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ROB MACHADO WEARS THE PHANTOM WINDSKIN.
IN DU S T R Y T H E INDUSTRY TRUN K LI N E FEATU RES RVCA’ S M ORE PERFORMANCE AN D TECHN I CAL PI ECES – ID E AL FOR THE ACT I VE W EARER
R V C A . C O M
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# R V C A T R U N K S
T H E B A L A N C E O F O P P O S I T E S
MIKEY WRIGHT
FOR A GOOD TIME Just when you think you’ve gotten to know her, this beauty will blow your mind with something you’ve never experienced, making you want more. Whether it’s floating through 3 ft of pow, a jib sesh in the park, scoping your line atop the Hemlocks or just zipping down the best corduroy in the Sierra, this lady will leave a big grin on your face each and every ride. Go ahead, give her a call.
randoms • 18 product • 22 ivan alifan • 24 brian donnelly • 26 super taste • 28 daniel cabral photo profile • 30 ryan burch • 36 the art of astro • 44 rafael gonzalez photo profile • 50 mammoth mega storm • 56 agenda long beach • 60 la art show • 62 legends of the volt • 64 joyce manor • 66 reviews • 67 grom • 68
artist • astro
T H E B A L A N C E O F O P P O S I T E S
B R U C E
R V C A . C O M
I R O N S
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# I N S P I R E D B Y R V C A
S I G N AT U R E
C O L L E C T I O N
AVA I L A B L E
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Editor-in-Chief nick kalionzes nick@blisssmag.com
Editor
joey marshall joey@blisssmag.com
Creative DirectoR mark paul deren : madsteez madsteez@madsteez.com
assistant editor delon isaacs delon@blisssmag.com
EDITOR AT LARGE liz rice mcCray liz@blisssmag.com
SNOW EDITOR jon francis jon@blisssmag.com
MUSIC EDITOR max ritter max@blisssmag.com
advertising ads@blisssmag.com nick vandekamp vandekamp@blisssmag.com
contributing Photographers Jason Kenworthy, Dominic Petruzzi, Daniel Russo, Toby Ogden, Tom Carey, Brian Beilmann, Jack Coleman, Andrew Mapstone, Adam Moran, Dave Nelson, Pat Eichstaedt, Julien Lecorps, Ryan Boyes, Zach Hooper, Tim Peare, Michael Lallande, Bob Plumb, Peter Morning, Bryce Kanights, Arto Sarri, Anthony Acosta, Cameron Strand, Brian Fick, Deville Nunns, Gage Thompson, Derek Bahn, Tom Cozad, Bruce Beach, Robbie Crawford, Ryan Donahue, Joe Foster, Sean Sullivan, Delon Isaacs
contribu tors Willie Marshall, Daniel Russo, Jason Arnold, Greg Escalante, Nathan Spoor, Tom Carey, Travis Millard, David Choe, Kai Garcia, Mickey Neilsen, Peter Townend, Hamilton Endo, Tawnya Schultz, Mike Murciano, Geoff Shively, Casey Holland, Steve Stratton, Robbie Sell, Andrew Miller, Pat Towersey, Raul Montoya, Ian Dodge, Richie Olivares, Eric Meyers, Kelly Shannon, JP Olson, Bruce Beach
BL!SSS Magazine
FEBRUARY 2017
413 31 Street st
Newport Beach, CA 92663 www.blisssmag.com Disclaimer: Although all best efforts are made to avoid the same, we reserve the right to publish unintentional mistakes and/or factual errors which may occur on a monthly basis. No responsibility is assumed by the publishers for unsolicited materials/articles/letters/ advertising and all submissions will be treated as unconditionally assigned for publication and copyright and/or appropriate licensing purposes subject to Blisss’ right to edit and comment editorially. The views and opinions expressed in this magazine reflect the opinions of their respective authors and are not necessarily those of the publisher or the editorial team. Blisss Magazine reserves the right to accept or reject any advertising matter which may reflect negatively on the integrity of the magazine. No part of this magazine may be reproduced in any form [print or electronic] without prior written consent from the publisher.
Artist • Astro If your favorite shop isn’t receiving BL!SSS Magazine please contact info@blisssmag.com
HEX X GUY MARIANO SKATEPAC
VESTAL MAKERS Vestal Makers is a collection that salutes craftsmanship and those artisans who embrace unique handmade products. They are limited edition, signed and numbered watch straps attached to Vestals finest watch heads and buckles. These straps are cut, sewn and finished by a leathersmith using time-honored methods, right here in Costa Mesa, California. Each item is hand assembled using the highest quality full grain leathers, traditional knives, awls and waxed heavy thread, creating a more durable and longer lasting product.
The HEX x Guy Mariano backpack takes skate packs to a new level. Designed with extensive input from Guy, this bag features hideaway skate straps, which can be tucked out of sight when not carrying your deck. The front storage pocket has a skate-specific organizer for skate tools and other essentials and is secured with velcro so you can quickly peel it back and strap in your skateboard with the supplied buckle. If you’re on the go with a skateboard, hopping fences and sneaking into spots, this bag has got your back and all the stuff you need to carry too.
NOA DEANE GETS VOLCOM STONED Finally a relationship that makes sense. Our favorite little guy from Coolie just landed himself a five-year contract with the Stone, and we are excited! Noa Deane has had Volcom DNA pumping through his Punky Brewster veins for years, and it’s a breathe of fresh air that this partnership has finally happed. “When I signed with Volcom, a childhood dream had come to life. Also, it feels like a privilege for me to be in such a bad ass family/team of people who include my friends and people I look up to.” – NOZ.
THE ELECTROLITE FROM ELECTIC
BANKS OFFSHORE JACKET
It’s been one hell of a snow season; we haven’t seen consistent powder like this for a very long time. This season has got us so jonesin’ that we’ve taken the time to upgrade all of our outdated snow gear, and the top of our most recent purchases are the all-new Electrolite snow goggles. Winner of a 2016/2017 ISPO award, the Electrolite is the most innovative goggle the market has ever seen. A 100% EVA frame makes it the lightest goggle Electric has ever made, and it also features an incredible strap made with thermo-set compression molded silicone that won’t slip off of your head. Cop these at eleectriccalifornia.com.
We don’t know exactly where you live but we could almost bet all of our money wherever you’re at right at this moment you are cold as balls. That’s why we’ve invested in the Banks Offshore Jacket. The Offshore Jacket is a vintage-washed, bomber-style jacket with a flannel interior for warmth and comfort as well as a mild and tonal palm tree embroidery on the front breast. This puppy fits a little on the smaller side, so when you order from banksjournal.com we recommend ordering a size up.
FUCKING AWESOME X VANS EPOCH PRO ‘94 Since its inception, Fucking Awesome has become a ubiquitous symbol in the skateboarding world. Born from the creative minds of Vans team riders Jason Dill and Anthony Van Engelen, FA’s subversive attitude honors the most unique personalities of skateboarding culture while celebrating provocative commentaries across the worlds of fashion, art, skateboarding and everything in between. Available in three bold color ways including black, white, and bright blue, the Epoch ’94 Pro features FA’s distinctive brand logo embossed in a repeat print pattern across smooth leather uppers. The collection is now available at select Vans skate retailers worldwide including Supreme, Uprise, FTC, Orchard and more.
