BOON Magazine Issue 1 by BOON Magazine

PET TING ZOO | THE GREEN DOOR STORE | COCO DEV ILLE

ISSUE No 1

FOREWORD

BOON is a natural product of its environment. From an idea in a single text message, BOON has grown and been shaped by the enthusiasm and creativity of its contributors, in a time where these qualities are being challenged. BOON is designed to promote the creative talent of Brighton. To be a link between those that have never met; a professional and social network of collaborative effort that everyone can be a part of. There are so many inspirational people in Brighton, without whom, a platform such as this would not be possible. In an age where a simple â&#x20AC;&#x2DC;thank youâ&#x20AC;&#x2122; can be easily forgotten, thank you.

Creative Directors Timothy Hampson & Antony Day timothy@boon-magazine.co.uk antony@boon-magazine.co.uk

Chief Editor James Halling

james@boon-magazine.co.uk

Directors of Photography

Timothy Hampson, Antony Day & Steve Brown

Photography Steve Brown, Laura Brown, Tommy Smith & Jack Johnson steve@boon-magazine.co.uk laura@boon-magazine.co.uk

Writers James Halling, Matthew Watson, Alice Ash, Elliott Caranci-Finch, Joe Walker & Joe Sanders Proofing & Editing Adrian Dobbie Contributors & a special thank you to Heidi Ashley, James Baker, Symon Back (biscuit fiend), Josh Christopher, Martin Currie, Richard Daniell, Kirstie Daniell, Graham Erickson, The Foundry, Marilyn Hampson, Chloé Harwood, Ben Huggins, Thomas Jarrett, Kensington’s Café, Michael Nunn, Bridget Pettifer, Proud Cabaret, Leo Solti, John Sweeney, Luke Wyeth, Ziggy (Tank)

If you would like to contribute further, please contact info@boon-magazine.co.uk

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BOON

IN THEIR WORLD

Words: James Halling | Photography: Timothy Hampson.

Darlings of the Brighton circuit, The New Union have been a band for two years. The anniversary of their first gig fell in February 2013. Recent national exposure, support slots for big-name acts and new major releases all suggest that this is a band on the cusp of the big-time. BOON were recently invited into the studio with the band to witness the recording of their EP ‘Staying Friends’. It presents a major step forward as they prepare to bridge the gap between local leading lights and national notoriety. Their success, they admit, is built upon talent, hard-work and luck. “For the time being we’re the lucky ones, we know so many good bands in Brighton who are equally on the same level as us, but none of them have been given the opportunity that we have.”

IN THEIR WORLD

The New Union are a band forged in the studio, not on stage. Unusually for a new band relentlessly gigging was not an early priority. In their first eight months the band only played six shows concentrating instead on writing and, in the words of drummer Leo, figuring out what they were going to sound like. “We could have done a couple of shows a week for six months, but everybody would have got tired of us very quickly. We only wanted to do shows where we knew there would be the right people there.”

admits that without John the band would be struggling: “We’d be finding it hard to think of reasons to stay in the band... everything we’ve needed to do he’s facilitated.” For Leo it’s a case of meeting the right people at the right time: “It’s a stereotypical case of what most of the industry is, a lot of luck and a lot of hard work.” In the autumn of 2012 discussions began about recording and releasing a second single in early 2013. Sweeney proposed the idea of working with Dan Grech, the producer fresh from the studio working on Tom Odell’s new album and responsible for recent albums by Hurts and Lana Del Rey.

In May 2012 the band met exactly that right kind of person, the person who, the band acknowledge, is responsible for the sustained progression of The New Union.

In January 2013 The New Union would record a new single ‘Staying Friends’ accompanied by B side ‘WDYTYGW’ (Where Do You Think You’re Going Wrong) at RAK studios in London. At 5am on a cold winter’s morning BOON, The New Union and a van load of equipment travelled from Brighton through central London to RAK studios.

John Sweeney, founder of Two Sisters Records, came across The New Union at a show for BBC 6 Music at the now sadly closed Bull & Gate in Kentish Town. He was clearly impressed and immediately threw his weight behind the band offering them the advice, support and financial backing of Two Sisters.

RAK Studios has hosted some of the most distinguished names in music: Paul McCartney, The Libertines, Arctic Monkeys and Radiohead have all recorded under its roof. Gold records adorn RAK’s walls and the Wurlitzer jukebox in the recreation room houses only records made at RAK. It contains some of the finest pop music

Sweeney and Two Sisters offered the band the opportunity to record a single and in October 2012 ‘Without You’ was recorded and released. A bout of shows followed in support of the release and steadily the band’s profile began to rise. Lead singer Rich

IN THEIR WORLD

ever made. The band choose Vienna by Ultravox. Bassist Alex explains how he remembers listening to the song growing up. “I couldn’t believe we were in the same place.” You can feel the history at RAK; there is a sense that successful records get made here.

