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VATRA MAGAZINE ISSUE #1

THE PREMIERE ISSUE september|2012 1.


Vat ra

M ag az i n e

w w w. vat r a m ag a z i n e . c om

editors Tijana lilic and Danielle Edwards

ON THE COVER

THE PREMIERE ISSUE september|2012

KIRRA JAYDE

©2012 VATRA MAGAZINE ALL RIGHTS RESERVED. NO PART OF THIS PUBLICATION MAY BE REPRODUCED IN WHOLE OR PART WITHOUT PERMISSION FROM THE PUBLISHERS. THE VIEWS EXPRESSED IN VATRA ARE THOSE OF THE CONTRIBUTERS AND ARE NOT NECESSARILY SHARED BY THE PUBLISHERS. THE MAGAZINE WELCOMES NEW IDEAS AND CONTRIBUTORS BUT CAN NOT ASSUME RESPONSIBILITY FOR UNSOLICITED WORDS, PHOTOGRAPHS OR ILLUSTRATIONS.

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VATRA MAGAZINE ISSUE #1

LETTER FROM THE EDITORS

Vatra; Ignite. Fire. Burn. To be immersed in passion.

Welcome to Vatra Magazine. We are pleased to launch the beginning of a new global fashion magazine. Our premiere issue begins with the hard decision of choosing the cover, you go through countless editorials until you find the only one that’s ‘IT’. We found our cover in the editorial by Melbourne based photographer Kirra Jayde. Her bold combination of feminine and masculine captured the flair of Vatra. If you’re looking for a fresh mix of unique styling, check out our editorial ‘Hormonally yours’ by Fenia Labropoulou. The amazing Styling by Celebrity Skin makes this editorial a must see! Another creative that has caught our attention is Nicola Yeung, whom we had the privilege of interviewing. Her interview opens the view of what it’s like to become a fashion designer. Nicola’s avant-garde garments are breathtaking with their architectural structure and beautiful fabric. She is defiantly one designer to watch in the future. We are also excited to feature the artwork of Corrine Perry, a British artist who is bringing classic practices back to modern culture. Corrine combines the elegance of Victorian photography in her self-portraits while exploring her sense of self. We are positive you will feel how passionate she is about her art. Art is what drives Vatra. Vatra’s purpose is inspire all artists. Our hope is to become a successful platform for showcasing all forms of art. We hope you will enjoy our premiere issue! 3.


Contents p 52.

p 22.

p 46.

FASHION 08. STUDIO 76 by RENA HARVEY 16 .FRAGMENTS OF A SPOT-LESS MIND by TIJANA LILIC 22. HORMONALLY YOURS by FENIA Labropoulou 30. TO LOOSE AN ARROW by LISA FRIELING 40. LOVE HER FOREVER by NICHELLE 46. THE CURTAINS BEHAVE LIKE THE SOUL OF A WAVE by KIMBERLEY MUNDRO 52. ASCENDING by DANIELLE EDWARDS 60. AUGUSTEN by KIRRA JAYDE 68. HER DARK MATERIALS by DANIELA MAJIC 76. OUT OF TIME by TOM HARFEILD 84. REQUIEM FOR A BUTTERFLY by JOEL COULSON 90. THE RUSSIAN KELEDOSCOPE by OLGA

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p 84.

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FEATURES 06. Nicola Yeung DESIGNER SPOTLIGHT 36. Corinne Perry ARTIST FEATURE 82. The Atlas Mountains MUSIC INTERVIEW 98. aaron Bradbrook PHOTOJOURNALISM FEATURE

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Nicola Yeung is an up and coming fashion designer, based in Perth, Western Australia. At the young age of 21, Nicola has already created (x no.) of garments. Her pieces display sculpture, feminity and an avant-garde style. We are pleased to present to you an interview with Miss Yeung, exclusive to Vatra Magazine. (Images courtesy of Danielle Edwards).

When did you realize you wanted to become a fashion designer? I think I always loved making things – tiny dolls clothes, paper angels, dresses to force my little brothers into… you know, normal stuff. But a defining moment? Surprisingly, I think it was actually after I didn’t win a designing competition back in high school. I’d never realized it until now, but at the time (despite being a bit disappointed of course) I knew it was what I wanted to do, and I was prepared to work for it. Everything else seems to have fallen into place since, so I think it’s the right direction! Designing clothing is a pretty specialist industry, where did you learn your skills? I did a lot of learning in an after school class a friend took me to back in year 9. After that I did Fashion and Textile Design at Curtin University and also took a few extra pattern making classes on top of that - although I found that no matter how many classes I went to, there was no short cut. Sadly, the good old saying ‘practise makes perfect’ still applies!

