cool brother // issue four: the bad stuff by cool brother

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The Bad Stuff, drugs. The Bad Stuff, cigarettes. The Bad Stuff, he puts trouble in your eyes. It comes in many forms. Lurking in tender morsel minutes, The Bad Stuff is everywhere. It’s in our very being. Make art from it, though, and you’re onto something good. We asked some of our favourite creatives to explore this theme. Tim Head, SJ Hockett and Kate Walton offer loose ended interpretation with collage, scans and digital design, while Adam Connett and Mike Spears capture moments on film. Their work is raw. Photographing loves, lives, greed and those who’ve broken free, they tread thinly through fear and euphoria. Creating a contrast from the rest of the zine, we got to know some of music’s most exciting acts. Go on tour with The Orielles, spendTuesdays at The Drums’ house, while A Certain Ratio chat starting out in the ‘70s with Joy Division and The Fall. WOODY CECILIA, EDITOR

HE FAMIL Art director: Emma BalebelA

Editor-in-chief, creative director, STYLIST: WOODY CECILIA

The self-published print zine created by bands, illustrators and young creatives. Cool Brother is an ever-expanding family.

Words: Madeline Oâ&#x20AC;&#x2122;Keefe Connor Thirlwell Richard Gilbert-Cross Grace Allen Al Mills Woody Cecilia Style photography: Stephie Devred Music photography: Terrence Blakely Artwork submissions: Tim Head Mike Spears SJ Hockett Max Marshall Juliet Klottrup Adam Connett Dan Whitehouse Daniel Gonzalez Kate Walton Big thanks to: Alfie Kungu Folk Chloe Ackers Bella Freud Natalie, Sane Communications Jay, A.I. Chris, Nisa, Good Machine Zoe, ZOPF Tash, Domino Caroline, Yes Please Thom, Satellite 414 Andy, Distiller Tal, Friends Serene Luis, Saxon Zine Lucy, Eat Your Own Ears Ex Why Zed Advertising enquiries: media@coolbrother.co.uk Submission enquiries: submissions@coolbrother.co.uk All other enquiries: woody@coolbrother.co.uk

WHAT’S INSIDE?

Editor’s Letter

The Family Style Notes with Alfie Kungu The Orielles Tour Diaries A Very Short Interview with A Certain Ratio, Squid And Paint Split Lips: Sports Team Vs. Anteros

Tuesdays with The Drums Behind the Lens with Chloe Ackers

On The Road with Ugly

Rowan Allen Shoots from the Hip

THE BAD STUFF ARTWORK BY Daniel Gonzalez FOR COOL BROTHER VOL 02, ISS 04.

THE BAD STUFF ARTWORK BY MAX MARSHALL FOR COOL BROTHER VOL 02, ISS 04.

THE BAD STUFF ARTWORK BY ADAM CONNETT FOR COOL BROTHER VOL 02, ISS 04.

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E I F

PHOTOGRAPHY: STEPHIE DEVRED

STYLING AND CREATIVE DIRECTION: WOODY CECILIA

Yorkshire born Alfie Kungu paints the familiar, while keeping things abstract. His pieces of work are nostalgic. Soft pastels haze around vivid blues, reds and yellows. Spying through the chaos lurk fragmented details of faces, clouds and castles. They resemble the inner workings of a ‘90s cartoon brain on a Gameboy Colour mission. Kungu’s ‘Legs’ series is similarly playful. Bendy strides engulfed in Nike and Adidas sportswear stretch across tall wooden canvas. Upbeat and eye-catching, his work is totally refreshing. With elements of Jeff Koons and Philip Guston, Kungu instills moods of warmth. Rich with energy and a care-free nature, he is riding his own wave, right foot forward. Things are going well for the guy. Since graduating in 2016 with a fine art degree, he has exhibited his work at ICA, Cob and HVW8 Gallery Berlin. Now, he’s collaborating with British clothing company, Folk. Folk make elegant streetwear. Engineered with fastidious precision, their clothing is built to last. Blurring the line between casual and classic, their pieces are often monocoloured. Their latest collection with Alfie Kungu pushes those boundaries. Creating something that’s both visually striking and refined, it boasts an exciting step forward for men’s style.

“I a ’m m t of r n is m a o t a a i dt k ke es .”

Visit Alfie’s Hackney studio for a behind-the-scenes glimpse at the new SS19 Folk collection, as we chat about his background into the arts.

“I’m not afraid to make m i s ta k e s .”

n a m ’ r “I f m a o a t st i m

“I’ a m n t of r a o t mi s tm a i d ak ke es .”

“I’m af to mist 12

“I’m n a f r ao t id

tend “I to leave room happy a c c i d e n t s .”