Grech threw the band straight into the deep end putting Leo straight into the booth to record. “Dan has an incredibly quick work rate, he’s relentless. At first it was a bit overwhelming.” For the band this is the most important reason for working with a producer such as Grech. Rich describes: “When we go into the studio we always have the structure of the song demoed ourselves. Without Dan there we’d just be recording our demo again. The idea is within you, you just need someone like Dan to guide you through the mire and say ‘that’s right, that’s wrong.’” Leo suggests that the point of working with a producer “...is to come out with a song that is different on the other side, otherwise it’s a pointless exercise.”

“The hardest thing about being there,” says Leo, “was making the connection between us as a band and all the other incredible bands that have recorded there. We felt extremely privileged and almost out of place.” For this young and relatively inexperienced group the opportunity to record in an environment so steeped in pop history is still a surprise. Rich explains: “Whenever we go into the studio we always say, what the fuck are we doing here? At some point in every big band’s career they’ve been the lucky ones; why can’t we relish that whilst we’re here?”

Next, in the mid afternoon, Alex’s basslines are recorded. He plays alongside the drums as the skeleton of the record starts to take form.

“ The initial first hour is intimidating, meeting the producer. This is the guy that’s recorded so many great songs and so many great artists, you’re thinking, why did you agree to work with us!?”

Throughout the sessions the band mainly use equipment they find in the studio. Grech is constantly pointing the band in the direction of instruments that he believes will create a certain idiosyncratic sound. He describes it as his “tool box.”

The first part of the first day would consist of meeting the producer, getting the equipment set up and then eventually recording the foundations upon which the rest of the record would be built.

Rich gives an example of a Casio Keyboard they came across: “It looked like you bought it from a kid’s toy shop. It just fits really well.

IN THEIR WORLD

We used it in on most of the tracks. It doesn’t matter what instrument it is, a ridiculously expensive guitar or a fifty quid knock off Casio that you can buy at a car-boot. It’s just having them all around you and having Dan there. He knows what instruments they have and what will work.”

Dan said: ‘You’ve got so many songs that are great, we need to put them on an EP.’ Hearing confirmation from someone like him was enough for me to think, let’s definitely do it then.” In the pub after the long first day in the studio, the idea was presented to the band by Sweeney of turning this recording, initially conceived as a two-sided single, into a four track EP.

Throughout the recording process it became clear how little was preplanned. Records are an organic product of the particular environment in which they are recorded. Ad hoc responses to technical issues, sparks of creativity from the band and waves of ideas from the producer create a record of an ephemeral moment in time; irreplicable and unique from any other.

The idea stemmed from a suggestion by Grech earlier in the first day that the band should have more material out there to give people something substantial to listen to. Alex elaborates: “The EP is a more modern promotional tool now. People in the industry are using it to test the water with the public. It’s more than a single but not necessarily a whole album.”

As afternoon draws into evening it’s time for guitarist James to record his parts for ‘Staying Friends’. He uses a 1958 Fender guitar, worth £35,000. It belonged to the founder of RAK, Mickie Most.

The band and the producer would need two more days to record an additional two songs. However, Grech’s preferred studio RAK was full and the producer unavailable for the foreseeable future. They would have to record elsewhere and at a later indeterminable time.

By the evening the base coat of ‘Staying Friends’ has been laid and day one is over. Tomorrow B-side ‘WDYTYGW’ will be recorded in the same way, built from the ground up. Before the day is out the band play ‘WDYTYGW’ live to give Grech a sense of the song they will record tomorrow.

Before they could move on, the final pieces of ‘Staying Friends’ and ‘WDYTYGW’ needed to be recorded. Day two saw the final layers added: guitar melodies, tambourines and vocals; the ingredients that make a song distinguishable from the next.

“ We had a conversation about doing more tracks on the way to the studio.

IN THEIR WORLD

Buoyed by the previous night’s news, day two went off with an abundant sense of enjoyment and freedom. The band were in their element as a group of mates doing what they enjoy the most, making music. “We just kept thinking about going back to our jobs and how terrible that was going to be,” Leo reflects.

In late January 2013 we travelled on a snow-shrouded pre-dawn train from Brighton to London Bridge. The band dragged their equipment through the snow on a 40 minute walk before reaching Miloco studios. The previous night, the band had been up until the early hours pulling apart and piecing back together new song ‘Rushing Thoughts’ in preparation for the day’s recording. Miloco Studios felt like being inside a submarine, the metal doors are huge with porthole windows, and the sound of music reverberating through them felt like distant whale noises echoed through deep-sea.

The bands public image, which can appear overly serious, completely contrasts the true nature of their personalities. Their characters enliven the recording sessions. Throughout our time in the studio BOON’s photographer struggles to capture a shot of Leo that isn’t in some way rendered ridiculous by his incessant face-pulling.

“ You do get nervous. When you know you’re only in there for two days, you do think, are we actually going to manage to do this?”

The New Union are clearly a collective of individuals whose contributions and personalities ensure that the whole is greater than the sum of its parts.

In Miloco Studios Grech was away from his usual studio RAK and in an unfamiliar environment. Inside the studio it was hot and oppressive, the heating system overcompensating for the near zero temperature outside. It took four hours to set up on an already tight schedule.

