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.
28 Black Midi
29 The Femme Collective
15 Sunflower Bean
36 Parquet Courts
17 The Magic Gang
37 Who Are You?
When You Die
Where Wilderness Grows
Damned Love Children
Too Tangible To Ignore
The World is a Vampire
Get To Know
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
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.
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
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
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
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
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
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
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 up...it’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?
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
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
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
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,
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
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
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
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
NICE MOVER A CROSS BETWEEN A CLUB NIGHT AND AN ART INSTALLATION SURPRISES AWAIT YOU EVERY 4TH SATURDAY OF THE MONTH AT VOGUE FABRICS IN DALSTON (NEXT ONE 24/03) FOR MORE INFORMATION ABOUT EVENTS LOOK UP NICE MOVER ON FACEBOOK OR INSTAGRAM OR YOU CAN TEXT ME ON 07425890838 BECAUSE I CANâ€™T WAIT TO MEET YOU EITHER
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
Alec Doherty Esther Lara
Marie Watanabe Julia GR
Editors Sam Ford
Writers Dan Pare
Callum McCormack Harley Cassidy Sam Ford
Josh Whettingsteel Elly Watson Cal Cashin
Grace Goslin Dani Ran
Printed By Ex Why Zed
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Valat Ampavat REN
Clay Hickson Aysha Tengiz CarlĂn DĂaz
John Molesworth Aina Fontich
Rosie Vermeiren Sandy Wang
Tim Alexander Holly St Clair
Kylie Leuthold Wan Wai lu Jo Mendel
Philip Lindeman Charlie Johnson Alex Patrick
Photos for Collage Holly Whitaker
Special Thanks Samuel Huxley Cal McRae Jamie Ford
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