

from the heart than what I’d previously done. I think it’s a

prospect, to have two albums on the shelf of a record store

dangerous thing to start having too much of a theme because

is quite a momentous occasion for anyone in a band so I’m

then you’re kind of stepping into an album that’s tying you

excited more than anything.

down. I don’t think it’s set in stone but the general feeling was that it was going to be more intimate and more personal

What most excites you about this record?

than the first album.

I’m just excited to see where the album goes, see what the

In terms of the writing process and making the album is

connection is like; I was pretty stunned with what happened

there anything you’ve done differently this time around?

after the first one and how far it took us, to corners of the world we never even envisaged we’d get the chance to go.

We ended up doing things quite similarly, its all about just

This time round it’s exciting to see what will potentially

trying to capture good performances, playing stuff as live

come off the back of this, the thought of our biggest shows

as we could, making sure there was a good atmosphere

being round the corner and a bigger audience listening to

in the room and that the vibe of the track is right as well;

our music around the globe.

and I hate that word because it sounds like a bit of a cop out talking about the vibe but you can play the same songs

Did you feel any pressure in getting ‘Where the

20 times and it can sound really great one time and sound

Wilderness Grows’ out?

really awful another. I think it’s really important to get the basics sounding right and getting a good feeling about the

I think you start to feel it towards the end. When we set

track; that’s proper old school, grassroots recording music,

out and started writing it there’s not really any pressure but

it’s your ABC’s of making music if you don’t get them right

it’s more pressure you put on yourself towards the end to

then it’s very difficult to make a good album.

Words by Callum McCormack, illustration by Esther Lara


So Young Illustration Competition 5th Place, Julia GR (Talking Heads), opposite, 4th Place, Marie Watanabe (David Byrne)


Sunflower Bean Five years ago, Sunflower Bean emerged from the New

In the video you asked people how it felt to be young in

York underground looking like the damned love children

2017. What was the best response you got and how would

of Debbie Harry, Bob Dylan and Frank Zappa with an

you answer that question yourselves?

unnerving knack for heavy yet melodic psych rock that was unashamedly dedicated to the spectrum of rock and

Julia: That whole video makes me so emotional. I love

roll. Since then, the band have ridden a wave of varying

seeing those kids (who I guess are basically the same age

soundscapes, notably on their debut, Human Ceremony, not

as us) just having a moment to reflect on how they feel

sticking in one place long enough to get bored, and their

right now. I liked the answers that came with a little bit of a

voyage of self-discovery is what has ultimately become

smile, like “inspiring” or “I feel like we have all the power.”

the liberating, listening experience that is their impending

But there are a lot of kids that just said “it’s really, really

second album, ‘TwentyTwo In Blue’.

chaotic out here” and I agree! I think the times that are the most chaotic and strange also have the capability to be the

Leading single Crisis Fest is the starkest representation

most important and exciting. It really feels like we are on

of the band’s current headspace, with the band declaring

the cusp of something.

that ‘reality’s one big sick show’. It’s the most direct and confident the band have ever sounded and they shared a bit

In relation, how do you feel about being a band in 2018?

more with us about it.

Do you think there’s a lot to take on board these days, such as technology and social media?

Crisis Fest has a more political edge to it, but more than anything, it’s based on solidarity. I like that you’ve kind

Julia: You definitely have to be multidimensional. You’re

of skirted around the notion of “fighting the man” and

expected to share everything, every moment, with the

instead focused on unity and the power young people

world as an audience. I think this aspect of modern life is

can wield. Has living in NY given you insight in to how

fairly exhausting. But it does open up the chances to reach

young people are joining forces?

and communicate with SO many people, and so many different kinds of people. It gives us a certain kind of power

Julia: New York City and cities in general are great for

we didn’t necessarily have before, especially not at our

people getting together and fighting together but I think

fingertips. It also ultimately comes down to the fact that we

actually things like social media are really, really important

would do anything for our art. I would lie in the road for it.

right now as far as seeing the power that we can wield.

Making a post doesn’t seem so hard, in comparison.

What kids or your friend’s post is a great way to spread important information and get an initial clue as to what’s

You recently toured with Wolf Alice and I remember

happening. People are so plugged in now.

reading a tweet from them ages ago where they likened Julia’s voice to butter. What food would you compare

Nick: This song was particularly inspired by getting out

Ellie’s voice to?

of NYC and touring the U.S. In the lead up to the 2016 election we met so many people with so many different

Julia: Ellie’s voice is like a tall, cool glass of water on a hot

points of view, it was really informative. Mostly we met

day. It quenches a primal thirst you forgot you had, yet you

other young people who shared the same uncertainties and

will always need.

anxieties about the future as us.