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What was the first garment you ever designed? Does it still have a special place in your heart? Oh yeah, it definitely has a special place in my heart – I get all nostalgic when I think about it! It was a white

princess-like ball gown that rose up a little at the front (kind of like those mullet skirts you see around), off the shoulder sleeves, a little pink peplum and a laced up back. I kind of cringe a little when I think about it, but hey, it might come back round. Tell us a little bit about your background, and how it has influenced your path to become a designer? My family is very typically Asian – all doctors, lawyers, architects and engineers, so my parents have really put a lot of faith in me by letting me do Fashion Design.


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(Nicola Yeung, 21, surrounded by her garments).

They’ve never tried to dictate my choices career-wise, and they’re actually very creative and great at illustrating, so it makes for a lovely supportive environment.

When you create a garment what goes through your mind? It usually starts from an inspiration and designs flow from there – but the process is really in a jumble of sketches, piles and piles of fabric, colours and oddly shaped pattern pieces. I’m not quite sure what goes through my mind in all of this, it’s all very intermingled. I’m sure if you could take a picture of my thoughts it’d look like… well, my crazy sewing room really. All I know is that I generally retreat into my attic and my friends don’t see me for a long time (my mum calls this period ‘the sleepless nights’ – mainly because she’ll stay up to lend me a hand!) until one day we emerge all pasty and white but with my new collection.

How would you describe your artistic style? Some people might very diplomatically say ‘different’ or ‘interesting’… I think I’ll spin that a good way! I’d probably go with avant-garde. I really like things that are sculptural, with a unique silhouette and intriguing textures. They don’t have to be appealing in a traditional sense, but I still like them to be aesthetically attractive and not something that you’d see every day. Although, of course, it’s a different case when it comes to evening or ready-to-wear garments – those I have What are you currently working on? to make so that people can actually sit What inspired this range? down in them. I’m currently working on a collection that I think will be called ‘Eutopia’ – Are there any designers you’re particu- inspired by the renaissance, arcadia, larly inspired by? If you could meet impressionism and also those eerie, them what would you want to know? perfectly manicured gardens – a bit of So, so many! But my favourites would an extension of my last collection. I’m have to be Alexander McQueen, still nutting out the concept, but it’ll Viktor and Rolf, Iris van Herpen, be somewhere along those lines. Givenchy and God, because He designed the universe! I don’t know what What does fashion mean to you? I’d ask though… I’d probably just want Unfortunately people can sometimes to give them a congratulatory high five view fashion as superficial; and I can and ask for an autograph. see why, what with all the mass pro-

duction and consumption and body image issues – and I suppose that’s all a byproduct that I may have to deal with at some point. But to me, and I’m sure plenty of other people, fashion is an ardent love. It’s not about following trends, but a passion for creating. I guess like a painter could use oil or a writer use ink, only a fashion designer’s medium is fabric. Does that sound terribly cliché? What advice would you give to people starting out in the fashion industry? I am all for ambition and high hopes, so I would say do it! It does come with a lot of pressure and you might receive criticism, but if you can take the best things and learn from them, if you have enough faith in yourself, and you are determined enough, there’s nothing stopping you. There’s a quote by an unknown author which I absolutely love which reads: ‘God gave us dreams a size too big so that we could grow into them.’ It’s just so well suited! But there we go, I’ve gotten all cliché again.■

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PHOTOGRAPHER: RENA HARVEY | www.studio76.com.au RETOUCHER: DAVID FAJARDO STYLING BY: MAURIZIO LAINO MAKE UP AND HAIR: ALEXANDRIA WELSH MODELS: MONIKA CLARKE, VIVIAN CHANG, MAGNUS ROSEN AND JOEY ARMSTRONG PHOTOGRAPHER’S ASSISTANT: PETER SOULIS AND NICK WALTERS

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Dress ANGE LANG available @ Gusto & Élan, Earrings, Ring & Shoes Harry Wragg.