At 9pm, BOON, The New Union and the production team were played through the finished versions of ‘Staying Friends’ and ‘WDYTYGW’. Listening to the tracks as a whole was a strange experience, after only hearing their constituent parts for the last two days. Experiencing the assembly of a track piece by piece made you appreciate the nuanced detail that goes into creating the overall impression a track gives.

Alex explained: “When you go to a new room the producer has to adjust to the differences. All we can do is go there and play.”

IN THEIR WORLD

‘Rushing Thoughts’ was recorded in this stressful and tense environment, the mood of the day is reflected in the song. ‘Rushing Thoughts’ frantically gallops through its densely packed three minutes, chasing a climax that never comes. It takes exhausted breaths at each bridge and desperately pleads for reprieve crying: “When you feel like you can’t carry on.”

the demo Grech announced that it had to be on the EP. ‘Forget Again’ has never been played live and it presents a significant departure for the band. Rich described how the song was written on a recent trip back to his home in Sheffield: “‘Forget Again’ comes from an experience of going home after a long time and how much you’re connected to things that you don’t really realise.” It’s a sparsely arranged song with Rich’s tired and vulnerable vocals lightly placed over the top of a delicately played solo-piano.

The day ends in exhaustion, with the help of one drink the band go to bed. Until day four lead singer and songwriter Rich had been predominately a bystander, sitting comfortably to one side, waiting, jotting in his notepad. Today was his day: The morning started with his vocal takes. Crammed into a tiny booth, a dozen pairs of eyes watching on, he records take after take of assorted vocal parts.

‘Forget Again’ was recorded live in complete takes at the end of the last day in the studio. The lighting was turned down and the rest of the band and crew seated in silence, the weight of their satisfied exhaustion soothed by the cathartic chimes of Rich’s playing.

At some point over the last three days of recording Rich had discreetly demoed a song he had been working on entitled ‘Forget Again’. Rich explained: “We found this incredible rickety old piano in the studio and took the opportunity to demo on it.” The band never intended for ‘Forget Again’ to be recorded; but on hearing

“It was the perfect end to our incredible time in the studio.” Leo explains. “For the first time in four days everyone came together and sat in a room in silence just listening... you could record it another 10 times and it would sound completely different; we captured it right.”

IN THEIR WORLD

THE NEW UNION ‘F O RG E T AGA I N ’ MI LO CO S T U D I OS – LO N D O N

PET TING ZOO

BOON

Words: Joe Walker | Photography : Tommy Smith www.easypz.co.uk

Petting Zoo Prints & Collectables have recently celebrated their fifth birthday and are going from strength to strength. Based in Brighton, Petting Zoo create bespoke prints for a range of clients including international, national and local bands such as The Eighties Matchbox B-Line Disaster and Esben and the Witch, for whom they have designed gig and tour posters. Only working for bands they like, each piece of work is treated as another collected, as if adding to their playlist. Petting Zoo Prints & Collectables can be found at this years Great Escape festival with their poster show â&#x20AC;&#x2DC;The Stick Upâ&#x20AC;&#x2122;. This will be a trail of work around a variety of venues in Brighton and will also be available to those without Great Escape wristbands. Visit www.thestickup.co.uk for more details.

PET TING ZOO

Opposite: Soul Kitchen motif | Above: Target Orientated

PET TING ZOO

The Eighties Matchbox B-Line Disaster

PET TING ZOO

The Melvins

The Datsuns

The Jon Spencer Blues Explosion

Graham Coxon

PET TING ZOO

Esben and the Witch

PET TING ZOO

Alabama Shakes

T H E P I N U P PA R LO U R

BOON

Words: James Halling | Photography : Polly Hanrahan Model: Saoirse Clear y | Make up: Bianca Konig www.pollyhanrahan.com

Polly Hanrahan is an emerging talent in the world of Fashion Photography. Born and raised in Brighton, she is currently studying at the most highly acclaimed fashion school in the UK, the London College of Fashion. Polly started taking photographs at the age of 14. An A-level in photography naturally followed and a subsequent foundation year at City College Brighton, acquiring the technical skills needed to facilitate her creative flair. Brighton, the city she grew up in, is intrinsic to her work. Polly admits she “...would not be doing this if it wasn’t for Brighton.” The city’s abundance of creative people and particularly fashion photographers inspired her to pursue her interest as a career. For her latest project Polly was inspired by the work of Ellen von Unwerth and chose to use Brighton’s iconic Hotel Pelirocco as her location. The project is entitled ‘Interiors’ and is inspired by the plush 1950s glamour of its location the ‘The Pin up Parlour’.