Words by Harley Cassidy, illustration by Sam Taylor

Illustrations by Josh Whettingsteel


The Magic Gang are championing a strong work ethic in

You guys have been together for ages! Why has it taken

music and sticking at something long enough to improve

so long to release an album?

beyond what you thought was possible. 4 or 5 years in the making, the once ‘slacker rock’ labelled foursome’s debut

Jack: Part of the reason is because we didn’t get signed for

album is upon us. Jack Kaye, Kristian Smith, Angus Taylor

a long time

and Paeris Giles talk us through staying true to themselves and their stadium filling intentions…

Angus: For three years we were too alternative to sign to a major and too pop to sign to an indie. Then luckily with

When we first interviewed you, you said something like,

Warner and Yala! They came along and were up for it.

“ we keep getting called slacker rock, but can you stop because we work really hard on these songs guys…”

Jack: And by then we’d already gained a live following, so it was less of a risk for a label to take.

Kristian: Yeah it should have been called, ‘Tries really hard If you listen to your new record it’s very pop heavy,


track after track, you can play this at any time and dip Jack: Yeah, we never tried to claim that, we always wanted

in and out of it.

people to know that we were trying to be professionals…


Words by Sam Ford and Josh Whettingsteel, illustration by Valat Ampavat

Jack: It’s full on, with this album we had to put every big

purposes but then you have an artwork that doesn’t suggest

tune we have on it. Every tune where people sing along live

anything about what you’re gonna hear, but then with the

had to go on there and we felt like it was the right thing

album it’s like, this is what we look like, you might have

to do and so the next one I think will have a bit more of a

an idea, if you don’t you still won’t really know that much


about what its gonna sound like, its just four guys.

Paeris: It’s like a blank canvas at this point

Can I just touch on the fact that you really don’t like naming things…

Jack: And actually the later songs on this album are slower and a little bit more personal, they feel a little bit more

Kristian: We’re too scared of expressing ourselves

important and a little bit more real. I feel like that’s a sign of where we’re going with song writing, I don’t think we’re

Jack: It’s because we’re scared of offending each other, we

necessarily that interested in writing a load more songs that

don’t wanna suggest some bold name, we’re all so invested

are poppy, we’ll maybe feel a little bit more brave to start

in it and we all write the music together, it feels weird

doing things that feel a little bit more emotive and more

for one person to be like, “I wanna name it this because it

sincere now.

represents how I feel…”

You are a feel good band though…

Angus: It’s deliberate, it’s completely deliberate. It ties in with the artwork in the same way that it’s very minimalist,

Jack: We do have a certain formula to write those types of

it doesn’t give much away, you can’t pigeonhole it straight

songs and it’s always really enjoyable, it’s always nice to


do it but I think when the band first started we maybe didn’t have the courage or the confidence.

Jack: If we named the first album something that was just a throwaway title which a lot of people do, it would just get

Paeris: When you look at the album as half new and half old

lost in the ether… I just see it as a bit of a pointless thing

(songs) there’s a certain purity to the older songs that we

to do.

weren’t necessarily aware of when we were writing them, it’s just what we did together in our way of writing songs

Kristian: I always liked with the first Black Flag album, for

and the new ones are maybe more exciting and a little bit

example it was ‘first four Eps’. I like that nondescript way

more nuanced, where we have a better idea of what we want

of presenting the music.

to do. What’s your process for writing the songs? Jack: We’re not the type of band to sit there and start writing really hard to decipher, 11 minute jams, we’re not

Jack: It actually varies quite massively, it’ll either be one of

that type of band at all. It’s always gonna be concise pop

us will have something, a part or maybe a whole song and

songs with a chorus and a nice vocal melody… That’s if we

then we take that to the band and everyone chimes in, not

ever get to make a second album…

just with writing their own parts but also structuring it.

Kristian: We’ve definitely got enough tunes…

So like a true collective?

As far as artwork goes, this album cover is the first time

Jack: Yeah, or we can literally all start a song together, or

you’ve used a photo isn’t it?

sometimes two people might get together, like me and Kris might get together and write a song together from start to

Jack: Paeris makes all the decisions as far as artwork.

finish, so it varies.

Paeris: When we were doing the EPs, I always liked the idea

Was there a particularly creative period when you made

of our music being joyous and quite indie for all intents and

a lot of songs in one go?

Words by Sam Ford and Josh Whettingsteel, illustration by Valat Ampavat

18 18

Jack: Right at the start I’d say we were particularly prolific

Angus: B-Sides and rarities…

and that was when we had nothing to do but write songs, in our third year of uni maybe. I remember a particular period

Kristian: When we go back in to record more music I’d like

when we would sit in the lounge and just hammer them out

to see us try new shit that we haven’t tried before…

and then go down to the basement and just play them. Angus: I’d like to do an RnB record. Angus: Golden years, that was formative. Kristian: Pure synth, autotune. Jack: It’s funny because that was four or five years ago and we thought we’d written the album then, so we would

Angus: Just bass drum and keyboards.

literally sit there and be like, “this will be track 4”. Little did we know it was gonna be another four years…

Is it still all about The Beatles and The Beach Boys for you guys?

