cool brother // issue two: easy easy by cool brother

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EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY EASY

Easy Easy is that rare golden minute where the softness of air tucks you in. You’ve hit nectar. What’s around quiets down to 4 pattering hum. It’s when you’re at your most creative. Weightlessly drifting like butter on a hot New York street, everything flows.

Explore this issue’s Easy Easy theme with photography and illustrations by some of our favourite artists. Matt Correia, Cameron Hoerth and Sadie Bailey shoot pictures of friends, L.A. and small town subcultures, while SJ Hockett and Zoran Pungercar draw abstract expressions of nothing in particular. Speedy, seedy, grainy and pure, they sweep up moments as they happen. Buried within their morsel creations are starchy rich meals of youth and candour.

Creating a contrast from the rest of the zine, we got to know some of music’s most exciting acts. Go on tour with Rhye and have coffee at Ben Wallers’ house, while Courtney Barnett chats about childhood. 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.

Contributing photographer: Caoimhe Hahn Features photographer: Amy Lidgett Contributing music editors: Lorenzo Ottone Grace Allen Contributing photographers: Adria Robles Matt Correia Sadie Bailey Michael Townsend Callum Bailey Daniel Gonzalez Cameron Hoerth Kuba Trzcinski Contributing illustrators: John Strover SJ Hockett Zac Crocker Benn Jackson Jack Richards Zoran Pungercar Big thanks to: Iconic Images Baron Wolman Kind Studio Holly St Clair James Christopher Opus Locus Advertising enquiries: advertise.at.cool.brother@gmail.com All other enquiries: cool.brother.magazine@gmail.com

Editor’s Letter Tour Diaries 9 Join Rh ye at A ll Poin East, a ts s they documen the fes t tival o n disposa ble cam eras

The Family

IEW WITH A VERY SHORT INTERV IANT CHILDREN RAD T, NET BAR EY COURTN 15 SON AND CHARLES WAT rather you wanting more, Designed to leave d than feeling overfe

SPLIT LIPS: ALLAH-LAS VS . ROBBIE SI It’s AllahMON 23 Las And Robb ie Simon al ship, And it l aboard th ’s their tu e same rn to ask th e questions 29 WALLERS we head WITH BEN oor, as d e h t TUESDAYS t a s hot, e s o h y s l ur . Candid e s Leave yo u o h ontman ’ allers asers fr to Ben W untry Te o C e h t re we captu ay off on his d

H BARON WOLMAN 41 BEHIND THE LENS WIT not worth endary icons, it’s If they’re not leg ks Jagger, tal her rap s photog the film. The sixtie and Joplin Hendrix, Woodstock

ON THE ROAD WITH TANGERINES 49 Ride to Porthcurno with Tangerin es, as they meddle with the tape deck 51 THE HIP TS FROM O O he H t S f A o L HAN VE e lives NEELAM K ifty lives th f a d l e e p V p a n ha We sn Neelam K ptures. s she ca way r e h s musician n questio e r i f k c qui

STYLE NOTES WITH HOLLY ST CLAIR AND JAMES CHRISTOPHER 56 Celebrating autonomy over complince, we visit Kind Studio with two of our favourite illustrators

EASY EASY ILLUSTRATION BY SJ HOCKETT FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY ARTWORK BY John Strover FOR COOL BROTHER VOL 02, ISS 02.

Rhye are an L.A. based alternative soul band formed by Toronto born Mike Milosh. They’re an orchestra of sorts. Comprised of seven band members, their track listings are landscapes of airy composition.

Light and otherworldly, Milosh’s voice pours like a cool spring of fresh water. Gliding free from constraint, it cleanses pure. Gentle and sublime, his voice is distinctly feminine – and, much like the French language, it flows legato and smooth. Rhythms of vocals ripple, repeated much like an overlaying riff, rather than a tool to deliver profound lyrics.