TH E PIN UP PA RLOUR

Underwear set by Bianca Laporta

TH E PIN UP PA RLOUR

Corset and briefs by Eva Lai

Body by Eva Lai

TH E PIN UP PA RLOUR

Underwear set by Bianca Laporta

TH E PIN UP PA RLOUR

BOON

POWERFUL,VULNERABLE, PRIVILEGED Words: Matthew Watson | Photography: Steve Brown, Debbie Bowles & Jack Johnson

The term burlesque derives from the Italian word burlo – to joke or mock across the mediums of drama, literature and music. To evoke laughter and bawdy comedic resonance by delivering caricatured and parodied performances to the audience. Now, how many of you saw the word burlesque and instinctively conjured up an image of scantily clad women teasing a baying male crowd? More than you’d think. A lot of people presume many things about burlesque yet they have never immersed themselves within the industry or sought to understand its complexities as an art form. Burlesque and Brighton share similar traits; entertaining, risqué and liberal. Search through the libraries of the Brighton History Centre and you will find past articles of performances at the Hippodrome or the Aquarium detailing the city’s rich burlesque scene spanning over a hundred years. We interviewed Brighton-based burlesque artist Vanessa Barrett aka Coco Deville to explain burlesque: as a career, its history, its often controversial misunderstandings and what Brighton has to offer.

POWERFUL, VULNERABLE, PRIVILEGED

BOON met Vanessa in the bohemian Mecca that is the Marwood coffee shop. Sitting graciously in front of a full-length mirror the twenty-six year old starlet oozes style. Her two toned vibrant pink hair, flawless golden skin and kitsch bowler hat showcase a bold extrovert with much to say. After only a mouthful of homemade carrot cake we proceed.

a plethora of changes to which the UK has played a significant role. For instance, in the 1860s Lydia Thompson and her famous troupe wowed Americans with a mythological spoof where women wore tights and played male characters; a powerful challenge against social gender conformities. During the last century the art form adopted new practices that Vanessa explains further: “It was a very musical performance. The parallel today would be pantomime; it was very big and satirical. Burlesque fused with the popular striptease entertainment of 1920s America and it became more of the burlesque we know today: Fun, high-end and cheeky.”

People often have a very specific and uninformed idea as to what burlesque is. Even in a liberal playground like Brighton we were surprised by the descriptions people used: sordid, sleazy, provocative. Such words all share a similar strain of something that is taboo and sexually overt. Something to be swept under the carpet.

Burlesque flourished within large urbanities such as Harlem where social and economic deprivation smeared an ugly stain across cosmopolitan sprawls. Between the World Wars pin-up burlesque beauties like Sally Rand and Gypsy Rose Lee developed a huge fanbase; their personas and smouldering nature allowed them a calling card into Hollywood.

So what actually is burlesque? Vanessa: a renowned performer, award winner and cannon of the art states: “Burlesque is about the mind. It is an art form that engages the audience and you perform to provoke an audience reaction that comes from within.” It is clear that burlesque is a fantastic interpretive platform and adaptable to the performer’s preference be it theatrical showmanship, cabaret sophistication or mischievous choreography.

Vanessa draws her inspiration both from Harlem and from burlesque’s lowest point, the liberation movements of the 60s and 70s when interest plummeted. The era saw new legislation gift public venues the right to licence pole-dancing and strip clubs.

Burlesque has left a lasting mark on cities like New York or Paris and Brighton is no different. Vanessa states that burlesque history has gone through

POWERFUL, VULNERABLE, PRIVILEGED

CO CO D E V I L L E PRO U D

POWERFUL, VULNERABLE, PRIVILEGED

Just when burlesque should have been bursting with creative ideas it went back underground.

was a particular moment in time, it was just a certain feeling that had built up gradually. If you are a creative person you just have to find your right outlet.” From a young age even Vanessa’s parents knew she belonged on stage with her love of performing and her fascination with vivacious drag queens and glitzy showgirls. It was at university in Devon that Vanessa began to develop her burlesque roots after studying for a contemporary theatre degree. “I had a feminist performance art module that really stood out to me. How the female form and ethos can be conveyed in a theatrical performance. There were parts that I found quite aggressive or a bit niche and I thought that there’s got to be a friendlier and more engaging side to this.”

“ N o-one wanted to see burlesque because what was the point in maybe seeing some boobs when you could see everything in another venue for a much cheaper price?” Vanessa laments. More recently, contemporary or ‘Neoburlesque’ has experienced a renaissance. Vanessa’s eyes light up instantly: “There are many reasons for the revival. My theory is that we get inspiration from different points of history. Look at fashion, music and the whole vintage culture, it excites people once again. People want to escape the humdrum and burlesque can offer that.” The scene has become this vast idea pool where creativity and inspiration overflow.

Shortly afterwards Vanessa formed a burlesque troupe, including peers from her theatre year and two Masters students that experimented around and worked with other external artists learning to engage with the audience and perfect her routines of cheeky burlesque fun.

Currently the Brighton mainstream is brimming with retro burlesque acts like hula hoopers or circus jugglers. “I think for burlesque to evolve it makes sense that other practices tie in together. It makes it so much more interesting to watch. It has that high entertainment feel instead of just being focused on the sexual side.”

Although tempted by the burlesque revival in her native Birmingham, Vanessa decided to relocate to Brighton. She sought a new direction in life and Brighton’s open, eclectic and friendly atmosphere was an attractive prospect. “When I was at the London Burlesque Festival a few years ago

So, why burlesque? We nudge Vanessa into remembering a point in time; that moment when the imaginary light bulb switched on. “I wouldn’t say it

POWERFUL, VULNERABLE, PRIVILEGED

I met a couple of Brighton performers and they were really warm and kind. They worked at Komedia and had some edgier, punkier acts. Brighton seemed more accepting of those performances so it made sense to move here.”