Kristian: We thought all the tunes were like fucking perfect, like, “this is so deep, this is perfect”. The reality is each of

Kristian: I love those guys man. I’ve had to make myself

us also make a lot of crap, not crap but a lot of stuff.

not listen to The Beatles anymore so that I can appreciate other music.

Jack: What keeps me up at night is the idea that we might have boyed off really good tunes, like “ah fuck, what if

Jack: The Beatles are the main one, I think we like the idea

that was the one that was gonna get us the Honda advert!”

that it’s four people coming together with different vibes,

Maybe not Honda cos that’s Peep Show. Yeah you have

four characters and they’re really interesting people, even

tunes where its like, “what if that was it?” What if George

just to watch on video. Even if you watch videos of them

Harrison wrote some of ‘While My Guitar Gently Weeps’

recording, it’s fascinating. Four different voices together.

and then was like, “nah, it’s a bit shit”. It’d be horrible. When we last spoke about the band’s intentions the term Kristian: What I think is that you write the same song over

was ‘stadium fillers’, what are your intentions now?

an over again until you get the best version of it. Jack: Still stadium fillers Angus: It is frustrating being at this point and having so many songs, we’ve got enough for like two or three other

Kristian: My intention is to make people shit themselves

albums, whether or not they’d be good albums I don’t know.

and make them think that they actually need to start getting good at trying to write songs again. I read this thing by

Jack: Could be a ‘Be Here Now’ though.

Quincy Jones earlier and he said the reason why a lot of music sucks these days is because people don’t spend

So are some of the songs you’ve got left over going to be

enough time getting good at what they do, so my ambition

the next album?

is to convince others to spend a little bit more time on what it is they’re trying to do and try and create some longevity.

Jack: We’re too obnoxious for that, we think the newest

My idea is to encourage people to work harder at what

thing is the best thing at the time so we’re never gonna be

they’re doing and stick at it a bit longer. To inspire a new

like, “let’s just go back to the bank”. We’re too arrogant for

generation of kids to learn their chords and scales.

that, It’ll be whatever we’ve written nearest the deadline of recording will be the second album.

Jack: We’re not trying to be rockstars in any way, we’re trying to make it more about the songs. I think we realised

Angus: But then even in the last two or three months,

very quickly that we weren’t going to be “cool”. Our

between us there’s like ten new songs.

aesthetic is that we look like we’re having fun on stage and it’s incidental but I think that’s something to be quite proud

There’s gonna be a lot of lost music...



Words by Sam Ford and Josh Whettingsteel, illustration by Valat Ampavat

They’ve already cemented themselves as the sharpest looking group around, but rising London-based quintet Sistertalk are brilliant beyond the flawless suits they’re always wearing on stage. Scoring support slots for some of the top bands around at the moment - including last issue’s cover stars Shame, all time favourites Goat Girl, Yowl and many more - the group’s electrifying performances have seen the band being tipped as one of the leaders of the next wave of exciting emerging bands. Combining cinematic soundscapes and drooling vocals to create their unique brand of biting power-pop, the five-piece tell melodic stories with a striking sense of darkness. Accompanied by a snarling lyricism and a deliciously deranged quality to their sound, although there’s not much to be heard online, what there is shows that something special is brewing with the five-piece, and their unapologetically confident sound is a clear glimpse into the heights they’re bound to achieve. Watching the band live is a chance to experience the magic the way it’s meant to be. Often flanked by backing singers and a saxophonist - what more could you want, eh? - the group easily command any stage that they’re on and have been gaining a reputation as a compelling force to be reckoned with. With ethereal guitars and a brooding quality that utterly hypnotises every listener, this year is certain to see Sistertalk establish themselves even more as one of the next great London bands. Time to suit up.


Words by Elly Watson and Dan Pare

Most immediately striking about Ugly is the uncanny vocal resemblance between frontman Sam Goater and King Krule. However, rather than moaning about urban oppression from behind a cloud of South-London skunk smoke, the Cambridge four-piece provide a smirking, fatalistic presentation of normal life’s absurdity. Perhaps the most apt indicator of this comes in the form of the band’s excellent new single, Emphysema, an irony drenched love ballad about becoming ill from smoking counterfeit tobacco. Lyrically speaking, it smacks more of the wit of a prearsehole young Alex Turner than the Krule-esque baritone drawl it’s delivered in. With a wry sense of humour pervading even the topic of heartbreak: “When you see her face/ and she tears your heart out through your kneecaps/ when you see her face and you can’t erase / and she tears your soul out through your arsehole”, as run the opening lyrics on an older track, Blooz. But it is the sense of authentic heartbreak and emotion that underpins their oft-sarcastic veneer that truly sets them apart. They are the real deal, navigating the borderline between the timeless and the clichéd perfectly. It is imperative to avoid judging Ugly as derivative followers of current musical trends, despite maybe taking too much inspiration from others on a few tracks. They are a group of extreme versatility; from acoustic recreations marrying the Last Supper and Wetherspoons, to tracks of spine-tingling guitar wizardry with true sing-along chorus potential given the right context, such as the fantastic Die Verskoning (The Apology). The band are too intelligent to continue to wear their influences so heavily on their sleeves and appear to be finding a sound truly their own. And what a fucking brilliant sound that is.