Congratulations on your collaboration with Folk! How did it all start? Thank you! I was approached by their print team. After meeting to discuss colour palettes and initial ideas, they gave me total creative freedom to start working on a range of designs on paper. After producing a series of drawings using the colour palettes we’d discussed, we met again and they selected three main designs which would eventually be used as prints for the garments. These were then developed and translated into large paintings on canvas. What’s your favourite piece from the collection? I really love the darker shirts. I feel like my designs work really well on them, and they really stand out. I also especially love the bucket hats – I’m a big hat man, myself, so it means a lot to have designed one of my own. What have you loved the most about the whole experience? I’ve really enjoyed the ease and simplicity of working with the Folk team. The support and trust they’ve had in my creative process means a lot to me – it’s allowed me to take my practice in a totally new direction. How do you begin your paintings? Do you start with a colour palette and subject matter in mind, or do you take to the canvas quite uncontrolled and free? It’s usually a mixture of all of those… I tend to have a subject or something I’m into at the time in the back of my mind which will influence my paintings though. In terms of colour, I’m really inspired by the combination of tone and texture – but, once I start working, I tend to leave room for happy accidents. How did you get into painting? I’ve always been interested, as my dad’s a painter, so I grew up around art. There were always paints out at my house, and I was always encouraged to take part – but it was less art and more mess! Painting from a young age gave me a certain level of open-mindedness to experiment with drawings and paint. It’s always been something I’ve really enjoyed, and I’m not afraid to make mistakes. I know you’ve said your trip to Kenya as a kid really helped develop your sense for creativity. Having lived in both worlds, what changes would you make to the UK in order to better the way we approach the arts? I feel like it’s important to support emerging creatives and give them opportunities to exhibit. We should be supporting their ideas and we should take them seriously – starting at school. I don’t think enough funding is given to art departments or creative subjects within schools at the moment. They’re not valued, and they’re viewed as being unsustainable. However, there is a fundamental need for creative output in all industries. Supporting grass roots is important too. What was it like having your work up at ICA? Having my work in the New Contemporaries show at the ICA was amazing! It was the first time I took my artwork seriously – seeing it in such a prestigious context among so many other great artists. It was a really proud moment for me – something that I will always be grateful for, and I felt privileged to be sharing the space with such a strong group of creatives. Have you got any big plans for the future, or are you taking things as they come? I’ve been applying for a few different residencies, so hopefully I’ll be able to make some new series of work… However, I do also just take things as they come. I’m at my happiest when I’m painting, so as long as I’m able to do that, things are good! VIEW ALFIE KUNGU’S WORK ON INSTAGRAM: @ALFIE.KUNGU

Alfie wears T-SHIRT: Folk SHIRT: Alfie Kungu x Folk TROUSERS: Folk SOCKS: Folk

Alfie wears PULLOVER: Bella Freud TROUSERS: Bella Freud SOCKS: Carne Bollente SHOES: Wood Wood

Alfie wears T-SHIRT: Polari LONG SLEEVE: Carne Bollente TROUSERS: Nanamica SOCKS: Carne Bollente SHOES: Adidas PICNIC BLANKET: Carhartt

THE BAD STUFF ARTWORK BY JULIET KLOTTRUP FOR COOL BROTHER VOL 02, ISS 04.

Start at Talking Heads’ Speaking In Tongues and take a left via The Best of Saint Etienne. Pass Pills ’n’ Thrills and Bellyaches en route, and keep going. The Orielles’ pockets are full of musical influences.

Maybe it’s the spiky, glossy ESG inspired Henry’s Pocket that draws you in at first. Perhaps it’s their Ostinato Bass riffing track, Old Stuff, New Glass. Whatever stopoff takes your highest fancy, you may just find it’s sounding like The Orielles that makes you want to stay.

Despite their well-versed knowledge of what sounds good, the Halifax four-piece remain musically their own. Esme, Henry, Sid and Al are originals – a cut above the rest.

They also seem like fun – and we like fun. So, we handed them a disposable camera to document their first UK tour of the year. Squeeze into Sid’s suitcase, as the band capture it all on film.

Words: richard gilbert-cross

R 24

How’s the Feb/March tour going so far? Really good. The weather has been amazing! It’s definitely helped lift the morale and keep things chill… The shows have been great too. They started off a little mellow – quite a lot of the band were ill. Esme especially… she had a cold and was feeling really bad for a few days, so it took a few dates to fully get into the swing of things. And tour life generally is pretty full on anyway – abusing the rider a bit too heavily, things like that, it does take its toll! What does your rider look like? So, we usually have the standard beers and stuff – gin and tonic too, definitely. Hummus, bread, tortillas! We make a habit of asking for a few random things too, which some venues give and some don’t. For instance, we always ask for a disposable camera but so far only one venue has given us one! Tell us a story from the tour. Hmm! Okay, so, the other night in Bristol we got invited out to this bar afterwards called Cosies and it really was the cosiest bar we’ve ever been to. They were playing dub and reggae, it ended up being a really bizarre night, but fun! The last time we went out in Bristol was a few months ago when we toured with The Magic Gang.

Do you have much time for culture on tour, or is it all work? We like to try and find as much time as possible for culture – or even just to have a wander around, going to find charity shops, shopping, things like that. To be honest though, now we’re kind of at the stage where we have a much bigger production, so setting up takes a lot longer than it used to, so we have less time. What’s your ideal night out? This would probably change for each member – but, personally, I like more chilled ones. I’d go to a nice bar that plays funk and soul and have a little bit of a boogie – but definitely not too much of a late night.