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Dress Mina & KatushA available @ Gusto & Élan, Necklace Stylist own

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Dress Mina & Katusha available @ Gusto & Élan, Accessories Harry Wragg

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Left to right: Jumpsuit Ange Lang available @ Gusto & Élan, Fur neckpiece, Gloves & shoes Harry Wragg. Pant Oscar Calvo, Gloves & shoes stylist own, Braces & Hat Harry Wragg. Dress Mina & Katusha available @ Gusto & Élan, Accessories Harry Wragg.

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Shirt, Pant and Leather Gaiters Oscar Calvo, Shoes Stylist own.

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Left to right: Shirt, Pant and Leather Gaiters Oscar Calvo, Tie Harry Wragg, Shoes Stylist own. Dress Kathryn Beker available @ Gusto & Élan, 15. Gloves & Shoes Harry Wragg.


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Slate Trench BLACKNOISE/WHITERAIN available @ Father, curve seam t shirt ZSADAR available @ Hatch, Jeans POST’AGE and steel watch TW available @ Brave New World.

PHOTOGRAPHER: TIJANA LILIC | www.tijanalilicphotography.4ormat.com STYLED BY: CHLOE LIM MAKEUP/HAIR: CLARE MAC MODEL: DAVID JAMES MCLEOD @ RED CITIZED New York

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Long double breast trench Jeromy Lim available @ Hatch

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VATRA MAGAZINE ISSUE #1

Long double breast trench Jeromy Lim available @ Hatch, Lamina Hash 3D Necklace ALISTER YIAP available @ Hatch, slim chinos jeans NEUW available @ Brave New World, Ebussus shoes BLACKNOISE/ WHITERAIN available @ Father.

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Sea Bound Jacket ZAMBESI, Pealy King Olive Shirt ZAMBESI and Pearly King Iggy Skinny Jean ZAMBESSI available @ Brave New World. Ebussus shoes BLACKNOISE/WHITERAIN available @ Father.


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Shirt Rittenhouse available @ Brave New World, Cream raw edge shirt JEROMY LIM available @ Hatch.

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Neck accessory PERICLES KONDYLATOS, Body suit NASOS NTOTSIKAS, 22. Eyeglasses JOHN SALIS, Shoes JEFFEREY CAMPBELL


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PHOTOGRAPHER: FENIA LABROPOULOU | www.lafenia.com STYLED BY: CELEBRITY SKIN MAKEUP: VAGGELIS THODOS & GEORGE VALVIS HAIR: RENOS POLITIS MODELS: HELENA WITH ACE AND KAJSA @ FASHION CULT PHOTOGRAPHER’S ASSISTANT: MARINA DAGRE STYLIST ASSISTANTS: ILIAS WIA / ALEXIA LAP / KORINA SF. LOCATION: VAULT THEATRE, VOTANIKOS – ATHENS

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Top CELEBRITY SKIN, Dress JOY SEEK (UNDERGROUND) , Eyeglasses JOHN SALIS, Belt CELEBRITY SKIN, JEWELLERY MA LI YA, Wig courtesy of VAULT THEATRE.


VATRA MAGAZINE ISSUE #1

Skirt UNDERGROUND, Shirt MILTOS, Belt and Gillet KONSTANTINOS MITROVGENIS, Hair and neck accessories CELEBRITY SKIN.

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Opposite page and this page: Dress LILA NOVA, Crown Jewel LILA NOVA, Boa MILTOS, JEWEL: PERICLES KONDYLATOS ART, Neck Acessory CELEBRITY SKIN.

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28. CELEBRITY SKIN, Jewel and ring PERICLES KONDYLATOS ART, shoes JEFFERY CAMPBELL. Outfit


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PHOTOGRAPHER: LISA FRIELING | www.lisafrieling.com STYLED BY: Cecylia MAKE UP: VICKI SONG MODELS: CORINA BOLI AND WHITNEY GRAHAM @ MARK FITZGERALD MANAGEMENT PHOTOGRAPHER’S ASSISTANT: KATHRYN VINELLA

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VATRA MAGAZINE ISSUE #1

Fringe Skirt Kathryn Beker, Cuff Estelle Deve.

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Pearl choker - stylist’s own Pleat Top and Skirt KATHRYN BEKER, Trade belt and ring METTLE FAIR, Pearl choker stylist’s own.

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Petal Dress Kathryn Beker.


VATRA MAGAZINE ISSUE #1

Ostrich Feather Dress Kathryn Beker, Cuff and rings Edenborough Evans, Pearl choker and necklace worn as belt 33. stylist’s own.