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@805BEER SEE MORE AT 805BEER.COM
JASON MALONEY CLOTHING
KREEDOM SOUTH BOUND AND DOWN
This last month we had an office visit from one of our favorite artists and founder of self-titled kids apparel line, Jason Maloney. Jason got us all caught up to speed with what he’s got going on, and he’s literally putting the fun back in kids apparel, one t-shirt at a time. His casts of characters range from Tippsy the elephant, Chum the great white, Patch the cat, Terry the teddy, Frank the octopus and Coily the snake. His latest collaboration with Jack’s Surf Shop is available now at all locations and directly through his website at www.jasonmaloneyart.com. Put a smile on your kid’s face today and buy them something they’ll love to wear.
Every adventure must include a good pair of sunglasses, as the eyes truly are the windows to the soul. While waiting at the Tijuana/San Diego boarder crossing I caught a glimpse of something abandoned in the road. It was a journal and randomly opening it read, “Day 4: We woke to another amazing day... 3-5 ft. long groomed lines stacked off the Back of the point. The cool desert breeze kissed the sea with the fresh scent of sage and mesquite lingering from last night’s Cerveza sacrifice. – Kreedom” Google Kreedom Eyewear to discover more.
ELSEWHERE We’ve got to give a shout-out to the Portlandbased brand E L S E W H E R E for sending us one of the dreamiest felted wool hats we’ve ever come across. This piece was collaborated with 100-year-old Pennsylvania hat manufacturer Bollman Hat Company and features a four-inch flat brim, silk lining and a leather internal sweatband. Elsewhere’s brand motto, “A whimsical design-whilst-traveling experiment with the notion of luxury, scarcity and consumer lifestyle” is a true indication of exactly what this company is. Offering a wide range of unique, quality items inspired by travel and times past, be sure to check out all their treasures at www.elsevvhere.com.
BOARDRIDERS CLUB COMPETITION
KANOA SHOE CITY CHAMP
It’s time to wax up those sticks because Southside Huntington Beach is playing host to the Boardriders Club Competition on Saturday, February 4th. For those of you who don’t know, there has been an insurgent of “surf clubs” popping up and down the coastline to represent their home turf. Masterminded by Sport of Kings Forever Young founders Ziggy Williams and Casey Wheat, the West Coast Board Riders is a surfing brotherhood aiming to bring the entire surf community together for a series of competitions all leading for hometown bragging rights and the coveted Championship Cup. February’s competition will include Huntington, Newport, Seal and Laguna, and we expect fierce surfing and even fiercer heckling. Show up to support your hometown. The community is the best part about these competitions, and it’s about damn time something like this came to fruition in the surf industry mecca.
Local shredder and Huntington’s latest prodigy, Kanoa Igarashi, proved once again why he’s the top dog as he took top honors last month at the Shoe City Pro in front of his hometown crowd. He took out the likes of Ian Crane in the semis and dark horse Takumi Nakamura in the final and was able to start off 2017 with a $3000 check and 1,000 points in the in the men’s Qualifying Series. He’s been on quite the roll lately including a stellar finish to the 2016 Samsung Galaxy Championship Tour, finishing 2nd at the Billabong Pipe Masters, double-qualifying for 2017 and allowing fellow teammate Zeke Lau a spot on this year’s Championship Tour. He’s again proving to the world why he’s deservingly the youngest surfer in the top 20.
LANDYACHTZ REVIVAL SERIES The Revival Series is about finding lost and forgotten timbers and repurposing them into high-quality skateboards rather than harvesting living trees. We think it’s is pretty cool, because trees are tight. Each board from the limited Revival Series have been created using recycled 100-year-old timber from British Colombia’s Ruby Lake. Instead of being forgotten, Revival Series wood is rejuvenated, reclaimed and repurposed to live once again, under the feet of skaters. Check out www.landyachtz.com to shop and to find out more!
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PHOTO @ JULIAN MARTIN
W W W. S K E TC H Y TANK . C O M
Katin USA Katin Beanie - $20 katinusa.com
DVS Shoes Westridge, Black Camo - $95 dvsshoes.com
Banks Classic Fleece - $60 banksjournal.com
Volcom Puff Puff Give Jacket - $200 volcom.com
Quiksilver QS-1 Studio Headphones - $99 quiksilver.com
Uppercut Deluxe Wash Bag - $35 uppercutdeluxe.com
Salt Life Salt Life Sea Spray Pullover - $68 saltlife.com
Rhythm Pocket Hat - $39.99 rhythmlivin.com
Hurley Phantom Block Party Niuolahiki - $70 hurely.com
RVCA That’ll Work - $60 rvca.com
Herschel Strand Duffle - $64.99 herschelsupply.com
Beer Savage Bring Your Own Beer - $24 beersavage.com
HEX Sterling Sneaker Backpack - $149.95 hexbrand.com
Sketchy Tank Opinions Patch Pack - $15 sketchytank.com
Vissla Brighton Bluff Jacket - $99.95 vissla.com
Kreedom Eyewear Calibrate Polarized - $40 kreedeyes.com
Photo: Stan Sievers
interview • liz rice mccray
Hi Ivan, will you please introduce yourself to our readers? I’m Ivan Alifan, a 27-year-old figurative oil painter who originated from Russia, studied and was raised in Canada, and now living and working in New York. When first viewing your work I didn’t realize all the underlying sexual subtexts. Can you explain that in more detail? I do admit that I play with ambiguity quite often. Besides the obvious sugar cream world reality that I portray, there is a darker and deeper exploration that is linked with our insatiable desires. To let the viewer explore their inner psyche and to provoke self-awareness is what I
hope to achieve in art. I believe art is sex and sex is art. For decades sex in art was viewed as taboo and to this day it still remains the same, especially in a censored country like Russia. I basically try and paint what I don’t see, or what I’m not allowed to paint, in the galleries of Russia. Do you ever worry it is too much for the viewer? I provide enough abstract space to let the viewer decide for themselves what they see without being too obvious. That is where ambiguity is important to art. Don’t get me wrong, there are times where I need to post a new painting on social media and I’m torn between posting or not posting. And why? Because
partially I feel embarrassed. Being comfortable in a state of embarrassment is my New Year resolution. I then ask myself why should I be embarrassed of sex when it’s something the majority of us practice? That’s a good New Year’s resolution. Is there an element of self-portraiture in your work? Where do you find your subjects? I believe any portrait painting has more information about the artist than the sitter. Majority of my paintings are portraits of women but I definitely see parts of myself in them. We know our own face too well that we subconsciously put parts of our own features in the portraits of others. Most of my models are my friends. They are artists who are secure in their bodies and don’t mind getting a bit messy during a photo shoot. Do you work primarily with oils? Do you work with other mediums? I tend to work only in oils, maybe because throughout history oils have been viewed as the material to best replicate the human flesh. This is due to its ability to mimic translucent skin and create beautiful mud tones. In addition, it ages like the human flesh, as opposed to acrylic which I associate with being too plastic. Did you go to school for that or are you self-taught? I was influenced as a young child through my mother who is also a painter. Later, I was classically trained in grade school while in Russia, and then I applied to Ontario College of Art and Design in Toronto.