Who’s the biggest joker on tour? Probably Henry, I’d say! He usually gets quite drunk after the show. Which band would you most like to tour with? A band called Altın Gün from Amsterdam. They’re like a Turkish inspired psychedelic folk group. We all travelled to see them play in Utrecht, as they’ve never played here in England before. They’re just a brilliant, fun band. Definitely my favourite kind of music! What’s the best festival you’ve played? I think probably either Latitude or End of the Road. They were both super fun… Latitude, just because the weather was incredible. We swam in the lake all day and stuff. End of the Road was great because it was one of the biggest shows we’ve ever played. We played second to last, just under the headliners, in front of about three-thousand people in a tent. It was crazy! Hopefully one day we will play Glastonbury. Finally, name one item you can’t do without on the road. Sriracha!

THE BAD STUFF ARTWORK BY TIM HEAD FOR COOL BROTHER VOL 02, ISS 04.

A VERY SHORT INTERVIEW WITH A CERTAIN RATIO WORDS: CONNOR THIRLWELL

I heard Grac e Jones was meant to sing Talking Head on your cove s’ Houses in r of Motion. What Martin: Tony happened in Wilson, who the end? was our mana with an A&R ger at the ti guy at Island me, set up th records. Grac Studios to me e deal e Jones came et us. The id to Strawberry ea wa an album, bu s to go out t Martin Hann to the Bahama et s t and record was going to Blackwell, wh be the produc o owned Isla er and Chris nd records, So, the stor actually prod y goes that uc ed when he foun Grace Jones. happy about d out, he wa it! sn’t very Jez: The guy that arranged it got sacked from Island over that.

. to pin down c so hard your music. tio’s musi in Ra n es ai nc rt ue infl I find A Ce ny diverse gether your essed so ma at binds to You’ve expr ilosophy th ph ar ul ng si ichés.” Is there a our own cl history? e don’t do to say, “W forty-year at there ed th us is ys o wa ti Ra rtin al turally A Certain Donald: Ma ings. We na ing about of doing th e unique th t one way Martin: Th n’ is e er rmula. Th e isn’t a fo rgitate th es. s that regu go in cycl those band that of as e evolve and “W on , go en be ms and . ’ve never erent albu Donald: We s come from ck at diff e the tune We look ba don’t wher I , nt same thing. me e mo t so in th us!?” We ge

How are you feeling about A Certai n Ratio’s fortieth anniversary? Donald: The six-piece live unit that we’ve got now [completed by Jez Kerr, Martin Moscrop, Denise Johnson, Tony Quigley, Matt Steele and Donald Johnson himself] is firing on all cylinders. The next set of live shows we’ve got coming up is our longest run in forty years!

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A VERY SHORT INTERVIEW WITH SQUID WORDS: MADELINE O’KEEFE Maddy: Ho w was wo rking wi on The Di th Speedy al? I kn Wundergr ow his re Louis: He ound prod cording ucer Dan made reco methods Carey rding re are a li and usin ally scar ttle unor g a smok y by turn e machin thodox… Laurie: ing the e. I spoke li ghts off to the Bl released ack Coun their ne try New w single Road drum lights ba . He said me ck on. It r because they poli ’s to ma Dan just Ollie: No tely aske ke you ne , it’s no d him to rvous! t! It’s turn the Louis: He fo r a bit of ’s a seri fun! ous guy he’s like – but on a big ki ce we go d. He’s t to know lovely. Dan, we realised

this year? ng to play e you hopi ar s al iv Man. Which fest and Green . of The Road urite ones Louis: End of our favo r me last l al to ing time fo az am an We wanna go such s hing to wa yt n an Ma een I’d give Arthur: Gr od crowd. d such a go ha we , ar ye d at to come. for years hing I owne play there tely everyt lost absolu I . . ah nd Ye mi Louis: et and my al. My wall that festiv

How did you initially get into music, and when did you decide to keep going with it? Ollie: I wasn’t good at sports, so I started to play music. All of our friends really like music, but I think we were just quite obsessed with it. Louis: Just playing music in each other’s rooms and finding our sound in Brighton, where we all used to live. Arthur: My number one goal was always to have a funk and soul band, and I did that. Then I was looking for something new to do… I didn’t think it would be a post-p unk band though, I didn’t even really know what post-punk was.

leases, s of re in term ming up co ve you ha bum? What do on an al m quite en an albu working making do it wh are you ng ki ing to t e ta go ’r t We no differen ’re on we Louis: st at e ju y, in th six me. We’r ti in seriousl k gh enou I thin t have r brains nt, but we don’ e all ou the mome on wher ths at ti ng to a si le y, po ve ll a wa in hopefu we’ll be graded, months l be up ’l We ync. are in-s d brain. one Squi

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â&#x20AC;&#x153; I l o s t a b s o l u t e ly everything I owned at G r e e n M a n . . .