Burlesque is a robust tool that produces strong emotions and has the ability to make a profound mark on a performer and an audience. We questioned some people in Brighton about burlesque with many saying that it is confidence building and liberating. However, Vanessa is quick to address such assumptions as motives for performing. “You do need a very strong air of confidence to go on stage. It isn’t just about the performance but also the costume and choreography. What you see is the result of the performer’s imagination. That is a huge boost. A lot of performers I have seen say they are doing this for their body confidence. Burlesque doesn’t give you confidence, you should be confident in the first place. Burlesque isn’t therapy. If you have body issues then that is your problem.”

The embracing nature of our city has provided Vanessa with the perfect springboard in order to experiment with styles and burlesque alter-egos. Her most acclaimed and recognised character is Coco Deville; a typically Brightonian vamp with sassy appeal and stimulating intellect. Vanessa believes Coco Deville has been popular because of her assertive nature. “She has become renowned for being very energetic and charismatic on stage. I have had great reviews of Coco. People have said she commands the stage and commands attention. She is a bit of a diva but not in an egocentric way. It is her duty to ensure the audience get something from the show.”

It is a hard-nosed comment that some may look at disapprovingly but it is a valid point. Burlesque performers are primarily there to entertain and not to seek a personal boost. Vanessa is committed to the idea that you must use your energy as a performer and actively give that to the audience. It is their experience that counts. “The audience should feel your energy and be ecstatic. You need to get that energy across. To say does burlesque makes you empowered? No. You should be empowered in the first place by what you do on stage.”

Vanessa talks with an enthusiastic manner; her excitable animations and theatrical intricacies showcase her passion to produce a mutually beneficial and entertaining spectacle. We encouraged her to find three words that best describe how she feels on stage and after a long pause she reveals all, “I feel powerful, vulnerable and privileged.”

POWERFUL, VULNERABLE, PRIVILEGED

Burlesque isn’t an easy career, despite its glamorous façade. Vanessa has managed to squeeze this interview in between a string of meetings, video shoots, costume-making, getting props together, choreography, photo sessions and liaisons with venue hosts.

Similarly a well known critic branded a Brighton burlesque show as “pleasantly surprising, far from the seedy strip-show we had envisaged.” Despite the positive review the writer still went in with preconceived ideas putting burlesque immediately on the back-foot.

It is hard, tiring work. “It can get really intense, sometimes you can forget to do something so basic like eat because your day is so busy, but other weeks I can have nothing booked at all and I can catch up on projects. Everyday and every week are always different.” It isn’t just exhausting timetables that Vanessa must face. Not too surprisingly there is a negative light cast across burlesque. People seem to think of burlesque as a sordid back-alley entertainment rather than theatrical art. This stigma often clouds judgement and stops many from enjoying the spectacle.

“Whenever I see a negative comment, especially in relation to the sexual or objectification side of burlesque I feel that the writer has seen a very niche show.” Vanessa explains “burlesque is an open platform and you get different performers. Some people just need to be re-educated to learn that burlesque isn’t just sex. It means so many things to different people and if you are in a position to review it at least be educated on how vast it actually is and have something to compare it to. If you are just reviewing the show and not the art-form then you have to leave it open.”

Brighton is far more experimental and welcoming to burlesque but even so, there have been struggles. Only last year Vanessa helped take part in a protest after a burlesque mural had to be altered as it was deemed inappropriate and risqué; it seems strange that this should cause possible offence when this is the same city that hosts a naked bike ride and a globally renowned Pride event.

Luckily the people of Brighton can embrace the flourishing burlesque scene here with a diverse array of nights and performances. It is an exciting time for burlesque in Brighton and for Vanessa as a theatrical artist. There are currently residential nights at Proud Cabaret where sit-down evening suppers of fine class dining and excellent burlesque revelry pay homage to the vintage era of the

POWERFUL, VULNERABLE, PRIVILEGED

twenties. Nights such as the Blind Pig specialise in prohibition style burlesque whilst for a younger and more club-friendly environment there is Pop Kraft. It is camp, quirky and brash; animal balloons, porno badge making and circus-based burlesque acts generate a stunning visual aesthetic.

people’s own individual backgrounds.” Above all Vanessa believes burlesque has to feel accessible and must appeal to friends and families so they can get something from the performance. Brighton is sitting on a creative burlesque time-bomb. With so many nights and events coming up it is clear that finally people are warming to this complex art-form and the archaic stigmas are finally being dropped.

Vanessa is also working with Playgroup to bring cabaret and burlesque to the clubbing mainstream. Nights at Concorde 2 are planned and will feature live bands to satisfy diverse tastes. New club Funfair will also be hosting pop-up burlesque nights to throw off the assumption that burlesque is solely for older generations with a repertoire of light-hearted, jovial circus burlesque.