Selhurst’s Black Midi have quickly gone from nobodies

Whilst it’s a tough job to hype a band with no music out,

to one of the capital’s music scene’s greatest enigmas and

very little online presence, and at the same time, a band

anomalies. The four piece are almost deliberately without

that have only played a handful of gigs, in one city. Yet the

an online presence, which means that all the hype and

excitement surrounding Black Midi is something way too

excitement that pursues their every move is coming solely

tangible to ignore. They’re everyone in London’s favourite

through word of mouth, solely from people left open

new London band, and whilst they’re waiting carefully to

mouthed in the wake of their demonic live shows. A quartet

choose the right moment to make their mark on the world,

of BRIT school alumni, the band have a blank Soundcloud,

once Black Midi reveal their extraordinary talents to the

a blank Facebook page, and no presence elsewhere.

world, the world will be forever changed.

These are not often signifiers of a great band, but after seeing a few live Black Midi performances, maybe this all makes a little more sense. Live, the four piece are an unholy proposition, their influences ranging explicitly from Pere Ubu and Beefheart to Sunn 0))) and Boredoms, as they pummel through live sets that feature crushing sheets of metallic noise, danceable tunes that have a no-wave disco feel to them, and bastard glam stompers that see the diminuitive frontman hollering vocal lines that sound exactly like cuts rejected from The Modern Dance because they were just too deranged.

Words by Cal Cashin, illustrations by Josh Whettingsteel

To say it’s not the best time to be a woman starting out in the music industry would be putting it lightly. Women are, for the most part, not taken seriously, sexualised, disregarded, laughed at, seen as a novelty, and in some

In the past, we’ve interviewed and worked with Pixx, Girli,

cases, taken advantage of behind the scenes to get

The Orielles, Goat Girl, Nilufer Yanya, and many more.

anywhere. In a world where Trumps, Weinsteins, and

More than anything though, Femme is here to challenge the

Tarantinos not only exist, but are at the top of the food

idea that there aren’t any ~good~ female and non-binary

chain, the music industry needs an intervening guardian

artists out there. Funnily enough, they are out there and

angel of sorts to shake things up a bit; enter, The Femme

despite potentially falling into the dark shadow of their


male counterparts, they are thriving in their own right. Just some of the acts that have caught our attention in recent

Femme is a multi-platform creative project dedicated to

months include: The Orielles, Drahla, Lucia, Madonnatron,

maximising gender equality in the music industry, i.e.

Pink Kink, and all of the artists that we’ve included in

calling out bullshit that’s otherwise turned a blind eye to

our second issue: Nilufer Yanya, Zoee, Suzi Wu, Dream

and promoting female and non-binary musicians. Femme

Nails, and Jockstrap. The platform we provide for artists

consists of a bi-annual zine, blog, events in London, and

is one that is diverse - whether it be through an article in

radio show on Wired Radio, all of which female and non-

our printed zine, feature on our blog, or even a play on the

binary talent are the main focus. In championing the artists

radio, we are utilising all of the mediums we have access to,

that we do, we hope to provide a platform to musicians that

making sure new female music can be heard, read, and seen

would otherwise be a victim of the mass gender inequality

beyond the realms of South East London.

that exists in the music industry today. We shoot and interview every artist that we’ve worked with ourselves,

We’ll be launching the second issue of our zine on 26

actually getting to know female and non-binary musicians

March, which features all of the aforementioned artists,

and their music rather than going with the typical journalist

as well as artwork, photographs, and essays surrounding

narrative of “So tell me what it’s like to be a woman in

the subject of gender inequality in the music industry in

the music industry?” In most cases, journalists and readers

2018. Dream Nails told us in our interview with them that

already know the answer.

“feminism is a life-long journey” – a phrase that sums up the ethos of Femme. We’re aware that not much can be changed immediately, but if we can stir things up just a little bit, we’re doing something.


Words by Grace Goslin and Dani Ran, illustration by REN

Sorry Sorry are a band from North London and probably the

Louis: We didn’t really wanna sign a deal, if anyone else

most exciting outfit to come out of the city in a long while.

had offered and Domino hadn’t, we probably wouldn’t have

Asha, Louis, Lincoln and Campbell have been tagged as the

gone for it.