A VERY SHORT INTERVIEW WITH PAINT WORDS: GRACE ALLEN sicians. well as mu tives, as ntial ue es as crea fl lv in se em fe th li s define rts of your Many artist in other pa creativity antennas up Do you find ? ys keep my of c you make but I alwa c, put a lot si I mu on the musi . et is aw from eative outl nitely a ntially dr fi te de po s to e’ My main cr er fields rs too. Th n to other old music os and flye and tune-i an ode to deos, phot , which is ion into vi os at de er Fishing vi id t of ns co the Pain … A bit growing up sthetic to when I was ‘90s VHS ae d he tc wa videos I and skate too! with John

n in 2019? What does it mean to you to be a musicia -year. I’ve always just My ethos hasn’t really changed from year-to The biggest change is that wanted to make music I’m proud of, and tour. something I always needed. I now have two outlets – but I think that’s as and Paint, but I think There are some similarities between Allah-L lly lyrically and vocally. especia – cratic idiosyn more bit a is Paint categorisation. te immedia into fall doesn’t it I like that

To quote the description of your self-titled LP put out by Mexica n Summer, it has a ‘Paradoxical finish ed-but-not-finished-off feel.’ Do you have an affinity to this concept as a musician? I just want it to come across in a genuine way. I don’t think music needs to be perfect – especially not in rock ’n’ roll. I feel that a record is a documentation of people performing songs as best as they can at a specific time in a specific environment. If the best you can do at that time still has some mistakes, but the music comes across as intended, I think that’s okay.

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What’s your top tip for striking gold at record shops? My mind usually goes blank when I walk into a record store, so I always carry a list with me that I’m constantly amending. I often judge records by their covers. See, eyes over ears!

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THE BAD STUFF ARTWORK BY SJ HOCKETT FOR COOL BROTHER VOL 02, ISS 04.

Sports Team: The last song we was did in Wales. In London, you’re very timefocused, but you get giddy when you come back. What are your parents like? Do they get it? Anteros: My mum loves music. She would blast it on the way to school in the mornings, but my dad still hasn’t been to a gig yet. My friends back home would ask me when this ‘phase’ is gonna end. What about yours?

Sports Team: What’s it like auditioning people? Anteros: It’s weird, man. How do you find writing in London? I hate writing in London, as you always have to think about other stuff… Like, laundry.

Sports Team: You guys were all mates first, right – and then a band after? Anteros: Yeah, Josh and I were definitely mates first. Harry auditioned for the band, bless him. I got really drunk when he came into the audition and started hurling abuse at him… But not in a creepy way! It was more in a sort of an older sister way.

Sports Team: We are in London at the moment recording with writers to make our new record. Anteros: I always like writing with other people, as I don’t like getting used to writing a certain way. If there’s another person in the room, it sort of balances everything out. It’s almost like having a teacher in the classroom.

Words: Al Mills MUSIC PHOTOGRAPHY: SPORTS TEAM BY Lauren Maccabee ANTEROS BY Phoebe Fox

London-based Sports Team are a humorous force to be reckoned with. A band of six mates, they channel tongue-in-cheek vocals, buzzing guitars and charmingly spirited British idiosyncrasies (their scandal with the South London scene will forever be in our hearts). Further turning London upside-down in a riff fuelled blaze are Anteros, a dreamy, earth-conscious four-piece who will make you dance your feelings away in a renewed flurry of self-determination and empowerment. Both fresh from supporting tours, and now preparing for subsequent headlining dates, Anteros’s Laura Hayden (vocals) speaks with Alex Rice (vocals) of Sports Team in-between studio recordings.

SPLIT LIPS: SPORTS TEAM VS. ANTEROS

THE BAD STUFF ARTWORK BY KATE WALTON FOR COOL BROTHER VOL 02, ISS 04.

Sports Team: Playing live is the best thing in the world. Gallivanting around the world with six people you enjoy being with is also the dream!

Sports Team: Have you ever done an outfit change? Anteros: No… But you should play on your band’s name by starting in massive tracksuits and changing into football shorts. What’s your favourite part of being in a band?

Sports Team: We’re doing a full UK tour. I don’t know if you’re conscious of this as well, but we always get a bit angsty about how things will translate outside of London. We live in such a bubble. Anteros: Interestingly enough, we get more people coming to our gigs outside of London. For some reason, Newcastle is always the first to sell out. I love the women there. I’ve probably been the coldest I’ve ever been in the UK in Newcastle – yet the women still go out in dresses and no jackets.

Sports Team: At Sonic this year, we had a shuttle taxi service and put Henry in a guitar case. They’re pretty on it with Ubers – it’s hard to smuggle someone in. It tends to be Henry. Anteros: Where are you touring in March, aside from SXSW?

Sports Team: You fit on stages… Anteros: Six must be a mission. Four fit in an Uber.

Sports Team: Yeah! It’s always felt quite organic. We do all of our own artwork, and the videos are done by this guy called Chris. He’s very good. Everything else, we do ourselves – sitting around on laptops. We still all live together. If you have six people in a band, you need to use them. Anteros: I forget there’re six of you! Four’s a really good number, because it’s two and two. No one gets lost.

Sports Team: They’re supportive, but I don’t think they get it. Our friends are not big guitar music fans either, so even Annie Mac’s Hottest Record… They’re like, “What? Never heard of it…”. Radio 1 is still impressive. Anteros: A lot of my friends have started making all these important life decisions while I’m looking at Pantone references, trying to figure out what colour our record should be. Do you have to get really involved in the creative stuff?