Embellished Pleat Dress Kathryn Beker, Cuff 34. Edenborough Evans.


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Pleat Top Kathryn Beker, 35. Belt Mettle Fair-trade.


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Corinne Perry is a British Artists who creates self-portraits using film cameras. Her work is taken on and produced by analogue methods. Corinne started taking self-portraits and experimenting in the darkroom about two years ago. She never takes photographs of anyone other than herself, as she finds that her concepts are very personal and she feels that she is the best person to portray them. She takes photographs on black and white film, prints them, then hand colours the prints, taking inspiration from hand coloured photographs of the 19th Century. Corinne chooses to add her own colour, as it gives her a greater emotional connection with her work. Photography is a very emotional experience for Corinne and she likes to have a hands on connection with every aspect of her work, from making her own back drops/ props and so on. She only ever takes photographs in her bedroom, as she feels that this is her place of negativity and it lets her release the negative thoughts within her work.

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Within her work she aims to create a sense of beauty even with the most emotionally painful concepts. Her work serves as a visual representation of her diary, it is a way of expressing her emotions. Corinne’s emotional state is very much the driving force behind her work, with the actual process of producing the work, being self-reflective and therapeutic.

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This series, titled, ‘Misery and Delirium’ is about the breakdown of relationships, feelings of negativity and entrapment within a state of mind/being.

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PHOTOGRAPHER: NICHELLE SINGER MAKE UP: BRENDA RODRIGUEZ MODELS: JENNA M. @ MODE MODELS 40.


VATRA MAGAZINE ISSUE #1

Opposite page: Green floral patterened dress cat’s eye vintage. This page: Blue dress cat’s eye vintage.

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Blue crochet lace dress cat’s eye vintage.

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VATRA MAGAZINE ISSUE #1

White lace button up dress cat’s eye vintage.

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Green floral patterened dress cat’s eye vintage.

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45. Pink lace dress cat’s eye vintage.


46. and skirt Anthony Tandiyono. Shirt


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PHOTOGRAPHER: KIMBERLEY MUNRO | www. kimberleymunro.carbonmade.com MAKE UP: EBONY KAY MODELS: BREANNA WELLS

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Shirt and skirt Anthony Tandiyono.


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Silk Crepe de Chin Top Yoon Kim.

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Shirt Anthony Tandiyono.

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PHOTOGRAPHER: DANIELLE EDWARDS | www.dedwardsphotography.net MAKEUP AND HAIR: Sandy Marie Tau MODEL: CAITLYN @ ALPHA MODELS

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White gown CHERISH ARMSTRONG.

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Blue parachute gown CHERISH ARMSTRONG.


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Gold embroided gown CHERISH ARMSTRONG.

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56. Blue parachute gown CHERISH ARMSTRONG.


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Metallic grey gown CHERISH ARMSTRONG.

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PHOTOGRAPHER: KIRRA JAYDE | www.kirrajayde.com MAKE UP AND HAIR: EVE DIMITRAKAKIS MODELS: AUGUSTEN @ THE AGENCY

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Front Cover: Buisness shirt model’s own, Lennon glasses vinateg. This page: Buisness shirt model’s own.

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Black shirt model’s own.

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VATRA MAGAZINE ISSUE #1

Black jacket MinkPink.

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White top ZARA.

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Black shirt model’s own.

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Faux leather shorts Provocator, Black shirt model’s own.

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Tank and Skirt Udita Designs, 66. Reversible feathered wings Metamorph.


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PHOTOGRAPHER /STYLIST: DANIELA MAJIC| www. danielamajphotography.com MAKE UP AND HAIR: CARRIE TIBBS MODEL: BLYTHE

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Purple hair gown Udita Designs, 68. faux fur coat Forever 21. Purple


VATRA MAGAZINE ISSUE #1

Button down shirt Vintage, Teal Dress Dolce & Gabbana. 69.


Tank and Skirt Udita Designs, Reversible feathered wings Metamorph.

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Gold & plum “Terracota Warrior” dress Udita, Black cross harnessDN’A for Udita.

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Button down shirt Vintage.


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Purple hair gown Udita Designs, Purple faux fur coat Forever 21.

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PHOTOGRAPHER: STYLED BY: MODELS:

TOM HARFIELD LUCY MATIC STEPH KABAY AND THERESA GODDARD @ SCENE MODELS PHOTOGRAPHER’S ASSISTANT: DAVID MCLEOD

Copper sequence jacket MINKPINK.