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If you were not a painter, what do you think you would be with all that life experience? What I found out about myself is that I get satisfaction from having my ideas turn into physical, two-dimensional objects. I enjoy working with my hands and creating some kind of artifact, leaving my own fingerprint on it. I would probably be a sculptor or a product designer. What’s the biggest challenge you’ve faced as an artist? To this day my biggest challenge that affects me is finding balance between love, art, and self-care. What I mean by love is finding love in others and in what you do. This is related to being social, parents and significant others. Art is related to brainstorming for upcoming paintings: research, documentation, critic and producing work. Selfcare is related to exercise and eating right. It is when these three things are balanced that I’m at my highest state of well being, where I feel the most productive/creative, and I feel like I’m on a right track. This triangle is very well intertwined, that if one fails it affects the rest. The trio fluctuates more times than I would like. For example, at times I can focus on art and self-care and end up being antisocial which affects my mood, which later affects my art. Another example is when love and art are on track, but I end up having no time to go to the gym or eat right because of my tight schedule. This later affects my energy and strength to create larger works. Where can people check out more of your paintings? My website, www.ivanalifan.com or Instagram, @ivanalifan. Thank you so much for taking the time to answer my questions.
SOCAL’S SNOW CAPITAL +
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844.GO2.BEAR • BIGBEARMOUNTAINRESORT.COM
interview • liz rice mccray This month we had the pleasure of interviewing visual artist Brian Donnelly about his detailed, eye-burning portraits, somewhat toxic studio and burn-the-face “turpentine cocktail.” Thank you Brian Donnelly for taking the time to answer our questions. Ok, let’s start. Will you please introduce yourself to our reader? I’m a visual artist living and working in Toronto, Canada. I embrace unorthodox, often counterintuitive techniques in order to explore the conceptual boundaries of portraiture. When asked, “What do you do?” how do you answer? Visual artist. It’s a little ambiguous, but I find “artist” too loaded a term and “painter” too narrow to describe my practice. While painting is my first love, the amount of study I’ve put into disintegration and distortion of the medium puts me a little left of center. “Visual artist with a predisposition for painting and subsequently destroying things” just sounds long-winded.
basically a poison cloud. I’ve converted part of my space into a ventilated spray booth to lighten the load. This keeps the turps in isolation so I can continue to work on other projects after spraying. My respirator mask is a very important part of my practice, along with safety goggles and nitrile gloves. I will remember that line, “the turps in isolation…” Your portraits are amazing, the technique is remarkable, and I imagine it must be hard sometimes (maybe sad) to distort the detail of your painting after it takes so long to complete? Working hard to create only to turn around and watch it melt away in moments takes a bit of adjustment. The very idea runs counter to what logic would dictate. But this is part of what art is for me, being illogical or paradoxical to feel out the boundaries of art making: how it is defined, redefined or devalued and the triangular relationship between myself, my work and the viewer. I still find it difficult to let go, but connecting with those feelings is very much a part of my work. No pain no gain, as they say. What is the process you use to conceptualize a piece, refine it, “test it,” etcetera, so you do not get part way through a painting and discover, “this is not working”?
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Haha, so “visual artist with a predisposition for painting and subsequently destroying things.” With that description will you tell us about your creative process and your “turpentine cocktail?” My process is slow and meticulous. While it requires patience to paint the individual hairs in a man’s beard, I find myself in a deep calm when I have to consider detail. It’s a bit like meditation for me. Of course the last stage of this work is to spray it with a mixture of turpentine and hand sanitizer and watch it fall apart. This step is fast and aggressive, so there isn’t much time to consider it in the moment. If anything, I find that this is the necessary balance to the slow and meticulous. How are the fumes? Any hazards of the trade? Most people wouldn’t know but oil painting is hazardous to begin with. The amount of solvent and glazing medium fumes one gets exposed accumulates in the body. A number of the paints I use are derived from metals like lead, nickel and cadmium, which also build up in the body and can have tremendous impact on health. By turning turpentine into an airborne mist, my studio is
In terms of the solvent portraits, I spent months trying to figure out how I was going to get the paint to run off the canvas just the way I wanted. It was a trial and error process using all manner of solvent combinations against all manner of surfaces, keeping my findings in a notebook. It was a little “mad science” in my studio for a while. By the time I got to the easel I knew enough about what was going to happen to predict the outcome. You made a perfect “turpentine cocktail,” so for our reader who wants to see more of your visual art, where can they check it out? If you’re in Portland you can always swing by Stephanie Chefas Projects, www.stephaniechefas. com. She is also curating the third installment of her Platinum Blend exhibition at Modern Eden Gallery (www.moderneden.com) in San Francisco, in which I’ll be including a new piece. Indianapolis Art Center will be exhibiting a few pieces in February at their portrait exhibition “About Face.” Otherwise I try to keep www.briandonnelly.org and my Instagram (@bbbriandonnelly) up to date. Any final words you’d like to share? I really hope these aren’t my final words. Gosh, I hope not too!
photographer • michael townsend • @michaeltownsend model • jasemine villanueva • @jasminevilll agency • factor chosen la • @factorchosen_la
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Justin Healey • F.S Flip • Providence, RI
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interview • delon isaacs Hello my sweet roommate, you. As I started to sit down to think of questions to ask you, I realized I don’t actually know very much about you. Then I got sad, so let’s use this interview towards building the blocks on our friendship, okay? (Say yes or no here.) Of course, buttercup, let’s be friends! You’re originally from Providence, Rhode Island? I looked it up and found out it’s exactly 2,973 miles away from where you live now, well, where we live. How was living there? And how much different is it to living in California? I’ve always said that Rhode Island is a great place to grow up and raise kids, but all the time in between sucks. I lived there from when I was born until I was 23 and it was a lot of fun. Providence is a college town with 200,000 kids that cycle in and out, so it’s very diverse and I was lucky enough to be exposed to all sorts of crazy music and ideas. During high school and college I was skating and playing in bands while going to school and working fulltime, so I was always busy. I just didn’t want to get stuck living in Rhode Island after college, something about living in a 20mile-by-40-mile state for the majority of my life spooked me. Obviously the weather is better here, but sometimes I wish it would just rain so I wouldn’t feel like such a pile for staying in. Everything is spread out over here too, which took some time to figure out considering I don’t have a car. But it’s been five years strong and I still have managed to get around.