THE BAD STUFF ARTWORK BY Mike Spears FOR COOL BROTHER VOL 02, ISS 04.

TUESDAYS WITH THE DRUMS In 2017, The Drums became one. After three studio albums as a four-piece, frontman Jonny Pierce chose to release Abysmal Thoughts on his own. This challenged Pierce and set him creatively free. What was once an indie surf-pop sensation, carried by care-free melodies and youth-entangled innocence, became an outlet for darker themes. Now he’s releasing his fifth LP. Out this April, Brutalism tackles emotionally intricate lyrics about anxiety, loss and depression, while remaining synth-heavy and danceable. It’s The Drums’ most candid creation yet. Pierce has suffered from depression his whole life. Talking openly he explains how, up until the making of Brutalism, he would medicate his symptoms with self-sabotage. Finding himself lost from a string of relationships gone bad, he decided to plant a new path. Starting at the root, he’s moved to L.A, found a therapist and cleaned himself up – creating a well-watered ritual of healthy eating, exercise and taking things slow. Now, he’s living alone for the first time in his life. With fewer distractions, he’s listening to his thoughts. “I’m asking myself a lot of questions,” Pierce explains. And, in turn, he’s finding answers. Brutalism is an open diary. Heartfelt and true, every song rings raw. Pierce’s lyrics are real. Steeped in liquor neat anguish and restrain, each track is relatable in its own way. The Drums are your confidant, your in, your out, your new found mode of self-expression. Pop music’s got its voice back. Woody Cecilia and Terrence Blakely join Jonny Pierce in his new LA home to unveil what days off from The Drums look like. Words: Woody Cecilia Photography: Terrence Blakely

What time do you usually wake up during your days You know what, I’ve always been someone who wakes – even when I was a kid, I would wake up so early back to bed. [Laughs] she wasn’t ready for me and wake up at around 6am.

off? up earlier than anyone else that my mother would send me all of my wonder! I usually

What’s the very first thing you do? I read a chapter out of whatever book is sitting next to my bed… It’s kind of a new thing for me, actually. It’s a way for me to ease into the day. Whatever I’m reading feels almost dream-like and romantic. What are you reading at the minute? A History of Violence by Édouard Louis. What other rituals are a constant in your life? Well, I make coffee – and then I go straight for a hike. I’ve fully delved into L.A. culture! About ten minutes from me, there’s Runyon Canyon. I just go up on my own. It’s just such a special time for me to listen to myself and create space. I’m in love with my bedroom too. Whenever I walk in there, it’s like walking into this beautiful cloud of artistry and passion with an avant-garde spirit where anything can happen. Are your days off always quite similar or are they different each time? My life has always been chaotic and all over the place. I was constantly throwing caution to the wind. I used to really romanticise the idea of, “I don’t know which way is up or down, but that’s okay because I’m an artist” – but, really, what that ended up bringing me was just a bunch of stress, anxiety and depression. So, recently, for the first time in my life, I’ve tried to be more conscious of every choice I make, and it’s really helped me develop something that resembles a routine. It’s not about being rigid, it’s just about getting my fucking shit together [laughs].

It sounds like your move to L.A. has been pretty stabilising! Yeah! I’m loving it, it’s very different from New York. In New York, there’s energy everywhere – the second you wake up, it’s a non-stop rat-race. Whereas, here, it’s like living in a giant suburb. It’s the first time I’ve ever lived alone, and my apartment is just this big, empty space. It’s just me – and I have to sit in this space and be with myself, you know? What was your life like in New York? In New York, if I wasn’t on tour, I would plan my own personal tour. I couldn’t stand still. I would visit a bunch of people, go to a bunch of places – and if I really had to, I would just get in a car and drive, do a road trip. So, L.A. is kind of forcing me to sit here, be in this stillness and weed through who I am as a person. It’s been an equally painful and joyous experience. That’s what growth’s about sometimes though, you’ve got to experience pain. That’s true. It feels like walking through fire! I’ve never done this before – it’s really scary for me to just stare at myself, and not have distractions everywhere.