The finished article is something truly special. Accessible, familiar and tight, they’re a recipe for commercial success. All the while, loosely nestled in the formula is something totally unique. They’ve got depth. Listen once, listen twice, listen twelve times; you’ll go on spotting surprises in every song they release.

Join Rhye on tour at London’s All Points East, as Mike Milosh documents his time on disposable cameras. Words: Woody Cecilia

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Your photos are truly beautiful! Did you study photography at all, or are you self-taught? I’m self-taught, but I shot a lot in my twenties. I shot the Blood album cover too. I happen to like photography a lot. The people you shoot seem totally vulnerable, while also appearing powerful. Is this a mood you try to capture, or do you just point and shoot? I think there’s a moment when you’re photographing someone that’s hard to articulate. When you pose for someone, it’s a very vulnerable feeling. What you’re trying to capture is their strengths, so there’s a weird duality. You’re asking someone to be vulnerable – but, within that, you want them to be empowered. I heard you didn’t have a setlist for All Points East. Is that the case for all the shows you do? Generally, yeah, because I don’t really choose what songs were gonna play until we’re on stage. I try to go with the vibe of the crowd – and then I try to give enough moments that have reprieve as well, so people can have their relaxed moments and then we bring them back up.

I would feel so unprepared in that situation! That’s kind of what I do though. Like, I don’t even know where I’m going next week on tour, I just roll with the punches. Because I’m so busy, I’m like, “Just tell me the night before and then I’ll jump in.” And also, you don’t have time to get nervous, because you’re like, “Okay, cool, I’m doing this”.

You did a live session at Bellerby and Co. Globemakers just before the festival too. What was that like? It’s so special, that place. I think we were singing beside a £100,000 globe, or something like that. Everything’s hand done. There’s something so beautiful about the environment they have there. I asked the guy that ran it how he knew to turn it into a business, and he said, “Literally, nobody else in the planet makes these handprinted globes!” I’m like, “That’s a really good business idea!” It’s the perfect recipe, when you have no competition and you love what you do. Done! You know?

Authenticity is something that’s clearly very important to you. Is this the first thing you look for in an artist? Oh, one-hundred percent! I can’t listen to an artist for very long if I can’t feel the truth in their music. And as a result, I’m very interested in authenticity [when creating my own music.] I can’t really do it any other way. I have to have these experiences personally and write about them. I don’t need anyone else’s input, because I don’t want their input. I think it’ll dilute what I’m trying to do.

A VERY SHORT INTERVIEW WITH CHARLES WATSON Words: Lorenzo Ottone m, debut albu from your ing? tle track inner mean an Does the ti ve ha ppens m a River, out what ha Now That I’ g. It’s ab and tual meanin ep flowing ke u yo It’s an ac at s th h. It mean d. en e after deat th arily n’t necess that it is When did you com e up with the nam e? I was at a friend ’s house in Manche ster and we were listening to rec sitting down ords, randomly. The inspiration that night and I for the title cam wanted to do som e up ething with it for was a good night, a long time. It because we all sha red mus rare to find the ic. These days, it’s quite time to sit down and listen to rec Everyone listens ords. to music with hea dphones!

Slow work with than your complex re ? mo ring m sounds e of matu – The albu nsequenc long time this a co is for a th Club. Is do you want g to at in wh nt ow wa was you kn I’ve been g older, . My idea bit more e, growin t but mayb a little , withou gs ow in fl th a to do move in and how cord s would re ng a so ke e ma wher out. nted to an album here’ ab ack. I wa belongs alone tr nted a stand‘Oh, this wa y, we sa e caus uldn’t h sten, be people wo bum whic -back li an an al nda laid rather th , we It’s a ki rd k co in re . I th a moody a single to make ed with associat could be od job! did a go