Axel Cruysberghs • Switch Ollie • Tronas
With that being said, what originally brought you here? Were you chasing a dream or some tail? Or were you just bored? Spill it. Ha, boredom is probably the closest reason. I graduated college with a Bachelors in Marketing and Associates in Advertising in 2011 and was contemplating what was next. The only other official job I had was working at CVS and I knew I didn’t want to do that forever. They always tell you in school to do what you love so I decided to move to Long Beach to try and work in skateboarding. I figured the odds of someone trying to work in the skateboarding industry and having a degree were low, so I saved up all summer and moved to Long Beach in September 2011 with no family, friends, car or job. Luckily, just as I was about to run out of money I got hired at Baker Boys Distribution up in North Hollywood and eventually down here in Costa Mesa at Volcom. From looking over all the photos you’ve sent us there’s a big Volcom skate dog presence. How’d you find yourself in a position shooting these skaters, going on these trips and working for the stone? Well it all kind of started at Baker Boys Distribution. I started there entering sales orders, super entry-level stuff, and around 2012 Instagram and Facebook started to be adopted by skate brands. Since I was down to do anything for the company and had a marketing degree, I was in charge of creating the social media presence for Baker Skateboards, Deathwish Skateboards, Shake Junt and Brigada Eyewear. When they restructured around 2014 I was laid off. By chance, Volcom and Baker were working on a collaboration and the Baker art director at the time mentioned to Remy Stratton (VP of Skateboarding at Volcom) that they just let go of their social media manager, even though I was just a data-entry dude. This led to me working at Volcom for the past three years as their social media manager for the skate department.
Raney Beres • Invert
Chris Pfanner & Daan Van Der Linden • Austin, TX
Dustin Dollin • K Flip Fakie • Austin,TX
Ben Sauer • Kick Flip Wallride • Santa Ana Thanks to Jake Smith and the evolving social media landscape, I’ve been fortunate enough to hop in the van with some of the best skateboarders in the world. With content being consumed just as fast as it takes to make it these days, sometimes social media requires you to be in the moment instead of behind a desk. I’m also always down to drive the van, carry generators or do whatever it takes to do what we came to do. I always have a camera on me so I figure I might as well document what is going on in front of me too. Were you a photographer before a skate thrasher guy or a skate thrasher guy before photographer? What’s been your biggest photography accomplishment to date? I was skating before I picked up a camera. Me
and my brother started skating when we were like 14 or something. My mom would always have disposable cameras around and I would try and shoot photos of my brother and friends skating but they would never come out. I always liked taking photos but never really had a camera. When I was 16 I got a job and spent my first paycheck on a Nikon FM2 and started learning from there. I shot some skating on the FM2 but nothing too crazy, basic driveway stuff. But at the same time I was learning photography I was promoted to working in the photo lab at CVS, which kept me motivated to keep shooting. At some point I realized I wasn’t going to be a pro skater and unfortunately I put skating on the back burner behind school, work and playing music. It wasn’t until I moved out here five years ago that I started focusing on skateboarding and photography again.
Grant Taylor • Shifty Ollie • LA
Daan Van Der Linden • Ollie • NYC As far as accomplishments go, apparently Volcom will be using a few of my photos for ads, windows and other miscellaneous marketing stuff later this year, so that will be a trip to see in the wild. There’s a couple photos at Volcom’s HQ that are on 10-foot-high windows, totally crazy to see my own photos printed that big! How’d you coin the nickname Shredcorn? Pretty dope nickname if you ask me. Haha, you can thank Jake Smith for that one. A couple years back I was “displaced by fire.” If you remember that Christmas tree fire on 34th street,
Collin Provost • Half Cab • Atlanta
Harry Hutchinson • Wallride • LA
that was mine. Anyway, I was on his couch for a month or so and he decided to start calling me Redcorn because he thought I looked like the Native American dude on King of the Hill. I think around that time I was in the market for a new Instagram handle, or something stupid, and somewhere along the line we came up with Shredcorn – been running it ever since! Do you ever get nervous meeting some of the skaters you get to photograph and go on trips with? Which skaters are your favorites to be around with and shoot?
I used to way back in the day when I was a grom. But when I was in college, Donny Barley opened a shop in Providence for a minute and I got to spend some time with him, a lot of shoptalk and whatnot. Donny is an absolute legend in the northeast, so after chatting with him a few times you ultimately realize that he’s just a normal human being just like everyone else. I tend to be shy so I’m always a little nervous meeting people, but for the most part I don’t really fan-out on anyone. The last time I was really nervous is when I went to Baker Boys Distribution for my interview. Shit, if you met Greco, Reynolds and Ellington for the first time at a job interview you would be nervous too! As far as favorite skaters to travel with and shoot, any of the Volcom dudes rip. Any time Grant Taylor steps on a skateboard it’s magic. I find it extremely hard to shoot a bad photo of him on a skateboard. Provost is always fun to be around. I enjoy Pfanner’s company on trips a lot too. Other than covering skateboarding, what other facets of photography do you enjoy? I know you and Lit Pham go camping a lot, are you working on a showcase of nature and landscape photography? We should put a showcase together or something, been doing it all for the Instagram likes, haha. I like being out in nature, somewhat easy to shoot too, already pretty and doesn’t move too much. I like shooting live music as well. I’ve been lucky enough to shoot some of my favorite bands thanks to Volcom. Lately I’ve been getting back into shooting film. Light room and post processing can put your head in spin so I’ve been trying to shoot on my Pentax and Yashica. Overall, I just like shooting anything that I find interesting, studio and product stuff not so much, but as long as I’m still shooting that’s what make me happy. Any exciting plans or photo goals for the Shredcorn we could look forward to seeing in this fresh year? The Volcom calendar is looking pretty stacked so hopefully I can get on as many more of those trips as possible. Other than that I’m just trying to be better friends with you (insert heart eyes emoji)!
Chris Pfanner • Ollie • VA
Jake Smith • Back Lip • Costa Mesa
Dane Burman • Scratcher • Phoenix
interview & photos • tom carey
Can you start off by telling us your age, sponsors and where you are from? I’m 27 years old, from Encinitas, California, and I’m sponsored by Volcom and Poler. How old were you when you first started surfing? I was seven years old. My dad got me into it. He was a surfer so I followed in his footsteps. When you were younger did you think this is where you would be in life right now – you know, shaping boards, surfing for a living, traveling around and living the life? I mean, it was always a dream as a kid to do it but I never could have imagined that this would be my actual life. Surfing has always been a big part of my life and it was always in the heart, and I just thought that shaping was the hardest thing in the world. So as a grom I just figured if I was going to be a pro surfer maybe I’d be like a bono-pro or whatever, you know, like a local pro. I looked up to guys like Austin Ware and Jeremy Sherman who were just rippers from where I was from. They weren’t shapers or anything but they were pro surfers. I thought maybe if I got lucky and I got good enough I could be like them, but I never thought I’d have my own creative freedom and be able to just travel and free surf.