‘Grunge’ revivalists out of an already successful scene of guitar bands, but since signing to Domino sometime in 2017

Asha: I think it’s quite risky, if you’re making that kind of

they’re proving that they’re far more than that. The release

music. You can easily become something where you don’t

of their ‘Home Demo/ns Vol 1’ Mixtape in October put

know what you’re talking about anymore.

them firmly on the radar as they rejuvinated the stale demo release process. Tapping into their angsty Hip Hop youth

Now that you are signed and there’s ‘competition’

and eager to weave their passion for electronic beats, Sorry

around you, are you analysing what you’re doing more

are likely to redefine the guitar band, or at the very least

than you used to?

expand its boundaries. We caught up with the understated songwriters of the group, Asha and Louis, for a chat in a

Asha: It is a bit more pressure when you look’s more

West London pub.

pressure in that you wanna do well and you want your songs to shine so I guess in some way you keep everyone else’s

The standout topic that comes up whenever we talk

songs in mind. It’s not like a game, there’s just a lot of other

about you guys is the relationship between you two in

things you think about.

particular. Did everything with Sorry start with just you When we spoke last, you mentioned taking your music


in a different direction and furthermore, trying to do Asha: Well, we just played together.

that live too. Was the mixtape a way to say goodbye to a previous way of working?

Louis: We weren’t really a band…We had always played Asha: They were all mostly new songs on the mixtape

music together in school.

anyway, and we do really like those songs. And now we’ve Did you post your own solo material/ demos up?

got the electronic stuff, we are trying to make the live stuff a bit less ‘rocky’ and more like corresponding to the

Louis: Yeah, well that’s actually how it all really started.

mixtape. Hopefully when we record the album it will be like that as well.

Asha: Louis made beats and I really wanted to make beats as well. So then we both just posted things on soundcloud.

Is that how you see the future of Sorry then?

Talk us through signing for Domino…

Asha: Yeah! Well I quite like having two seperate things because it is fun to go to a live show and it’s a bit different.

Asha: I saw that Alex G was on Domino and I emailed them my Soundcloud and no one ever saw it. But then by chance, they came a year later to our show at The Windmill. Then they just kept coming to the shows. We didn’t wanna speak to any major labels or anything.


Words by Sam Ford and Josh Whettingsteel, illustration by Clay Hickson

A lot of ‘new’ bands run with the story that there was

Louis: I think it’s generally just doing things for the

nothing else out there for them and they didn’t like any

right reasons. Not just making music so that we can be

new bands so they had to make their own. But, you guys


do like your guitar bands… Asha: Like even if you get credit, you can still be really Asha: Ah yeah, We love Smashing Pumpkins, Pixies,

shit. Everything is so rigged so it doesn’t really matter if

Nirvana. All the classics. We love all the people that we

you’re good or not. We don’t want to rush anything at all

play with as well like Goat Girl, Jacob Slater’s band…

and that’s why we’ve been waiting to think through what we wanna do with the album.

Louis: Shout out Shame. I suppose we can mention the South London thing as That tour with Shame was your first proper tour right?

I saw your tweet today which read “we’re from North

What did you learn?

London okay guys”. You’ve always made quite a point that you’re from North London and downplaying that

Louis: *whispers* To sesh


Asha: They have great stamina, they’re pretty admirable in

Asha: I think it’s just like a way for people to group all of

how much they can tour. Their live show is always real fun

those bands together.

as well. Louis: we don’t really mind being in ‘The South London Do you like playing live to an audience, do you look

Scene’. It was just because someone was like ‘South

forward to it?

London Rock outfit…’ and I was like this is too much. I get why they call it that though because of The Windmill.

Asha: Oh yeah, it depends if it goes well. I get upset if it Is that scene disappearing now that the majority have


been signed and are touring etc? Louis: I always need a poo right before we play. I don’t really get stage fright, I just always need a poo.

Asha: Well there’s a new wave with bands like Black Midi.

Are there any bands who’s career you’d like to emulate

Louis: There’s so many bands there now. It’s hard to keep

or even use as a blueprint for longevity?

up with.

Asha: Elliot Smith. Frank Ocean. Definitely wanna change

Are there any new bands that you’re really into?

it up and rearrange the band thing. Louis: Umm, Black Midi are really good. Great Dad as Louis: We’d like to make each album different and keep it

well, you should check them out they’re really good.

interesting. So you’ve mentioned that you haven’t recorded your What do you see as success then?

album yet...what’s the plan from now? Do you know where you’re heading to do the album?

Asha: Making a song that you think is good and if it is good that it does still shine. If people like it and get some sort of

Asha: We have got another two singles. I think these will

fan base and have people care about what you’re gonna put

probably be on the album. We are still deciding on the way


we wanna do it. Me and Louis might just make them at home and then bring them in and mix them.