Did s tudyi ng at proce Centr ss? al Sa Yeah! int M arten I got s aff a bit rhyme ect y s, so bored our w I sta o f exerc ritin t he us rted ises, g u exper al wr using appro i i menti ting words ach f n f g wit orms or th t o h w e ith xpand short e rec ord, my ab story actua ility lly. . I u sed t his Do you create mus ic around your wor ds or vice versa? It’s hard to sti ck one in front of the other. The things that come y are two separa together in the te end. I keep writin time, but I rarely g things down all sit down and mak the e songs all in one starting things go. I really lik late at night so e that you feel the and finish them. m the morning aft I’m not the kind er of person who rus record came togeth hes, although thi er really quickl s y. I stayed in Edi just to change air nburgh at a friend for a while. I spe ’s nt thr without having muc ee-quarters of eac h inspiration and h day there then, all of a sud and quickly record den , I wrote ed You’ve Got You r Way of Leaving leaving for the just before airport.

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A VERY SHORT INTERVIEW WITH RADIANT CHILDREN WORDS: GRACE ALLEN A lot of your lyrics are encouraging. Do you write for yourself or your fans? Fabienne: The Life’s a Bitch lyrics are a combination of little encouraging things I’d write in my own jour nal when I felt real I don’t want people ly shit. to think that I’m sayi ng, ‘Hey, I’m so woke so together – be like and me,’ because I’m fall ing apart too a lot time. I think that’s of the a big part of the happ y/sad dichotomy of that song. Like a lot of the songs on the EP, the lyrics are encourag – we try to put tens ing ion or emotion in the music so that you know aren’t writing from we a place of ‘I’m save d.’ I’m still going through it.

started and slowly gether? her projects band come to pping into g on some ot ta How did the in s rk wa wo I – re ome o and I we that ee and awes Tyler: Marc two people s all so fr with these Fabs. It wa t of me. isted in me ou ex f ow working with uf kn st y ’t craz ght that I didn inging this that we thou these places They were br . Something at long ago. s ve sober us up el ys rs wa ou al I met not th g d woul st us bein r projects ’t right. Ju But our othe realised, re told wasn happened, we great, we we en ly dr al il re Ch s wa ant di Ra en wh one, so ect with wasn’t the icular proj , it.’ on that part re just like io working ‘Oh! This is we ud we st e so th day off, were in elves?’. We d we had a rs an Fabienne: We ou s g ek in we th e some ck r a couple io and writ I had to lo an artist fo to the stud cond verse, shall we go rough the se mber how th me y re wa ‘Fuck it – ‘I lf , ha and st like one tune – es! I was ju wrote this cried for ag again.’ e toilet. I really real ’s at th g myself in th thin me so to in tap 3am the it feels to and left at e at midday ages. er th en t be go d ha It zzing! We re proper bu Marco: We we g. in rn next mo Wher e di d th come e na from me ‘ ? Radi Fabi ant enne Chil : I go abou dren t it t Ba ’ s from quia But t this we w call e docu ed T re r met m h e enta e Ra cent with ry dian ly i this is a t Ch n Ne guy priv ild. w Yo call ate r with k e and d Ku libr Keit we rt M aria h Ha Fred etz n. H ring dy – who e wa , Ba s and Chil f s rien quia he a d is ds t an ctua a Ke d Fa love lly ith b 5 d th told Hari e na m e Ra ng p me! dian iece t . I just

jects, with previous pro atively confined Having been cre Radiant Children? ut abo t mos e the ldren, for me, what do you lov makes Radiant Chi re and the thing that co is sitting the Tyler: I think Mar if g ein fre ause st. It’s l just chill, bec is the mutual tru I’l r. hou an tar part for s going to it’ working out a gui s pen hap er co and whatev Marco’s doing Mar be right.