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Illusion print dress Wayne Cooper, earrings COLETTE.

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VATRA MAGAZINE ISSUE #1

Hat Morgan & Taylor, 77. Scarf Coco Bailey.


Crème top Thurley, belt LOOP, chocker DAVID JONES.

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Black print top Sass, yellow trouser SASS & BIDE, shoes TONY BIANCO.

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The Atlas Mountains

Image courtesy of Mike Robinson

Genre: Indie, Rock Region: Perth, WA Members: Taylor Smith - Guitar & Vocals, Scott Nash - Guitar, Shaphan Cox - Keys, Rob Jones - Drums, Dave Tucker - Bass Sounds Like: Kings of Leon, Band of Horses, The National Influences: Modest Mouse, Wilco, Fugazi Artist Website: www.theatlasmountains.net Perth’s pretty lucky to have you guys back together again! There have been visa issues and members living out of vans I believe!! Tell us a little more about this adventure! Well, we’d like to think Perth is lucky to have us back together! But really, we just feel so privileged to have the opportunity to make music, which hopefully people from Perth and beyond appreciate.

Though, I had some nice nights by the river, and up at Kings Park. It was really just a convenience thing, and to avoid paying rent!

sic. There seem to be so many genres and sub genres around, that even figuring out what to label yourself is hard now. A while ago, Vijay Khurana from triple J was nice enough to play us a few times on the wireless, and in reviewing one of our songs said; “Doves meets Drones could be an appropriate epithet here. A wild and weary sound and a voice that paces in cramped circles, over and over. Beautiful.”. We like that.

How did you come up with the name ‘The Atlas Mountains’? Dave – I asked Taylor this when I first rehearsed with the band. He told me that he lost his virginity in the Atlas Mountains. I said “really”, he said “no”. That was all I ever got on the Dave –I was living out of my van for topic. I think its likely to be as much. How do you think your sound has a few months, which more often than evolved? not involved me sleeping on a mattress How would you describe your music? The Atlas Mountains sound has defiin the lounge room of Scott’s place. We wouldn’t! Seriously though, it’s re- nitely become more refined over the ally difficult to describe your own mu- years. There has been a subtle shift in 80.


What are you currently working on? We are just getting back into the swing of rehearsing in the same country again. We’re still playing around with our current album, but we are spending a lot of time writing new songs together, with the view of getting back into the studio to record our third album. There is a little rumor floating around that this might be a double! Studio or Stage, where do you like being most? Being in the studio is really exciting, it means we are working on new material, that we are going to have something new to share with everyone, and it sort of feels like confirmation that we are a professional band. Being on stage though, is an amazing feeling. It’s the time where we can really engage with the music. How do you handle mistakes during a performance? Mistakes are just a part of performing. The longer we play together, I think the better we get at reading each other, and covering up little glitches that might happen. Generally, I think the aim is to just keep playing, and try and sort it out as

you go. Even the smallest mistake on tunate to find a producer, in James stage feels like a massive stuff up, but Newhouse, that was happy to help its never as bad as it seems at the time! us in this approach. The whole album was tracked live, and we went What’s the best way to unwind after a back to a barter system for payment, with Scott making James an engagegig? Dave – I think most of us enjoy hav- ment ring in exchange for the album. ing a few drinks after a show. When we aren’t headlining, it’s always good We took a bit more of a convento have a drink and watch some oth- tional approach to the second aler bands. But in the past, when we bum, more time on pre-produchave headlined, we’ve often just end- tion and more time in the studio. ed up back at one of our houses with a few mates for a couple of drinks. How do you balance your music with other obligations – children, jobs, etc? What do you think your greatest oppor- It’s difficult, what money comes in tunity has been so far in your musical through the band is just invested straight back into it. Making music career? Perth is a pretty cool place to be an in- is time consuming, and it ends up dependent musician; there are a lot of costing us all a fair bit for equipment, great bands around, which means we recordings etc. That means, unless get to play alongside bands we real- you have backing from a label, or are ly dig. A lot of indie bands, and even touring constantly, you need to have signed bands, are around for three another source of income. This year or four years before announcing that is going to be an interesting year for they are releasing an EP or album. We us, we have a lot of goals musically, but are really proud to have produced two we also have changes in personal situfull length albums and be working on ations, with Shaphan recently becoma third. It would be great to be play- ing a father, and Taylor just about to ing big venues, and festivals, or have get married. But it always comes back a multi-million dollar record contract, to the music, and our passion to make but I think our passion really shines it. If the passion is there, you find a way. through in that, irrespective; we keep on making music and records, be- Any crazy fan stories fit for public concause ultimately we are around for sumption? (dirt, guys, dirt!!) the music, not the money or fame. Dave – I’m sure there is some dirt we could dish on Rob, but he’s Can you say a few words about your out of the country at the moment, first album from writing to pre-produc- so that probably wouldn’t be fair. tion to the recording? Many of the tracks on the first al- Like anyone, we all have our dirty bum, started as songs that Taylor had little secrets as individuals, but as a written. I think in its current lineup, band, we’ve managed to keep it all we rehearsed and gigged for around pretty tame. That’s our story, and 6 months before deciding to get the we’re sticking with it – for now.■ songs onto an album. We kind of did things a little differently to most on that album, in that we recorded the whole thing in one day, in an abandoned warehouse! We were for81. VATRA MAGAZINE ISSUE #1