What was it that inspired such a big change in your life? The real catalyst was a long time coming. I met this guy on tour, fell in love with him and he became my sole focus. He was more important than making music and more important than doing the things I wanted to do – my whole life went into nurturing him and holding his hand through difficult times. It became a full-time job. But, the real truth is, he was just one in a very long line of people who’ve grown dependant on me. And, if I’m honest with myself, I’ve been dependant on their dependance. I’d become addicted to helping and giving, giving, giving – all the while, completely ignoring my own needs. This is something that’s gone on for a really long time. My therapist tells me it’s a pattern that started when my parents pushed me away when I was young. I began a lifelong process of trying to do nice things to win approval – being wildly generous to other people and ignoring my own needs. Continuing that way didn’t make sense anymore. But what’s so beautiful is I’m starting to find myself again. I recently bought the first synthesiser I ever had, from when I was thirteen-years-old. I heard about this! Wasn’t it your dad’s? Yeah, so he’s a minister at one of these crazy Trump loving born-again Christian churches in Upstate New York… And you nicked a synthesiser from them! [Laughs] Yeah! I found this synth when I was a little kid. I was just starting to realise that I was gay – and I knew that being gay meant being ostracised. It was the nineties. There wasn’t even a one-percent chance that being gay meant people would be cool about it – and, so, realising you’re gay is also realising that you’re different and that everything you love is gonna be pulled away from you. But what was so perfectly timed about this discovery of the synthesiser was that it had a sequencer on it, so you could write songs on the synth itself – you didn’t need a computer. I became obsessed. I wrote my very first songs on it – and it was actually those songs that I later showed to a music manager who lived in New York City. Six months later, I’d signed to Columbia Records – so, music literally saved me. It pulled me out of a very scary situation. When I think about my parents, it still really makes me sad… But then I also have to wonder, if I was accepted by them, would I have pushed myself to do something courageous? Maybe I’d have got comfortable and just stuck around in that small town. There are a million questions – but one thing I do know is I’m just so grateful for music. That’s so beautiful and raw… You’ve come full circle with that synth too. I have! I hadn’t touched a sequential MultiTrak in years and years and years – and, when it showed up, it was like riding a bicycle. It was as if I had it all along. I felt my whole body just fall in line, my heart and my head. I started writing on it immediately… It’s funny. When I was young, my parents had these cheap pink and turquoise plastic garbage baskets. I would turn them upside down and use them as lampshades, so I could make music and get really dreamy with my own light-show. But, recently, I recreated that in my apartment. I went and bought these lights that change colour, and I’ve got myself back to my innerchild. Little did I know, this was the starting point of making the new album. Making Brutalism was about rediscovering myself, getting to the brass tacks of who I am, facing myself and asking a lot of questions.

It seems like a pretty cathartic album. It is. The first single, Body Chemistry, is about crippling depression – wondering if it will ever go away, no matter how hard I try – and dealing with that reality. It’s something that’s pretty universal. We’re much sadder than we’ll admit to anyone, or even ourselves… And I feel like it’s okay to talk about that. Have you felt like making this album has been a huge breath of fresh air compared to your other albums then, or was it more of a challenge? You know what, making this album was such a new experience. Before, I would do everything. I was recording the bass, the guitar, the drums, the synth, the backing vocals, the mixing… There was so much pressure that I felt like the lyrics were just another burden. So, this time, I wanted less pressure on myself. I wanted to make things collaborative. Letting go of control is a really scary thing – but I did it, I let go. I hired an engineer to make the record with me, I brought in friends of mine to actually help write it. It’s the first album with actual live drums. There were a lot of firsts which really gave me the space to breathe and to think about what it was that I wanted to say. What’s your favourite lyric on the new album? This is gonna sound so strange – but in Body Chemistry, there’s a lyric on the second verse that talks about being at a party. It was this moment where I wandered into another room away from everyone, because sometimes I need to pull myself together – I get social anxiety. And the lyric says, ‘I lean into the corner. I smell the wall, I exhale, I smell it again.’ It’s this idea that we all have tiny, little moments where we do things that are a bit odd. We’re all weirdos – we just won’t admit it to each other, you know? What’s been the best response you’ve had to those lyrics so far? Here’s the thing – I think it’s hard to find artists, particularly male, who are willing to talk about feeling insecure or depressed. There’s this idea in male culture that we have to have it all together, that everything’s working out great – especially if you’re in your thirties. I think it’s so important to just put it out there that literally, no-one has their shit together – and, if it seems like they do, they’ve got a really great way of hiding things. So, it’s the best when people are just like, “Thank you for saying that, because that’s how I feel – I haven’t been able to express it, but now I feel like I can.” That’s the best reaction, for me.

THE BAD STUFF ARTWORK BY Daniel Gonzalez FOR COOL BROTHER VOL 02, ISS 04.

BEHIND THE LENS WITH CHLOE ACKERS

Mods, rockers, punks and teddy boys all spark visions of richer days. Is subculture burning its last golden embers? Malnourished and full, our hunger to rebel has seemingly surpassed – spoilt from the buffet of online entertainment. That’s not to say we’re satisfied though. Amid these walls of uniform bland lye grains of longing for something more. Deptford Northern Soul Club started in November 2016. Founded by London-based DJ duo, Will and Lewis, it’s a celebration of analogue soul in a digital world. They’ve been selling out shows since their very first night – plating up meals of rarities and old favourites. Head down to South London’s Bunker Club and transport to ’69. Teens and mod veterans unite as one – spreading that tender faith anew. It’s high kicks, big spins and suited silhouettes. Welcome to the Renaissance. Northern soul has been reborn. Chloe Ackers has been documenting the scene for a couple years now. Aged just twenty-two, her photos perfectly capture its raw, underground energy. Shot on black and white Ilford, they ooze ‘60s splendour. It’s the kind of rare moonlight magic found between the lost, free and disaffected, with a new found love for living right now.