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A VERY SHORT INTERVIEW WITH COURTNEY BARNETT Words: WOODY CECILIA t made you the nmental factor tha point one enviro If you could pin be? it ld wou t wha g today, ldn’t really han songwriter you are growing up and cou , so a far out of town d or after school I lived kind of ken wee the on t s that easily I think, for tha out with my friend very simple – but an affect! It’s tar or reading my gui g lot of that had yin pla or ne a lot of time alo ainment was the reason, I spent g your own entert that point, findin ld in my head. wor tle lit book. I think at of t e sor bably created som e! key. And that pro sur can mea it’s more than we All that stuff,

How do you deal with writers’ blo ck? Just sitting dow n to do it, instea d of thinking abo how hard it is rea ut it or thinking lly helps. Someth ing will eventuall I think that’s a y happen. really good lesson that I learnt at the last year or some point in so of just gettin g on with it. Jus at it. If you kee t keep on workin p on turning up g and putting in the moment is right, time, when the it’ll happen. I’v e got a song Sun new album Tell me day Roast on this How You Really Fee l which I started I was thirteen-yea writing when rs-old and have jus t fin ished – so, it’s if you stay open like, to it, it’ll com e back around and it’ll make sense.

What we re you like as a ch ild? I was k ind of nerdy a good at nd school. Loved a my teac ll hers, b u t of emo a bit k at the ind s a me time Just an ... emotion al kid!

you ote when ng you wr ing a so d? ay ow pl cr g el a bi it fe ming to How does nse d unassu tiful se young an real beau a ment. were so s ha complish ! It ac od go of s e sens It feel ce ke ni ma a to gia and I think, of nostal feeling, tisfying through. ow ll It’s a sa fo e it g and se somethin

Have you become less shy over tim e, or have you jus better at dealin t got g with it? I don’t really kno w what I am anymor e. There’s a lot on with us humans going ! I have moments of loudness, lik but I think I’m e anyone, mostly quiet. I think it’s just fit in and get thr trying to ough life... I fee l like I’ve grown of it as I’ve got out older – and throug h bei ng deep end a bit, thrown into the what with travel lin g and touring and having to be around all these people. I had to figure out fit into this new how to world and I think things like that good for you! are

e world ing at th xt? keep look What’s ne at it all ing, I’ll wh it g wr in ep er nd I’ll ke es and wo out it. isitive ey g songs ab with inqu ep singin ke ll I’ means and

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EASY EASY PHOTOGRAPHY BY Adria Robles FOR COOL BROTHER VOL 02, ISS 02.

STAGE PHOTOGRAPHY: TONY ACCOSTA

Here, Allah-Las point the pen at Robbie Simon, fishing for details about the process of making live stage sculptures, and how that compares to graphic design and illustration.

Allah-Las are a lazy haze of oceanic cool. Hailing from L.A., they’ll knock you into a state of surfy, sandy calm. Their sound brags a plethora of reference points with mature confidence. Their influences are far reaching. Sure, they like Television – and okay, they like The Yardbirds – but that’s not all. Tune into their weekly online mixtape, Reverberation Radio, to discover a thrift store of musical oddities, loose-ends and one hit wonders from fifties’ Egypt and beyond. Due to this, squaring them into any one genre would be a rookie move. Made up of Allah-Las, Robbie Simon and more, Reverberation Radio has become an online escape for music lovers. The collective have since travelled the world, playing festivals in Sydney, Barcelona and London.

His work embodies Allah-Las’ sound like a snug fitting boot. You’d need a good sized shoe-horn to separate the two. “Those guys are my life partners,” Simon declares. They work closely together, all the while remaining creatively autonomous. You can see this in the artist’s work. He’s made posters, album covers, videos and live projections for the band – as well as for the likes of Kevin Morby and Fleet Foxes.

Robbie Simon is a master of the arts. His craft includes illustration, book design, graphic design – and over the past two years, he’s created the stage art for Allah-Las’ live performances. His grand debut was at Coachella 2017. Since then, his desertous, abstract shapes have travelled high-and-low across his home turf in California. Most recently, they were exhibited at Los Angeles’ Getty Museum.