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And after your surfing career is done do you hope to keep shaping and pursuing that as a career? Yeah, that’s definitely the fallback plan. I mean, I think I’ll always wanna shape my own boards and I’ll always surf, as long as I’m able to. I’m definitely gonna do it for myself and it’s a pretty good job to have too. I like doing it as work as well. When we first met you were a skinny little grom and who just rode shortboards. When did you change things up and start riding all these other kinds of craft and other style boards? It was my first year out of high school and out of all the NSSA contests that you do as a kid when you’re growing up in California. There’s like a contest every weekend and I was going to high school at the same time, and as soon as I graduated I was waiting longer between all the QS and Pro Junior events. So I had all this down time at home and I started riding a longboard. I shaped my own longboard because my friend that shapes rode longboards and I looked up to the way he rode his boards that he shaped for himself. So I asked him if he’d help me make a longboard and it kinda just spawned from making a longboard to ride the tiny little days that I was stuck at home. Then I ended up making fishes and little grovely boards and so on and so forth. Then I got the support to travel again and started going to Indonesia and trying to make boards to get barreled in Indo. And yeah, that’s just kinda been me since, chasing the same thing all over the world.
“They’re custom to the way I wanna surf a wave and custom to the waves that I surf and the waves that I wanted to surf.”
And what got you into the asymmetric boards and all that? At the time when I was just starting to ride all these sort of weird boards, RT introduced me to a guy from just south of where I live in La Jolla named Richard Kenvin. He was videoing me a lot at the time, riding alaias and stuff, and he had asymmetrical boards from Carl Ekstrom. I saw him ride those and that was my first time ever seeing an asymmetrical board, seeing the one Richard had from Carl Ekstrom. And I never really thought right away that that’s what I wanted to go make myself. But I had a blank with a broken off tail that was kinda crooked and I just figured why not. And the first time I made one it worked so good that I’ve been hooked on them ever since. How do they perform differently? They are just like hyper-custom. To me, they’re custom to the way I wanna surf a wave and custom to the waves that I surf and the waves that I wanted to surf. On my toe-side I really like the feeling of a fish. Going down the line on a fish is one of my favorite feelings in surfing; it’s just so fast and so quick to get up to speed. Sometimes I’ve found that they’re a little hard to keep back in the pocket, so I just really like the a-sym because they have the fish-like characteristic on the toe-side but then on the heel, where I’m a bit more clumsy, they’re a little easier to control and a little more predictable.
It seems like they’re a little more snappy in the pocket, maybe a little more responsive? For sure. I mean, asymmetrical is just a term that means not the same on both sides. And the ones I’m doing just kind of replace the short board so they’re definitely real quick and snappy and maneuverable, but the rails are still pretty parallel and straight so they’re still drivey. They’re good for downthe-line point breaks and stuff like that. It’s good for keeping your speed up, and they’re also good for beach breaks and stuff, lengthy waves. Are they the same on the rail, as far as like a big carve? Both rails are totally different on the board. The toe-side rail is usually a little straighter in the tail and curvier in the front while the heel-side is straighter in the front and curvier in the back. On rail they’re a lot different than a short board, I think mostly because of the fin setup and just how straight the rails are generally. With the parallel rails, when you turn the board over on rail the whole thing kinda engages in the water without having to really bury it, the whole thing’s engaged. So you get a lot of return on them; you feel like they’re pushing back at you really hard.
Where are some of your favorite places you’ve been? Um… I like to go to Spain, I really love Mundaka. I like going to Indonesia, G-Land is one of my favorite waves. Australia is pretty good too. I like Oz. As far your boards go, who’s selling your boards or where could someone go to find one? Yeah, I’m selling them at Hansen’s Surfboards in Encinitas. I used to work there when I was a grom and they’ve always carried my boards, even back when I first started shaping, so I sell quite a few boards through there. I’ve also got a website that I take custom orders through (ryanburchsurfboards.com), so pretty much just custom orders and Hansen’s.
How hard was it learning how to shape? Never-ending. I mean, I was happy with my first couple of boards but they were quirky. And now I’m kind of refining them a little bit more, but it’s definitely something that you think you know and then you learn something new every time, it’s on going. Do you ride anyone else’s boards? Yeah, I try to ride other people’s boards whenever I have the opportunity. I got to make a couple boards with Maurice Cole so I’ve ridden a few of his boards and that was pretty cool – they were pretty magic. I’ve a few of Carl Ekstrom’s boards and I always borrow old boards whenever I get a chance. I’ve ridden a couple of Skip Fry’s fishes that friends have loaned me… I’ll ride anything.
“I just really like the a-sym because they have the fish-like characteristic on the toe-side but then on the heel, where I’m a bit more clumsy, they’re a little easier to control and a little more predictable.”
When you pick locations to go surf around the world what are you usually looking for? I’m usually looking for a really good left. Do you not like going backside? No, I like going backside. I wouldn’t mind going to more rights. I’m definitely super stoked on getting to ride more forehand waves. Especially when I was riding more asymmetrics and stuff, I was on a mission to try to find the best lefts that I could. I went on a lot of trips as a grom where I went backside a lot, a lot of points down in Mexico, and I felt like I had already gotten a lot of really good rights. So I really wanted to find some really good lefts and try to perfect the boards I shaped for specific swells. Going backside sometimes I’d get lucky and there’d be one that really worked well for some reason, but usually they’re a little trickier to ride backside than the normal thruster or something. But yeah, I dunno, I just switched location from that point to a lot of really good lefts, but I also spend a lot of time in Australia too because I have a lot of really good friends from over there. I go right there a lot too… I just try to go where the waves are gonna be good.
Who are some of the shapers you look up to? Some of the shapers I look up to are… Wow, that’s a hard question. Anyone who has their own design or has been doing it for a while I really look up to. The traditional craftsman… there’s really too many to name. I mean, between California and Hawaii and everywhere in the world. I really like what Daniel Thomson does too; he does some pretty out-there, futuristic stuff. I really admire what he’s getting into. And just the normal short board scene, I really like the way Matt Biolos’ boards look too. And who are some of the surfers you look up to? You definitely think outside the box, from the way you surf, the boards you shape, your style to the way you approach waves… That being said, what guys do you look up to surfingwise? I really like the way Mason Ho surfs, Stephanie Gilmore is pretty awesome, Kelly Slater… I dunno, the list goes on and on, it’s too hard to name them all.
Did you kind of pick up longboarding just because of the waves around your house and to surf more often when it was small? Definitely. Definitely because of the waves around my house because it was such a cool thing to learn, having grown up with not really any background in it, cross stepping and that sort of stuff. And the waves where I live are just so perfect for longboarding so why not get into it and really try to learn it? It was super fun, and I still enjoy it, but I’ve found that I’ve longboarded less this year than I ever have in my life because I was traveling more and with El Nino and all that. But when I first started riding one the progression of learning it
was so quick that I was hooked. No matter what the waves were like I’d go out there even if it was shitty or a little too big for a longboard I’d go out there and just try to nose ride or control the board. That’s the hardest thing with riding those big logs and I was always psyched on it… and still am. What do you think about tow-ats and jet skiassisted surfing? It’s pretty wild, I feel pretty out of control. I think it’s really dangerous.