Vanessa ends our interview with a very poignant and determined belief. “I want it to come to a point where performers outside of Brighton want to come here. I want it to be a hub for alternative entertainment where the edgy forward-thinkers explore and embrace creativity. I want the creative burlesque scene to come back to Brighton. ”

There is also Midnight at The Mesmerist where every Saturday a random burlesque performer is on hand to delight regulars and newcomers alike.

By the looks of what is available in the coming months all over Brighton, Vanessa’s ceaseless dedication and hard work are finally paying off at last.

Vanessa has also founded Cabaret Cabaret, a business that brings venues, promoters and performers together for the sake of burlesque. “It made sense to tie it all up. I get performers to play alongside each other from different practices, coming together and creating something unique that can then be taken out of Brighton and used for international events like festivals. I wanted to create something that was uniquely Brighton but still tapped into

THE SHORE

LIVING WITH

BOON

Words: Joe Sanders & James Halling | Photography : Joe Sanders www.joejacobsanders.tumblr.com

Growing up in the coastal town of Newhaven, Joe’s photography offers a unique perspective on Brighton and its surrounding areas. Joe has spent many hours exploring the shore and the landscape through various forms (fishing, shooting, swimming, cycling and walking) always keeping his camera close by. For Joe, fishing in particular demands a focused attention to the surroundings and conditions. “Through experience,” Joe explains, “I gradually attuned to the varying unique features surrounding me; tides, currents and weather all became strong elements of influence, greatly affecting my approach.” These images explore Joe’s personal relationship to an environment he has grown up with. “What interests me is the relationships and emotional bonds made when an individual spends time in a particular environment. My challenge is to attempt to visualise this and capture it through photography.”

LIVING WITH THE SHORE

With the water

In the open

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Title A slow summerâ&#x20AC;&#x2122;s evening

Reading the bed

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Hours unwasted

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BOON

THE SCENE THAT WE BUILT Words: Alice Ash | Photography: Steve Brown & Laura Brown

BOON recently spoke to Tigercub, Demob Happy and Kill Moon about Brighton, Grunge and the Dole Queue: Since the beginning of time young people have had a tendency for getting fucked up. This happens all over the world but especially in good old Brighton. In this city, home of the most degree holding unemployed people in England, having a fucking good time is allowed. Is this a bad thing? Is the infamous Brightonianâ&#x20AC;&#x2122;s reluctance to knuckle down and get involved with the 9-5 a middle class atrocity? Over the last few years there has been a feeling of lethargy here. Half of our venues have shut down and for a while, drinking strangely industrially coloured drinks and listening to abrasively loud Rihanna on the seafront was the main event. However, underground music is back and a collective of Brighton bands are spearheading its resurgence. So whatâ&#x20AC;&#x2122;s changed? We talked to Tigercub, Kill Moon and Demob Happy about Brighton losing its shit and finding it again.

THE SCENE THAT WE BUILT

Tigercub, Demob Happy and Kill Moon: Close friends, budding dynamos, unhealthy fanatics and beer enthusiasts, are all involved in the fragrant 90s resurgence that is greasily enveloping the music scene at the moment. In Birmingham bands like Peace, Swim Deep and Jaws have created a surprisingly early return to the 90s and in Brighton our three bands seem set to do the same.

bored and depressed. Izzy, lead singer of Kill Moon, who is one of a few front women in Brighton, assessed the trend and the similarities between the bands in our interview: “We were all born in the 90s and are all in this tiny microcosm (Brighton). We’ve all played shows together and all fit in the same bracket, but we’ve all taken our own spin on things. We’ve got similarities but definitely our own identities within the scene.” “Yeah,” Demob Happy’s lead singer and Bassist Matt Marcantonio agreed: “We all grew up in the 90s pea pod. It wasn’t some decision we made to sound like this. You just write what you like, and we all like the same stuff I guess.”

When we met them, they wondered if perhaps this 90s revolution was inevitable for those who remember it as a time where they were told that they were gunna’ grow up to be whatever they wanted, only to find out that, oh no, not really. At school we were told that the world was our oyster, this was a lie. Growing up and realising the starkness of the contrast between reality and your hopes ‘n’ dreams is pretty severe in Cameron’s England. Jamie, Tigercub’s lead singer told BOON: “Our vibes are disaffected. We identify with music that is slackerish. Bands like Nirvana, Pavement and My Bloody Valentine, their music is so rebellious in such a quiet and intelligent way.”

Grunge and the ethics of ‘slackers’ that we first saw in the 90s is an anti-culture, whereby being what Capitalism would call a ‘loser’ and accepting what opportunities are handed to you (i.e. none) ‘slackers’ actually damage the Capitalist hive. It has everything that punk has but the mohawk and safety pins. The aggression is there, but in a less obvious way. Somewhere inside the double denim hub, the message is the same. Contradictorily, with funding for the arts being cut almost entirely, it seems like more and more bands are emerging in Brighton. This is a beautiful fuck off to the damnation of creativity by ole Captain Cameron.