Parquet Courts Parquet Courts are back. The arch American post-punks

can only imagine would be a difficult outlook to maintain

have announced their new album ‘Wide Awake!’ - recorded

so steadfastly once you’ve earned as much critical acclaim

with super producer Danger Mouse. We swung bassist Sean

as Brian has. As unusual as it may seem to listeners to see

some questions about artwork, the album and what they’ve

Danger Mouse next to Parquet Courts on paper or in liner

been up to since Human Performance.

notes, I’d say that our decision to work with Brian is as indicative of Parquet Courts’ ambitions as it is of his.

Hi Sean. The new album is on the way and people are no doubt, about to be very, very excited! What can we

What have you all been up to since Human



I’m not sure what anyone does expect a new Parquet

Mark Kozelek and I collaborated on an album together last

Courts record to be but I have it on good authority to tell

year. It’s called Yellow Kitchen. Max is the lead singer and

you it is that-- a new Parquet Courts record. With this and

guitarist of another project called Perfect Strangers. Austin

every other release, we challenged ourselves and each

has established himself as a producer. A damn fine one

other to forge something familiar out of unusual resources

at that. He’s produced Rips debut LP last year, a handful

or limitations. I’m extremely excited for people to start

of other singles and he produced and played on a 7” with

listening to it.

Carson from Merchandise and his better half, Samantha York. And Andrew has been doing so many awesome things

What was the writing process like on the new record?

with his artwork beyond Parquet Courts. I don’t even know how much about that I’m allowed to disclose so I guess I

All the way through Human Performance I was still

won’t say anything but it should come as no surprise that

treating demos essentially as a way to remind myself how

his incredible talents as a visual artist are being sought out

to play something. This time around, our rehearsal space

by some impressive folks, which I’m sure will be a point of

was a fully operational recording studio. Always armed to

discussion in a not-to-distant interview somewhere. Maybe

record, minimal setup required, really cramped space with a

here! Maybe Artforum, nothing surprises me with those

motorcycle and some mannequins in the hallway. Our ideas

three guys.

were no longer just some untitled voice memos or whatever, they were pretty viable takes.

You still have no social media presence....

I hear you recorded with Danger Mouse? If true, why

We’re a rock band. Our most powerful asset is music, not

did you decide to work with an external producer for

Twitter or Facebook. We’ve had to confront deliberately

this one – and one of his calibre particularly?

caustic individuals at our shows who feel galvanized by the rhetoric that swirls in their own Internet vacuums and

We wanted someone with a critical ear and a wide scope

there’s just something so frightening to me about how

of musical genres. Brian fit in with us really well. Since

our closest understanding of other human beings has been

getting to know him and spending time in the studio with

distorted by an expectation to at least mostly identify as

him, I’ve had this growing admiration for his attitude

a range of singer in one or another opposing chorus’ of

about music, from my perspective at least, which is that

motherfucking chaos. The world is a vampire, ya know?

success and greatness aren’t mutually exclusive, which I

Words by Rob Knaggs, illustration by Aysha Tengiz



Calva Louise

Can you tell us who you are, where you’re from and

Can you tell us who you are, where you’re from and

about the music you make?

about the music you make?

We are Ugly/a band, from Cambridge and its surrounding

We’re Jess, Alizon and Ben and we come from Venezuela,

counties’ leafy sheltered suburbs; comprised of 4 or 5

France, New Zealand and England. We make distorted

people depending on which day you catch us. We have

music with a pop twist.

Harrison Jones on the lead axe, Brodie Weir on ye olde bass (most of the time), Mr Harry Shapiro on keys/bass, Charlie

Can you tell us the story behind one of your songs?

Wayne on the pigskins and myself (Samuel Goater) on the less important guitar and I also do some whines, yelps and

A lot of our songs deal with the quest for identity and

gargling noises. Our music is a little bit of this, a little bit

where do we really belong. The idea for our song ‘Getting

of that, sometimes jazzy but never jazz - fairly varied but

Closer’ came to me while having a little break down and

wholly unoriginal, however we hope people can forgive us

thinking that I am ‘running out of time’ and feeling the self

and blindly follow us regardless of that fact.

inflicted pressure of failure. I then realised that none of this really matters, that if we’re going to fail at least let’s

Can you tell us something that you collectively really

risk everything we have doing something we really enjoy


and truly enjoy it too and to try to be the best version of ourselves while doing it. It doesn’t cost us anything really.

We enjoy the simple things. A nice mid practise cup of coffee or the occasional peanut butter and jam sandwich comes to mind. Yum!