SPLIT LIPS: ALLAH-LAS VS. ROBBIE SIMON Words: Woody Cecilia

EASY EASY PHOTOGRAPHY BY SADIE BAILEY FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY PHOTOGRAPHY BY DANIEL GONZALEZ FOR COOL BROTHER VOL 02, ISS 02.

STAGE PHOTOGRAPHY: ROBBIE SIMON

Is there anything you would do differently? Next time, I’d ask ahead of time for the in-house lighting guy to please just leave for an hour.

Would you do it again? I’d love to do it again!

How do you like having a stage or open space as a creative medium? It was an enjoyable challenge to create work at a different scale and to accommodate all the challenges noted above. The open space is great, but a stage that you do not have much control over is less ideal. Working within the chaotic machinations of a large event, of which you are not a priority, means your vision will not likely be optimised. It gets hard to keep telling the lighting guy to tone down the laser light show he’s putting on.

The stage setup was originally designed for Coachella. Did the desert setting effect your stage design? Nope.

Yeah, you can be a savant at dreaming up mind-blowing visuals and designs but, in a situation like this, if the ideas don’t fit all of the above concerns, they’re kinda worthless... The best solution I came up with was a modular setup composing of as many portable works as possible. The thought being, individual related works to fill a stage and environment that would be seen for the first time only minutes before its installation – and to use them in front of thousands of people. Once you sort out all that? Shiiit, you’re cruising.

What was the process used for creating the large form sculptures? As is the case with any large scale work, a lot of factors inform the work well before you get to be creative: the context of the space to be filled, the logistics of transportation and installation, the scale of the space – and, often most importantly of all, the budget. The basic parameters of putting together something at Coachella was the large space to fill, the poor lighting, the fifteen minutes we had to install it, the portability, the flexibility in design and the tiny budget.

Do you feel your experiences with painting translate well into stage design? It must help in some ways, but the approach is fairly different than doing any fine art. One’s about complete control and the other’s about problem solving.

EASY EASY PHOTOGRAPHY BY Callum Bailey FOR COOL BROTHER VOL 02, ISS 02.

TUESDAYS WITH BEN WALLERS If you’re gonna point the finger, aim it at Ben Wallers. After all, where would we be without him? He’s been polluting the waters of the U.K.’s music scene for some time now, keeping things murky and disturbed. Heavy laden in satirical sludge, his lyrics have influenced a cesspit of crooked scamps, including the likes of Fat White Family and Goat Girl. He’s a Pied Piper of sorts – but that’s not to say he doesn’t have influences of his own. Teething at the seams, his sound brags a well-nourished diet of Mark E. Smith and William S. Burroughs. Whether you’re unpinning Wallers’ solo act, The Rebel, or you’re studying his 1993-formed art-punk band, Country Teasers, you’ll hear glimpses of these influences throughout. His back catalogue is tall. No two songs sound the same. Guitars and drums crank like the cogs of a worn out brain. They speed up and slow down. A crunching, unstable symphony. His lyrics unsettle and stir. Steeped in carnivorous irony, Wallers takes on taboos like misogyny, racism and fascist malevolence from first-person standpoints, with the intent to shock, disturb and raise awareness. You might expect, with this role, a disgruntled menace of a man. However, you’d be sorely mistaken. Perhaps most surprising of all is Ben Wallers’ grace. In person, he bares his soul. Gentle, kind, honest and unguarded, he is softspoken and unapologetically himself. Perhaps this is what makes Wallers the great observer he is. While others look no further than their own unsure shadows, Wallers sees clear. Like any good writer, he’s sat two feet away, witnessing it all so you don’t have to. Woody Cecilia and Amy Lidgett join Ben Wallers on a Tuesday to unveil what days off from The Rebel look like. WORDS: WOODY CECILIA PHOTOGRAPHY: AMY LIDGETT