Words: Woody Cecilia Photography: Chloe Ackers

How old were you when you first picked up a camera? I think about fifteen. I picked up a tiny plastic film camera, and that drew me in. I really liked experimenting with it. And what got you into shooting this whole Northern soul resurgence? It was for my final major project at uni. I had already been specialising in music photography, and I wanted to continue that – but I wanted to focus on something that had a bit more depth to it, where I could hone in on the background more, so subculture seemed like a good route. I was on placement with Dean Chalkley, who’d worked with soul and mods, and his series Young Souls kind of got me into it. I became quite moved! I made quite a conscious decision to become part of the scene before I started photographing it though. I didn’t want to just go in with a camera and throw it in people’s faces, so I went to the events and listened to the music first. How does it feel walking into Bunker Club? It’s like dissenting a tiny staircase into a small, sweaty basement! I guess it’s got that underground feel, and it’s quite hidden – it’s just a doorway on Deptford Broadway that you wouldn’t usually notice. Walking through those doors, the music just hits you. You just wanna get in there straight away, grab a drink and start on the dance floor.

What is it about Northern soul that’s people our age, do you think? I think it’s just a different take on completely different to the music you what people are looking for – they’re different that’s quite retrospective.

attracting so many club culture. The music is normally hear. I think it’s exactly looking for something a little bit

And in terms of fashion, it ticks all of those boxes too. Exactly! It’s got a very distinctive clothing style, which is something we’re definitely losing in today’s society, so it makes having a clear identity in the Northern soul scene really special. People are almost clinging onto it. It’s nice to be part of something. How would you describe the outfits at today’s soul nights? I’d say it’s quite a mix, compared to what it would have been. Originally, it would have been high-waisted, baggy trousers and a Fred Perry polo shirt, which you still see at some of the events. It’s a solid look! But, now, it crosses over quite a lot. Most of the younger people dress more in a mod style – or they put their own spin on it. Would you say Northern soul’s a way life for them, or are they just dressing up for the occasion? I think it really is a way of life. It must feel quite jarring walking out from the clubs onto the streets of 2019 Deptford… It is quite strange! When you go into these venues, it’s like entering another world. You go through the doors and you go back in time. Do you feel more at home on the streets of the 21st century, or inside the clubs celebrating the days of ‘60s and ‘70s subculture? Inside the clubs! I try to be an onlooker, but then a lot of the people at these shows have become friends, which changes things. It’s easier shooting when they’re your mates though. It’s more comfortable. I know during the dawning of Northern soul, it was common for people to travel miles and miles to get to the clubs – particularly during the early days at The Twisted Wheel. Have you noticed the same thing occurring today? Definitely! You’ll go to an event and it’ll be the same people, no matter whether you’re in London, Brighton or Blackpool. It’s a strange thing. Last year, I went down to the Isle of Wight for one. It’s almost like it’s the same people, just in different rooms. There are a lot of events abroad now too, so people are travelling to different countries for it. What film do you use to document it all? I normally use a Nikon FM2, which is just a little 35mm film camera, and I use Ilford film. I’ve always liked to shoot analogue, because I like the feel of it. It has more depth and it makes you think about what’s in front of you more, so it kind of went hand-in-hand with the subject matter. It goes with that ‘60s look.

You’ve shot the revival of the scooter mod scene too, which has again featured a lot of twenty-something-year-olds. Would you say the British youths of today are yearning for the past some-what? In a sense, I think there will always be a fascination with the past, but what’s drawing them in is the aesthetic, the music and the fact that there’s nothing around now quite like it. So perhaps it’s not the past we’re desperate for, but subculture, identity? I think it’s a bit of both! We do like being retrospective and looking back, but then I think the yearning for a subculture gives you that identity, belonging and a sense of community. It’s definitely harder to find strong subculture in today’s music though. You have to hunt for the clothes, you have to hunt for the nights, you have to hunt for the music, so there’s a romanticism there. There’s nothing around at the moment quite like the soul scene. There are older crowds at the soul nights too – no doubt experiencing Northern soul for the Yeah, that’s definitely the case! There are a original ‘60s mods who are still there, still know how they do it. They dance all night.

though, aren’t there second time around? lot of people who are going – and I don’t

Still doing the high kicks? Yeah, they do everything – they spin, they do the kicks, they do the drops. They’re essentially athletes. It’s a good way to live. They still go strong, but they’re all really welcoming – it’s like a little family. They kind of adopt you and teach you about the music. I think they like the fact that the scene’s gonna be carried on when they’re gone. They know it’s in good hands.

THE BAD STUFF ARTWORK BY Dan Whitehouse FOR COOL BROTHER VOL 02, ISS 04.

ON THE ROAD WITH UGLY A clean, pristine red carpet has been rolled out and starched. Just as we were fearing the worst for guitar music’s future, 2018 saw a surge in the scene. Goat Girl, Parquet Courts, IDLES and Shame carved commercial success from post-punk authenticity. Right on time, Ugly are here to muddy the sidewalks. Fronted by twenty-two-year-old Sam Goater, the five-piece are a cut and paste collage of raspberry soft interludes and deep, velvet vocals. You wouldn’t believe they’re from Cambridge. Chug along to Sunday School, their latest EP, for crooked guitars and mariachi chaos. Organs, trumpets and merrygo-round rhythms seal the fraying decay of yesterday’s indie a thing of the past. Join Ugly’s Sam Goater on a car ride to nowhere, as he meddles with the tape deck.