90s ‘grunge’ has had a dramatic impact on the three bands musicality. Grunge is a style that seems to harness that energy, or lack of it, and to affect the disaffected; those who are lethargic,

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“People don’t put as much value on music as they do to working in a bank.” Tigercub’s Jamie said. “It’s a shame that across the UK music isn’t as tangible as being a Bricklayer. They don’t understand the artistic integrity in it.”

and Tigercub are from the North East and the creativity of our city drew them both south. Matt Demob explains: “Up in Newcastle, the vultures are sucking the money out wherever they can, and the Arts are first to go. People don’t realise how important the Arts are to disrupting all this shit, so they take them away. Maybe that happens less here, Brighton seems to attract the right people.” “Yeah” Jamie Tigercub adds, “in Brighton I can roll out of bed, have a pint of coffee, write tunes and focus on music.”

Izzy agreed: “No-one’s doing it for the money. The pay out is your art, the product at the end of it.” “It just feels good doing this,” said Matt Demob. “I haven’t got paid in four years for this shit. The pay out is the respect from your peers.” Jamie Tigercub added. All of the three bands agree that they aren’t doing it for the cash; fortuitous because in 2013 there is very little financial benefit to a performer’s lifestyle. Consumption of music is changing globally, internet streaming gives you everything you need to create an eclectic taste and people are less willing to pay for music whether it is live or recorded.

Compared to elsewhere in the UK, many bands feel that Brighton is a better city to establish themselves in. ““The difference between Brighton and London is that you can make mistakes,” Jamie Tigecub explains. “You can be a shit band for a while and get better and it wont absolutely ruin things for you. Realising that you’re shit is really important for bands.”

“Everyone is so retrospective about how good it was back in the day when people were buying music and going to shows and you could buy Ferraris. They said that was the golden age. I think they are wrong, I think that now is the golden age because everyone is doing it for free.”

Matt Demob describes the first show his band played in London: “The Promoter got talking to someone from Sony, he’d heard of us. I was actually annoyed, we were like ‘where the fuck have you heard us from’? We weren’t good enough yet.” Brighton acts as an incubator for new bands, allowing space and time for them to grow.

For Tigercub, Demob Happy and Kill Moon sunny Brighton is the place for this second golden age. Demob Happy

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“It’s true,” said Izzy, “Brighton is the comfort blanket away from all that shit. If a band has a shit show, life goes on, you’ll still go and see them again.”

Chris Kill Moon. James, Tigercub’s drummer expands: “The sheer amount of really good, quality bands we have down here is bringing more industry attention. Kins are about to go on tour. Physics (House Band) have just been signed. The New Union are doing really well.” Izzy agreed: “We’re just happy that there’s music to dig, having something after such a blank spot of not liking anything. It was so boring and uninspiring. You know like, not another indie band.”

“If I was at Victoria Station now and I died, no-one would give a shit. They would step over my body to go and catch the train.” Jamie Tigercub laments. “There’s more camaraderie here. What Jamie said about dying in Victoria station. That’s what people’s careers are like in London, bands are willing to do whatever it takes.” James Tigercub adds. “In Brighton people are willing to help each other out.”

“You have no desire to leave. The scene is so great there’s no point moving out. It’s a great place to nurture yourself. If you’re good enough they’ll come to you.”

There is healthy competition between these three bands, who all circulate within a tight social circle.

The level of talented musicians and the extremity of competition in Brighton means that a lot of bands are trying to make exaggerated songs that are more about the musicianship than the music. Deskilling is an important rawness and simplicity is everything.

Matt Demob elaborates: “I hear Jamie in our house writing a song and I go, ‘oh shit that’s fucking great, I’ve got to write something better.’” “Yeah,” Jamie agrees, “I used to get really pissed off when I could hear your tunes. I could hear it coming through the walls. I’d think, for fucks sake why am I not writing music as good as that. You watch a band live and you’re like, oh yeah so we’re rehearsing tomorrow because I’ve just seen these guys and they were amazing, we need to step it up.”

A stripped back approach to writing songs is hard to come by with music graduates eagerly trying to be full time wunderkids. “Music just runs in circles,” Jamie Tigercub explains, “so trends develop and eventually someone decides it needs to be simpler.”

“All our competition is healthy and we’re all bouncing off each other.” said

Whatever the current zeitgeist and trend these three bands stick to a simple

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formula of song writing. “Our bands all make great hooks and great songs,” Matt Demob, “it’s not overly complicated.”

and The Brighton Centre. Whether the demand for music created it or whether teenagers got sick of clubnights that sweat with their lack of sincerity, a new venue was demanded.

There is undeniable thirst for culture in Brighton, an enormous thirst. Matt Demob states: “We’ll keep doing it if people dig it but it wouldn’t be possible if there weren’t so many people here who like music.” Strange then that there has been such a door slamming epidemic on the music venue front in recent years.

The Green Door has emerged as the centre of this scene. The crew seemed to agree that the Green Door Store has changed Brighton’s night life a lot. “Now everything has flipped and gigging has become much more important, your record promotes your live show. The live scene is buzzin’ again in Brighton.”

With the opening of The Green Door Store, Brighton’s music landscape has come alive again. “The Green Door is class.” James Tigercub. “We’re all in Rock bands. That place has the right connotations.” Izzy adds: “It’s our CBGB!”