Stella Donnelly Can you tell us who you are, where you’re from and about the music you make? I am Stella Donnelly from Fremantle, Western Australia and I write and play songs on guitar. Can you tell us the story behind one of your songs? I have a song called Boys Will Be Boys which is definitely

Vinyl Staircase

one of my more serious songs. I wrote it about what I had seen around me when victims of sexual assault came

Can you tell us who you are, where you’re from and

forward to their friends, authorities or family members

about the music you make?

about their experiences. I saw again and again, the victims of these assaults being questioned on their whereabouts that

We’re Vinyl Staircase from Dorking. The music we make

night, what they had been wearing, how drunk they were,

covers the full spectrum of human emotion.

why they went home with the person in question etc. This culture and attitude around rape has to stop and we need to

Can you tell us something that you collectively really

start directing our questions to the perpetrators and to stop


making excuses like ‘boys will be boys’ for MEN’S actions. We all love hot wings, it’s kind of a pre-show ritual to shove as many of those babies down our gullets as possible. Also Steve Coogan... A-HA! Nilüfer Yanya Can you tell us who you are, where you’re from and about the music you make?


I’m a song writer/ singer/ musician from London. The

Can you tell us who you are, where you’re from and

music I make changes style quite a bit, at the moment I’d

about the music you make?

say I’m making throwback grunge/punk type tunes. We’re TOUTS. We’re a three-piece punk band from Derry, What’s special about where you’re from? Has it inspired

Ireland. The tunes are just all our ideas coming together,

your music?

we’ve written about everything from the refugee crisis to our fat friend that loves getting his hole.

I think London is special because it being such a “major” city means the ability Londoners have to constantly keep

What’s special about where you’re from? Has it inspired

re-writing history. I like to think that constant evolution is

your music?

part of my sound/music. Derry is class. There’s no place like it. We all love it and we think as a band you can tell immediately where we’re from, and we’re all proud of that. Living in the north inspires a lot of the writing, we live in an uncomfortable situation at times, and the political background inspires a lot of the songs, but even the basis of our songs about less serious subjects come from here.


Drahla A thunderstorm of squealing guitars, vocals softer than

What’s currently influencing you as a band?

snow, and a stark DIY aesthetic, Drahla are some of Leeds’ most exciting upstarts. Having known each other since their

Rob: I think for me at the minute, I’ve been getting really

teens, the result of this is a powerful and intuitive chemistry

into the no wave bands, in New York when it all kicked off.

most bands could only dream of. A sound that combines the

Musicians and filmmakers crossing over, people in bands

textural spectacle and the euphoria of My Bloody Valentine,

making films and people in films making bands, that sort of

the raucous drive of Sonic Youth and the incessant rhythmic

thing. That freedom of expression.

pounding of The Contortions, Drahla are the most exciting band to emerge from Leeds for a while. Just as they prepare

Could you tell me a bit about your ‘Third Article’ EP

to go into the studio to lay down some new music, I caught

and a bit about what your favourite tracks are from it?

up with Luciel, Rob and Mike to talk about all things Mike: We recorded it with MJ, who we’ve recorded all our


stuff with, at Suburban Home in Leeds, over three days. My How did the band start?

favourite track is… I have no idea,

Rob: Me and Lu have been together for like ten years, but

Rob: I like Silk Spirit, and I like the sax in New Living

I’ve known Mike for even longer. We were in a band like,

Creation. We were lucky enough to work with Chris again,

in our teens.

and obviously MJ. It’s really seamless to work with him, and really relaxed. It was really good fun.

Mike: Rob and Lu moved to London and we lost touch for a few years, but they moved back home and we met at a

What do you have planned for the future of the band?

friend’s wedding. We got together to play music together, and we’ve just not stopped since. Even though we’ve not

Rob: We’re recording with MJ next week, we’ve got three

seen each other in a long time, it’s pretty automatic. If you

days with him. We’re gonna record three new songs, we’ll

see a mate you haven’t seen in ages, it’s like riding a bike,

be practicing cos we’ve not had a gig in the whole of this

isn’t it?

month, which has been really handy for us to start writing with the intention of getting songs out.

Leeds obviously has one of the best music scenes in the country at the minute, with bands like Mush and

One thing that really stands out to me is the band’s

Treeboy & Arc springing up in times of late. What do

artworks. Particularly that for the single ‘Fictional

you think of it?


Luciel: Mush and Treeboy & Arc definitely stand out as two

Luciel: Rob and I do all the artwork, for all the releases,

of our favourite Leeds bands. There’s loads of great people

and we try and do a lot of the posters as well. That piece

and lots of interesting things going on. A lot of good places

was an ink drawing of mine, and we just worked round

to play and lots of good bands, I guess.

that drawing. We saw an advert for some sort of show in New York, we didn’t really know what it was, but that kind

Rob: Everything’s really accessible as well, it’s just so easy

of inspired the layout. We’ve got a lot of similar interests

and cheap, it definitely helps.

artistically so we just collaborate on everything.