You had a rad part in Psychic Migrations and gained a lot of momentum. What are your plans for the future? Yeah, I’m definitely trying to still keep improving my surfing and hopefully be able to capture it and be a pro surfer. Any big trips in the works or other projects you can share with us? I’m trying to do something this summer. Just trying to get good waves and film it and who knows. I’d love to make a movie someday with longboarding and shortboarding and all sorts of weird boards and shit like that. It seems like
a pretty big project so I guess just start stacking clips and see what I end up with. If you only had one wave you could surf for the rest of your life, which wave would it be and why? Tricky one. Some secret spot that nobody knows about that I get to surf alone. What’s the worst thing about surfing and the best thing about surfing? The worst thing is getting caught inside and the best thing is being right in the spot. Any last words? Nope, I’m speechless.
interview • liz rice mccray
This month we have the pleasure of interviewing the French artist Astro. After many months of following him from mural festival to mural festival we finally completed the interview. Astro is known for his XXL murals that captivate the eye while deforming walls and canvas. Selftaught, he has perfected his signature technique of transforming shapes, curves, and calligraphy into mesmerizing optical illusions on a grand scale. Let’s start out with where do you call home? I travel a lot in different countries around the world, but my home is in France. I grew up and I still live in the North suburb of Paris. Which brings us to… where are you now? After many murals projects, I’m back in Paris. I spend my days in my studio. I’m working on my next exhibition, which will take place in February 2017 in Paris. It appears your interest in art started at a young age. How did you get started in painting? I have always been creative. I have been drawing since I was a kid. I started graffiti in 2000. I was on holidays in the south of France with some friends who were already members of my future graffiti crew (called ODV crew). One of them gave me a spray can and as soon as I got it in my hand I never stopped painting. I’ve started to do tags in the streets. At that period I chose my artist name “Astro.” I was working on letters and these five letters inspired me. They
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were interesting to work on and to develop. Furthermore, the meaning of Astro corresponded well to me and my spirit of mind, because I like all things that belong to the planets, the sky and the space. How would you describe your art to someone unfamiliar with your work? I paint optical illusions on XXL walls. I open and symbolically deform the walls. My art is the result of years of painting in the streets. Painting is a way for me to express my emotions and to interact with the world around me. After 10 years of painting letters and graffiti wild-style on walls, I slowly emancipated myself from the letter writing to only keep the shapes. I’ve started to develop an abstract universe with these calligraphic shapes that characterize me. I have created my own world by exploiting the subtlety of shadows and lights, the strength of colors, and the perspective of depths. I really wanted to immerse the viewer in my abstract universe. I wanted to put him physically in the center of my art. Would you say your large-scale murals are a representation of your current work on canvas? I would rather say that my work on canvas is the reflection of my work on walls. But these two ways of creation are always highly connected; only the support, the size and the tools change.
What is the process you use to conceptualize a piece, refine it, “test” it, etc. so you do not get part way through painting and discover, “this is not working”? For each mural, I first ask for a picture of the wall. Then I start thinking of the illusion that would work best as well as the colors that would be most adapted to that particular environment. Then I create the sketches to visualize the final result and confirm that it will work. I have to be sure before starting work for real on the wall that the illusion will work. However, all the calligraphic shapes and details are totally improvised on the moment. One element of your painting that affects me greatly is your use of shadows that create these optical illusions. How do you create the perspective of depths in your mind? I don’t know how to explain it because the perspective of depths comes naturally in my mind. I visualize it very easily. I know without thinking of it where I have to put the shadows to create the depths. As soon as I see a wall, I figure out if it will be a good support and I project it in my mind with my style on it. You are the creator of a new technique called “CelloGraff.” will you please tell us about it? In 2009, I created with Kanos a new concept called CelloGraff. It is about graffing on cellophane surfaces. This new technique allows us to intervene where graffiti does not have to be, without disturbing the good functioning of the city. However, for the moment, I’m really focused on my big murals and optical illusions.
How many murals did you paint in 2016? Do you have a favorite piece you can tell us about? I don’t know exactly how many murals I have painted this past year. I would say around 15 big murals and maybe 50 “normal” walls. 2016 is the year I have traveled the most. All trips are good and different. I keep good memories from each. However, if I had to choose my favorite piece for the year 2016, I would tell you about my mural in Loures at Prior Velho. This XXL wall was the perfect size for my optical illusion to be optimal. I would also tell you about the Stade de France in Paris where I’ve painted a giant piece on the ground, which was crazy work and also the first time for me. How has your painting evolved and are you going in new directions now? First of all, I really want to keep working on my perspective artwork on murals. I still have lot of ideas to try. However, in the same movement, I’m slowly starting to move towards volumes and installation that will create illusions, always with the help of my calligraphic forms. I’m even thinking, and that would be fantastic, to collaborate with architects in order to act directly on urbanism. Will you tell us about some of your consistent influences? I’m inspired by artists such as Mucha, Hartung and more recently Vassarely. I’m also inspired by architecture and the calligraphy from all over the world. Do you have any upcoming projects you can share with us? Yes of course! I’m glad to present my first solo show in Paris at the Gallery “Loft du 34.” It will take place from the 22nd of February to the 19th of March 2017. I will come back to Palm Beach for the Canvas Museum Outdoor Festival and also to Miami. And that is just the beginning... Year 2017 will be full of projects and trips. Where can people check out your art? The best place to see my art is to discover the walls in person that I have painted in the different cities I’ve been. However, for a virtual visit, you can follow me on Instagram, @astro_odv_cbs, and check out my website at www.astrograff.com.
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For many, skateboarding, more than defying gravity or holding a deep sportsmanship layer, is a lifestyle and a primary form of expressive communication. In a much broader sense of philosophical thoughts and concepts, this discipline has a strong connection to the urban environments where it is practiced, on an almost religious basis. The buildings, sidewalks, streets and alleys become witness to the squeaky boards and worn-out bushings. Rolling through the shadows of these citymade structures turn skateboarding into the voice of neighborhoods and parks. It evens holds a strong relationship with society and how it is perceived. Illogical situations where skateboarders are taken to jail for practicing on parks or benches give way to the question of morality, judgment and pure nonsense. Rafael Gonzalez, a Panama-based photographer, explores this relationship through images taken in a variety of places where cultures and societies collide or coincide, and skateboarding remains as an underlying way of life. Tumblr • rafa-gonzalez.tumblr.com Instagram • @rafagonzalezphoto
Florian Dalhuijsen • Ollie, Amsterdam
Simon Weißer • B.S Lipslide
Josue Watts • Bs Nosegrind, Panama
Musee des Confluences, Lyon
Adrian Poncet • B.S Nosegrind
Sébastien El Idrissi • Bs Smith Grind
DV S S H O E S . C O M @ DV S S H O E S
PREMIER 2.0 // DVSSHOES.COM // @DVSSHOES
K E E P I T WA R M .
words • lauren burke & justin romano photos • peter morning
scott blum
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Snownami, snowmaggedon, storm of the century, Dumpuary, mega-storm, super-storm, the winter that won’t quit, Januburied… These are just a handful of the terms used to describe the onslaught of snow Mammoth Mountain has received this winter. With Main Lodge snowfall numbers totaling over 25 feet, and much, much more at the summit, this season has officially become one for the record books. As of January 23rd, Mammoth had blown past the monthly snowfall record of 209” and is sitting on 246” inches of snow in the month of January alone. Record shattered.