Live music seems to be more a part of Brighton’s culture explosion than ever. Izzy states: “We weren’t part of any scene when we first came here. We’ve built this. There’s a scene now. People are writing about Brighton more than they ever did.”

It is kind of a chicken/egg situation but it would be fair to say that the music scene was looking quite dire and desperate in Brighton a few years ago. For a while, it really was just The Concorde

BOON

THE GREEN DOOR STORE

Words: Elliott Caranci-Finch | Photography: Steve Brown & Laura Brown

After only two years of existence The Green Door Store has established itself firmly within the Brighton music scene. It has grown to become an integral part of the way this city exhibits its best and brightest new talent. Through encouraging opportunity for newly emerging bands and events, they attempt to provide the best entry route possible with their own unique flair. Speaking to this little gem, BOON find out how they have grown to become a tool for artists from each end of the spectrum.

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The Green Door Store is one of the oldest structures in the city, having been built in 1846. The Grade II listed building sits directly under Brighton station. With a unique setting away from the bustling North Laine, it stands alone offering itself as a distinct alternative venue. Without any signs and just a large green door, it provides this seaside town with its own speak-easyesque drinking hole.

items around the bar, their own style has emerged; vintage lampshades, exposed brick work, and recycled barrels innovatively used as tables. The honest and relaxed atmosphere allows it to become the perfect environment for a lesserknown band to become immersed in a crowd, and for an artist who may be used to a screaming crowd at a large arena to have an intimate and special evening. Artists of note who have performed here include Charlotte Church, who played an intimate and rare gig at the venue after craving a more secluded space to perform. As well as Thurston Moore of Sonic Youth, (who headlined a local fund-raising event) Rizzle Kicks, Alt-J, Peace and Perfume Genius.

It has become a venue incorporating a whole host of entertainment. With a staggering fourteen events per week, the venue offers an eclectic mix of music ranging from rhythm and blues to electro; reggae to metal, as well as a variety of experimental noise and performance. Whilst also promoting their own events, they provide a non-profit series of events showcasing local talent in Brighton offering up opportunities for budding musicians.

Describing the development of their newly found music hub, Paul and Ambre explain: “We didn’t have any money when we first got here, but looking back you can see that we didn’t really need it. If you can get the lighting right and play the right music then you’ve got it I think. Someone said to us if we’d had lots of money we could have quite easily fucked the whole thing up.”

Speaking to Paul and Ambre, owners of The Green Door Store we discussed the humble beginnings of the venue. “When we first arrived here the windows were smashed, the doors were sun bleached, flaking and boarded up... this made it wonderful. We instantly saw a bar and a live music venue and with a bit of luck that’s what we achieved.”

As success for The Green Door Store grows, so does the success of the bands that appear on their stage. Australian band Kins played one of their first UK gigs at the venue to a reasonably small audience. As time passed their fan base grew steadily, and on returning to the

The venues look is a direct response to the environment that they inherited. Decorated with antiques and signature

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venue some months later they played to a full capacity audience and eventually went on a national tour supporting Dark Horses. Most recently the band have been announced to play The Great Escape festival.

play and retain artistic control over their own performances.” Working in collaboration with colleague Joe Grant (one half of Be Nothing promotions), they lay the foundations for newly emerging bands to grab a fantastic opportunity.

Away from music, on August bank holiday weekend last year, they welcomed Dead Men’s Smokehouse. They invited Brighton to watch live music whilst browsing clothing and enjoying a BBQ lunch at the all-day hoedown event. Earlier this year the venue also hosted a photography exhibition and Q+A courtesy of MiniClick photo talks for National Women’s day, as well as a record-exchanging Hardcore gig from local Brighton promoters Twenty X nine.

Sophie explains how they first decided on the idea: “We both have a background in live music, which ultimately led us to start organising the night. We wanted to create a platform for local bands to showcase their music. We book the shows and choose the line-up, and work with them to promote the event. It gives them a chance to network, and support each other.” The evening is open to anyone that wants to get involved, and the demand is most definitely there. The venue also provides payment for the bands that appear, giving the evening a progressive attitude for new artists in our city.

Speaking to Sophie Roberts, Head of Production and Programming about how the venue has become such an integrated space she said: “The venue itself is a little rough and ready, and I think this is reflected in our DIY ethos. It has become a place where people can swap ideas, and try them out, the space we have is really versatile. The majority of people that want to put events on, have approached us either by word of mouth or from attending one of our events.”

Open to experimentation and collaboration, The Green Door Store has centred itself as a key figure in music and events for Brighton. Originating from the words “Green Door Store” etched in white marker on the walls of the building, it is fantastic to see the regeneration of such a brilliant space in Brighton. Paul explains the feeling he has reaching this point and said, “It still gives us the biggest surprise to come to a late night show and see that it is a full house. It still shocks us? I think, Jesus! Where did all you people come from?”

Lending themselves to local talent, the venue host regular SOROLive events, which Sophie describes as “...giving an opportunity for bands without funding to

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