Where are we going? The regal Wetherspoon of Cambridge. There’s room for another. Who’s coming? My dear Mum. Who’s driving? Jesus is always at the wheel. What’s the vehicle of choice? Awesome razor scooter with foam handles and tassels. Got any good snacks? Whole lotta humus. What did you do with the map? Fun and cool paper aeroplane. I spy with my little eye something beginning with ‘T’… Tesco, probably. What’s your favourite landscape to drive through? Any kind of drive through.

–

O ne

ica er m A l – e k un

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WHAT’S ON THE MIXTAPE?

The Girl – Miss But ing g in h t ry e Ev ck

ra ke

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– E yel ess

–

bo n Red

Slipk not

AB BA

Kate Bush – Bab oo

More Time

Blake – J eru liam salem

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– Riverman

ROWAN ALLEN SHOOTS FROM THE HIP

London-based Rowan Allen invites you into a world of all nighters, photographed Nick Cave and Dinosaur Jr, as well as a handful of mates. weighty archive of Goat Girl, IDLES, LICE and Shame, she’s now putting her debut. Taking to the stage, while hung up and framed, UGLY and Drahla and Allen is at the heart of it. Never miss a beat at @rowanallen. Words: Woody Cecilia

Live photos or portraits? I try to do both regularly so that neither take preference. What was the first photo you ever took? Selfie for Myspace probs. Who do you wish you could photograph? Erykah Badu. Best era for music photography? This one. Festivals or house parties? House parties. Green smoothies or juice? Malbec. What’s your morning routine? Gonna be late to work today. When I say MOTH, you say…? NOT. MOTH! TODAY. MOTH… SATAN. How’d you feel about Charlie Steen? Angel, saviour. Fellow baller. Who’s your favourite band to photograph? Black Country New Road. Mondays - Underrated or overrated? Underrated. Tell me something fascinatingly mundane. I have a ninetil-five. The mundane can be the most inspirational… What was the first email you ever sent? Homework. Name a moment you wish you photographed. My grandparents on my mother’s side (Chinese) and father’s side (British), together. Describe the worst hair cut you’ve ever given yourself. I don’t want to talk about it. Where are you dying to travel to? I wanna go to Myanmar and just be silent for two weeks. Favourite pasta shape? Long. What you gonna have with it? Truffle, if you’re treating. Who’s inspiring you atm? Me mates! What’s your favourite photo book? This changes all the time, but three quite different ones always at the top are The Kobal Collection by George Hurrell, Ray’s a Laugh by Richard Billingham and Fuck You Heroes by Glen Friedman. North or South? Angel of the South. East or West? West. What do you love the most about what you do? The people. Best Goat Girl story you’re allowed to tell? I’ll get back to you. What festival are you most looking forward to this year? Maybe Glastonbury, as it always falls on my birthday – or any festival my friends Scalping play this year. Those sets are gonna be the tits. What’s the most photogenic city you’ve been to?

next days and backstage fun. Capturing moments on film, she’s She bottles their essence with grainy stopped clocks. Having built a on her own exhibitions with live sets from friends. Last January marked played to a packed out crowd. Things are happening in the capital,

Seoul. Preferred editing snack of choice? Cigarette. Colour photography or black and white? Colour. Candid or staged? Candid. Who was your favourite teacher at school? My English Lit. teacher, Miss Berryman. What’s the best piece of advice anyone’s ever given you? Leave frequently. What are you listening to right now? Look Like That by Sneaks. Favourite band to tour with? Gurr or LICE. How old were you when you first got really into photography? How dare you (24). How many rolls of film do you reckon you’ve used since then? Couple hundred, maybe. Who’s your best friend? I love my friends equally! Willie J Healey or Hotel Lux? Hotel J’Lux. Stadium gigs or intimate shows? Intimate. Name a defining life moment. My parents seeing my photos for the first time at my exhibition. They’d never seen any of my photos before… What’s your go-to dance move? Toe tapping my way through life. What camera film would you recommend for people starting out? I vote for trying out as many different films as possible! Find what you love – that’s your style, stick to it. However, any 400-speed film is a safety net, of sorts. It will do you a solid in a lot of different lighting. Caption this. This is me. What’s been the highlight of your career so far? Filling 5 Little Portland Street with my favourite people and artists for the launch party of my solo exhibition at The Social. What makes photography the best possible medium for you? I wish I had something more visionary to say, but it’s the only one I know, really. I left school at A-Levels and didn’t do anything creative for years… Then I took a few photos and figured I was alright at it. Being self-taught, there’s so much more to learn and do. Maybe that’s the answer: it’s the best because I haven’t completed it yet.

THE BAD STUFF ARTWORK BY SJ HOCKETT FOR COOL BROTHER VOL 02, ISS 04.

THE BAD STUFF ARTWORK BY ADAM CONNETT FOR COOL BROTHER VOL 02, ISS 04.

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