While locals knew that serious snowfall was headed their way, no one could really fathom that the forecasts of up to 20 feet were possible. And then it happened. Twice. In between incessant shoveling came some of the most memorable powder days in Mammoth history. A truly waist-deep powder day hit on a Thursday (January 12th) – every local’s dream come true. This was no ordinary “sierra cement” day on the hill. Cold blower powder with free refills all day had skiers and riders hooting and hollering from first chair to last. To say the conditions off Chair 22 were epic is an understatement, as lines that hadn’t been ridden in years were getting lapped for hours. The days that followed this finally brought us a short but well needed break of sunshine and time for a massive dig out. Not to mention it was MLK weekend and the whole place went off.
jimmy goodman
gabe taylor
gabe taylor
By then, the second massive cycle was lining up on the charts. Most people wrote it off in their minds, thinking we couldn’t have another equally or close amount of snowfall happen so shortly. But it surely did just so. The pure volume and amount of snow that all came in at a similar temperature was remarkable. Every day you could go out and shred over a foot of fresh pow, and by the next morning it would look the same. It was truly like groundhog’s day, but in the sweetest way possible. By the time the final push came around the cycle things got weird, in a snowy way. The last few nights of the storm brought an absolute dump to the mountain and town. The major highway (395) was closed, the town was buried, people were snowmobiling in the streets, chairs were being dug out to operate and everyone was realizing how truly special of a time it was. The days that ensued were something beyond words. The formations of snow around town and on the mountain have not been seen for quite some time. The snow was fast and super rippable as the storm moved out and left a cold trail. The top of the mountain was soon streaked with deep bottomless lines and you could just sense the stoke and “pow fever” that was amongst the skiers and riders. The aftermath of it all is a sensation of appreciation and gratitude for the historic January that just unfolded. Shredding like this doesn’t happen often and the amount of snowfall may just be “once in a lifetime.” It’s what most snowboarders/skiers live for, and with such a deep base it’s sure to last for quite some time. That being said, it’s time to put the magazine down and get your butt up to Mammoth and enjoy it while it lasts.
greg bretz
words • joey marshall
Twice a year the entire industry packs it up and heads on over to Long Beach for the two-day extravaganza that is Agenda Long Beach. It’s a melting pot of surf, skate and streetwear brands that represent the majority of the West Coast and beyond. It’s a place where friends see friends, brands show off their latest and greatest to buyers, adult beverages get consumed and there are lots and lots of high fives and smiles. Two days prior to the show I received an unexpected email from Agenda founder, and one of my personal heroes, Aaron Levant. The email outlined the importance of Agenda, changes over the course of its 14-year lifespan, relationship building and community. And up until that moment it never really dawned on me that that is the reason why Agenda Long Beach is such a great show. I mean, I’ve always really enjoyed going, and it’s par for the course for any business within our industry, but there has always been this x-factor that I could never
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really put my finger on. And it was that email from Aaron that hit the nail on the head. It truly is about community and authentic, face-to-face relationships. It is why this industry thrives the way it does. It’s not just another 9-5 job, but a way of life, dare I say lifestyle. It’s why WE, every single one of us, choose to do what we do. Our community, the action sport industry (I still hate that phrase), is based on this and Agenda Long Beach is the only place that I know where such a large portion of said community gets together at one time and under one roof. That being said, this year’s Agenda Long Beach was another outstanding two-day event. I never can seem to fathom that so many unique brands actually exist in our world. It was great to see old friends, meet new ones and to see what wonderful new product that everyone is producing. The health and necessity of Agenda is strong and alive and we’re all stoked to be a part of it this go-around and looking forward to the next one in June. We’ll see you there.
@activewomens
The 2017 LA Art Show at the Los Angeles Convention Center closed on Sunday, January 15th, while organizers were tallying record numbers in every aspect. Now, in its 22nd year, the fair upped its game with its broadest range of international works to date, along with the participation of eight prominent Los Angeles arts institutions. New downtown neighbor The Broad lined up alongside the city’s prominent players – LACMA, The Hammer, MOCA and The Getty – to contribute programming in a dedicated 50,000-square-foot public space and provided special tours for the show’s visitors.
committee of more than 25 seasoned collectors, philanthropists and art patrons whom lent generous support to the show’s opening activities, boosting proceeds to beneficiary St. Jude by more than double last year’s success, representing a 122 percent increase from last year. Among the thousands of attendees there were collectors, advisors, museum directors and professionals, artists, patrons, philanthropists and leading figures in the design, fashion, architecture and entertainment worlds including Chuck Arnoldi, Lubov Azria, Dr. Gabriel and Christine Chiu, Scott Diament, James Goldstein, Natasha Henstridge, Aliona Kononova, Kim Martindale, Andy Moses, Patrick Painter, Melanie Pullen, RETNA, Ralph Rieckermann, Stefan Simchowitz, Mary Ta, Kim Tae-Ho, MOCA Director Philippe Vergne, along with Alexandra Von Furstenberg and Talita Von Furstenberg, among many more.
Turnout for the opening night premiere benefitting St. Jude Children’s Research Hospital exceeded projections, the first indication that that city was eagerly anticipating the annual show with renewed fervor. By the time host, actress and art aficionado Emma Roberts had time to walk the fair, both of the works she admired had already been sold, a work by Mab Graves and one by Mark Ryden. An expanded and dedicated opening night hosted a
Emma Roberts admiring work by Zhang Guolong
Nunca
Ramiro Gomez
Butch Anthony
Mab Graves
Gary Lang
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photos • scotty arnold
Frank Knab
January 14th marked a damn fun day at Utah’s Brighton Mountain for the Electric “Legends of the Volt” tour. For the people, by Electric, the Legends of the Volt tour is an all-encompassing experience for the local community everywhere it stops. With two, 10-foot bay doors opening and a rack of stairs dropping into the snow, the Legends of the Volt trailer transforms into a mobile Electric showroom. Displaying the entire Electric goggle line, featuring new styles like the award winning Electrolite, the Charger, and the all-day, all-conditions BROSE lens, mountain riders could walk right in and try on any goggle they wanted. If they loved what they saw, they could buy it and ride it right then and there! The Legends of the Volt tour is all about having fun. The stop at Brighton was no different! With 20 of Electric’s snow ambassadors on site it was non-stop
Jon Overson
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shredding, laughs and good vibes. Everyone who came through the trailer had their chance to play the Electric claw game to win limited-edition “Live Free or Die” gear, watch the latest @Electric_Snow team videos, grab some stickers, and hang with Electric CEO Eric Crane and crew from the California headquarters. “Brighton is the center of the local snow scene in Salt Lake,” Crane said. “Millions of people ski the larger resorts, but the community really can be found rallying Brighton. With the amount of snow that’s been falling and the crew we had, it will be really tough to beat.” Next stop is Copper, Colorado, for the SIA on-snow demo going down on January 30th and 31st. If you are in the area stop by and try some goggles or just hang with the crew! Look out for a team edit dropping this month from the LOTV event and entire Salt Lake City trip.
photo • dan monick : interview • max ritter
I n t e r v i e w w i t h B a r r y J o h n s o n ( Vo c a l s / G u i t a r ) .