the songs that comes from the process of writing together. Our songs are probably getting a little shorter. Less of the 12 minute epics that were more prominent on our first album. But changes in style and sound isn’t something we set out to do specifically, it’s just a natural evolution. I think with Taylor having just finished recording a solo album in Tennessee, it will be interesting to hear the influence that has on the Atlas Mountains writing style. All in all, it’s been a comfortable shift, and if you listen to our earlier songs, there is no mistaking it for anything other than the Mountains; it’s just a little different now.


PHOTOGRAPHER: JOEL COULSON STYLED BY: MADISON IMOGEN HALL-STAPLES MAKEUP: JESSIKA SULLIVAN MODELS: RACHEL BREWER @ CHADWICK MODELS 82.


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83. Dress Shakuhachi.


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Dress Shakuhachi.


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Dress Collection.

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Holly Blue Bodysuit and Skirt Madison Avenue by Madison.

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Wild One Madison Avenue by Madison.

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CREATION BY OLGA Valeska | www.olgavaleska.blogspot.com.au

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Salt in the Wound Gabura, Bangladesh Photos and Story by Aaron Bradbrook

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Aaron Bradbrook is a Perth based, documentary photographer. Born in Adelaide, he moved to Perth to study at Edith Cowan university, where he still currently resides. In 2011 he had the opportunity of travelling to Arizona State University to study under Besty Schneider, Mark Klett and Bill Jenkins (curator of the infamous New Topographics exhibition in New York 1975). In early January of 2012 he travelled to Bangladesh to document a water crisis on the island of Gabura. It is our pleasure to present to you the images and story from his Bangladesh series, titled, “Salt in the Wound�. Shrimp is one of the most popular forms of seafood on the planet with approximately 5 million tons being produced every year. Bangladesh is one of the world’s top eight producers of shrimp exporting predominately to the United States, Europe and Japan. Around a third of the shrimp that is consumed worldwide is being produced in on land fields pumped with salt water rather than being caught naturally. This is due to government restrictions preventing the use of rivers to farm naturally. Gabura is a shrimp-producing island located in the far southwest of Bangladesh. Home to a few thousand where the water is limitless but not a single drop to drink. For many years floods and the rising number of shrimp farms have been the major factors pouring heavily salted water inland resulting in the deterioration of homes, lives, agriculture, food supplies and fresh water. Rice farming which once was the primary source of sustaining this village has been ruined and replaced 98.


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by shrimp farms leaving this as one of the only places to turn to, for the few who can gain employment. And for the others straying as far as fifty miles deep into the Sundarban to gather fresh fish have the threats of money hungry pirates and the veracious Royal Bengal Tiger to worry about. All of this in return for as little as two-dollars-thirty a day. At two pm on September 25th 2009 cyclone Aila struck the village destroying everything in its path and further placing slat in the wound of Gabura people. All that remained was one pond unpolluted with salt water. This one pond is the only source of fresh water for the entire village. The chore of gathering safe drinking water for some requires trekking up to four miles twice a day across the harsh cracked ground. And for others this daily chore can be limited to only a few times a week if they have the right storage facilities. With continuous flooding and the constant threat of cyclones as a result of climate change immigration becomes a desirable option. But, for those who cannot afford this luxury staying and fighting is the only thing left. â– 

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