Words by Cal Cashin, illustration by Carlín Díaz

Hookworms Hookworms turned more than a few heads when they

This record seems to have pleased old fans and gained

returned to the world recently. This wasn’t just because

you new ones…

they’d produced yet another fiercely defiant album, but also because of how starkly different it was to anything they’ve

I guess so, just the fact that it’s sold way more copies than

made before. It came together under circumstances both

the other records suggests to me that’s the case. I guess

traumatic and natural, resulting in their biggest selling effort

we’ll see as we play more shows. I can only assume that

to date. With all this in mind we sat down with bassist MB

people who never knew our band before this record have

to discuss the aptly titled beast that is ‘Microshift’.

got into it. It was pretty fucking mad that we charted. That straight away tells you that more people are buying it and

The new record is a dramatic change in gear, how

there’s a new audience out there. We’re slightly concerned

intentional was this decision?

that the new direction might alienate some of the older more rockist fans but I’m not sure that’s happened to be honest. I

We knew that we wanted to do something different. So

think we’ve managed to appeal to both worlds though.

much time had passed between us finishing the last record, I think it was about three or four years. Our music tastes

It still captures that certain sense of chaos and

shifted and we’d bought some more instruments. It’s a

spontaneity though?

weird one because it was all quite organic to us. I can appreciate if the last thing you heard was ‘The Impasse’ off

Obviously we’ve been asked quite a few questions about

the last album then obviously the new stuff might be a bit

how we made this one differently. We’ve realised that

of a shock. But because we’ve lived with it for so long, it

regardless of what instruments we use we tend to write

doesn’t seem like such a massive change to us I guess. We

songs the same way and they always tend to sound like

wanted to change it up because we were concerned that the

Hookworms. ‘Negative Space’ was us trying to do a fully-

first two records were too similar. We didn’t want to tread-

fledged techno or Chicago house track and it sounds nothing

water and do the same thing again.

like that. Whatever we try to do because it’s us five people it’s always going to sound like Hookworms. We put our best

So it wasn’t too jarring going back into the studio to

stamp on everything we do.

record another album then? Lastly how does it feel to be back and see the album out Well we had to have some time off because our studio

on the shelves?

flooded. It was shut for around seven months in the end. We were just very eager to get back in and carry on recording.

It’s great really. I really struggle with the down-time which

We started recording an album before the flood which we

is why I crack on with other musical things. As much as

were intending to be a stop-gap EP. If that had happened

I say that I like time off I do get a bit restless so I’m very

the change in sound might have made more sense. It would

excited to be playing. The whole release process is quite

have bridged the two records more neatly. We ended up

stressful and I always forget how much work there is to do

scrapping those when we came back to it. We started fresh

in the run up to an album release. When it comes out and

because so much time had passed.

people react positively then it’s worth every second. It’s super rewarding and we’ve been staggered by the response.

Words by Rhys Buchanan, illustration by John Molesworth



So Young Illustration Competition 6th Place, Aina Fontich (B.B. King), opposite, 7th Place, Clare Rosean (Talking Heads)

So Young Illustration Competition 9th Place, Rosie Vermeiren (The Vaccines), opposite, 8th Place, Andrew Foley (The Smiths)

So Young Illustration Competition 10th Place, Sandy Wang (King Krule), opposite, 11th Place, Tim Alexander (Hotel Lux)

So Young Illustration Competition 13th Place, Kylie Leuthold (Patti Smith), opposite, 12th Place, Holly St Clair (B.B. King)

So Young Illustration Competition 15th Place, Jo Mendel (The Beatles), opposite, 14th Place, Wan Wai lu (Blondie)

So Young Illustration Competition 16th Place, Jenice Kim (The Beatles)

So Young Illustration Competition 17th Place, Paul Lannes (Fat White Family), opposite, 18th Place, Philip Lindeman (The Smiths)

So Young Illustration Competition 20th Place, Alex Patrick (T. Rex), opposite, 19th Place, Charlie Johnson (Shame)


Josh Whettingsteel Danny Miller

Chiara Dal Maso Nan Lee

Bo Matteini

Alec Doherty Esther Lara

Marie Watanabe Julia GR

Sam Taylor

Editors Sam Ford

Josh Whettingsteel

Writers Dan Pare

Rob Knaggs

Callum McCormack Harley Cassidy Sam Ford

Josh Whettingsteel Elly Watson Cal Cashin

Grace Goslin Dani Ran

Rhys Buchanan

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@soyoungmagazine (Twitter)

SoYoungMagazine (Facebook) soyoungmagazine (Instagram)

Valat Ampavat REN

Clay Hickson Aysha Tengiz CarlĂ­n DĂ­az

John Molesworth Aina Fontich

Clare Rosean

Andrew Foley

Rosie Vermeiren Sandy Wang

Tim Alexander Holly St Clair

Kylie Leuthold Wan Wai lu Jo Mendel

Jenice Kim

Paul Lannes

Philip Lindeman Charlie Johnson Alex Patrick

Photos for Collage Holly Whitaker

Art Direction

Special Thanks Samuel Huxley Cal McRae Jamie Ford

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So Young Issue Sixteen