Joyce Manor has always had one of those sort of cult fan followings. How do you guys explain that? I think it’s because we are such big fans of cult bands. It makes sense that our band would attract those kinds of people. I am very grateful for that. Why is the new record called Cody and what can you tell us about the album art? Cody was actually what we were going to call the band when we first started but ended up sticking with Joyce Manor. The cover is a photo my friend Adam took and I felt that it matched the title perfectly. Rob Schnapf not only has a killer name but also has produced some pretty iconic albums. You guys must have been pretty excited to work with him.
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How was the experience? It seems like he brought a lot to the record; there is a lot different about this album than past JM. We were very excited to work with him. We are all huge Elliott Smith, Guided by Voices, and Saves the Day fans so it was a no-brainer. Working with Rob was very relaxed. He likes to shoot hoops and tell stories while recording. You never get the sense that he is anxious to get anything done, which I feel can be good and bad. I’m pretty impatient so it was trying at times, but in the end Rob brought a lot of musicality to the album. He added different chord voicing, arrangement tricks, vocal harmonies, and subtle textural elements that really took the songs to the next level.
We talked a lot about the bands that Rob has recorded over the years including Elliott. I wasn’t sure how Rob would feel about that but I was glad that he was comfortable talking about it.
It’s fitting you guys worked with him. It seems like JM is almost the perfect storm of some of the bands he has worked with. Did you ever have any conversation about Elliott Smith or any of these influences with Schnapf?
JM is such a refreshing mix of genres. Do you think one could say JM is kind of a gateway drug back to genres of emo and pop punk for fans who have fallen out, or maybe younger kids who never had been into those genres to
“The Last You Heard of Me” is my favorite song on the new album. Can you tell me a little about it – what is the song about? Thanks! That might be my favorite too. That song is about a bar in Portland and having a crush on a friend. I think it’s the most literal song I’ve ever written, and for that reason I’m really proud of it. I also like how little happens lyrically and musically while still feeling like a complete statement.
begin with? I think probably both of those things. We get compared to a lot of bands that I’ve never listened to, and all I really set out to do with this band was make a pop punk band with good lyrics. There are so many pop punk and emo bands that have great hooks but bad lyrics, and I wanted to make a pop punk/emo band that you didn’t have to make excuses for or be embarrassed to like. Best place to eat in your hometown of Torrance, CA? RAMEN YAMADAYA! Thanks, Barry. Joyce Manor’s new album Cody is out now on Epitaph Records!
reviews • max ritter & rob molt
Nirvana Incesticide Geffen
Lorelle Meets the Obsolete Balance Sonic Cathedral
Nirvana’s b-side and rarities collection has been reissued on vinyl to commemorate the album’s 25th anniversary. Really, 1992 was 25 years ago? When I listen to this album’s amped-up version of Polly, it makes me feel like Butch Vig did nothing short of a masterful job arranging and producing the songs of Nevermind. It’s a reminder that sometimes less is more. Album art by Kurt Cobain.
We had crossed the last sunbaked arroyo, just outside San Ignacio, when the truck’s transmission finally burned up. The hazy, lush, garage-psych of Lorelle Meets the Obsolete covered the plateau from our dusty speakers. Listen to the first track off the Mexican duo’s new album, Balance, available now on Sonic Cathedral and Captcha Records.
Death Valley Girls Glow in the Dark Burger Records
Albert King Lovejoy Stax
The Death Valley Girls should start a cult. From seeing them play their new song “Pink Radiation,” off of the album Glow In The Dark, at a metaphysical outpost in Joshua Tree [the DIY fest Desert Daze] the LA band already have us brainwashed. The foursome plays garage-psych like they are straight out of a female biker gang.
He was left handed but played righthanded guitars, used only open tunings, and never played the sixth string. AK was a genius bluesman. The chorus to my favorite cut on this album goes like so, “Everybody wants to go to heaven, but nobody wants to die.” Ain’t that the truth?
Danny & The Darleans Bug Out In The Red Recordings
William Onyeabor Atomic Bomb Luka Bop
Staying rough and loud for all the greasers, and for the door slammer, trash can kicker, and angry nobody in all of us, try some Danny & The Darleans. The Detroit garage blues outfit has released a new record, Bug Out, and you can get it at In The Red Recordings – just don’t throw it at anybody. Staying rough and loud for all the greasers.
Aaa-tom-mmic Bomb, Aaa-tom-mmic Bomb. Rest easy to William Onyeabor, the electro funk pioneer from Enugu, Nigeria.
V/A Hardcore Matinee Swami Records This LP is a compilation of 22 current bands from the greater San Diego music scene curated by “Swami” Jon Reis. The LP is Swami’s homage to the v/a compilation albums he was influenced by growing up. The albums were often regionally curated and would pack as many as 60 bands into one double album! Proceeds from Hardcore Matinee will be donated to The Museum School in San Diego and be used exclusively for their music department. The Museum School is a tuition-free, public charter school that serves students from all over San Diego in kindergarten through eighth grade.
Breast Massage Cuisin’ For Filth Infinity Cat Recordings After wiping the motor oil off on your denim jacket, you were able to punch the tape out of the stereo. It reads Breast Massage and it’s the super fuzzy Nashville sludge-metal that was playing in the Dodge when you stole it. That 8-minute song was heavy. But after a day of joyriding and all the donuts in this field, the premiered muscle car has finally died. You take the tape and leave the car with the door wide open. It wasn’t yours anyway.
words & photo • david evanko The Schizophonics The Echo, Los Angeles, CA Saturday November 12th, 2016 In a spontaneous combustion of soul, punk, and psychedelia, The Schizophonics dismantled The Echo during its celebration of the 50th anniversary of the infamous “Riot on Sunset Strip,” which occurred on November 12th, 1966. Stir a pot of fuzzpunch bass lines, wailing guitar solos, and surgical drum spatter and the result is a Detroit acid trip in a Southern Californian basement which is The Schizophonics.
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Age: 9 Hometown: Vista, CA Sponsors: Powell-Peralta, Bones, Independent, Nike SB, 187 Pads, S1 Helmets & Ethika Favorite Skaters: Pedro Barros & Chris Russell
photo• ortiz
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