What time do you usually get up on your days off? I wake up at 6:15am. I don’t get straight out of bed – I lie there for a bit. But, pretty soon, I want to have fun on my day off, so I wouldn’t lie in much later than 7:30am. I would only ever have a really massive lie in if I’d been doing a gig the night before. So, what’s a massive lie in? 8am... [Laughs] And what’s the first thing you do? Make a cup of coffee! Especially at this time of year – it’s kind of warm and airless, so I wake up like a complete zombie. I can hardly walk – danger of falling down the stairs, so I go straight to the kettle. After two sips of coffee, I’ll be able to function. Then, I start making my porridge, which is a daily ritual. I’ve got a great porridge recipe, actually! Do you wanna hear it? Yes! I make the coffee, start drinking the coffee – and then, as soon as I’ve got that on the go, I put the pan on the gas hob and put it on low heat. Then, I get a knob of butter, put that on there. Melt the butter. Put a couple of teaspoons of brown sugar in (I’m a bit of a sugar addict) and then sprinkle some cinnamon, sprinkle some nutmeg, sprinkle some cardamon powder and a little bit of salt. In the winter, it’s particularly nice, as it all starts to heat up and smell sort of Christmassy. It’s delicious! Onto that, I drop the porridge and sauté it.

Boom! What else do you get up to? Let’s work methodically! Put the radio on, listen to the World Service. Listen to classical music on Radio 3. And then, at 9:45am, I listen to the Daily Service on Radio 4. Although I’m not really religious, I like the ‘let’s be nice to everyone’ mellow vibe. I love hymns. Then, it’s looking like it’s nearly time for elevenses. Time for another coffee. What do you do to relax? I really like watching Star Trek and Star Wars. It’s a bit like a meditation. I’ve got A New Hope on a video – and, when I put it on, it’s like when you give a baby a dummy. So, I do that and I listen to music too – that’s very good fun. I love the ritual and the physicality of putting a record on. I’m very strongly against listening to music on a phone, or a computer – I just cannot get into it. What else? Making music’s quite good fun. Relaxing, reading. I do a lot of reading, I go and buy the newspaper – The Guardian. Yes! That’s it. You’re a Fall fan, aren’t you? Did you hear Mark E. Smith only had one chair in his house so he couldn’t have guests? Did he really! [Laughs] I’ve got a nice photo of him here from the obituary [points to black and white cutting of Mark E. Smith by kitchen sink]. He’s quite young. And I’ve got another photo of him here... That was just from the newspaper when he died.

Would you have wanted to meet him? Not really, because, unless I could have lived in Manchester and developed a long ten-year relationship with him, it would have been me being like, “UHHH, you’re Mark E. Smith” and him going, “Get out of my way, you dick!” So, no.

Which is probably what he would have said... Well, I think it was a lottery. He was very ill and grumpy from being ill, and sort of speedy... But I know people that knew him that say he was really nice. Have you ever tried to get into the headspace of another person when songwriting? No! I can’t do it – I’m an egomaniac. Because, as soon as I start to try and get into the headspace of another person, it usually ends up being a little bit of me – and, usually, it’s something that I think’s wrong with me. Because, I come from a super privileged background. I’ve got this incredibly expensive education, I’m white, I’m male, I come from a Tory family... all of these aces that I hold! So, although I’ve managed to burn most of it out and rebel against it, a lot of it’s still in there – and I think that’s what comes out, so if I adopt another persona, that stuff comes out. Do you resent any of your upbringing? Yes and no. I’m happy now and it’s good the way things have turned out, but I went to Harrow School. Of all the public schools, they’re the worst, in my opinion. They were horrible. I wasn’t bullied or anything, particularly – I was just made to feel like a weirdo. Everyone used to say I was on drugs, which I wasn’t. I was kind of straight edge! But I can’t really resent it, because my parents had spent all this money on it and I got a really good education. The teachers were really great, but Harrovians tend to be rich and thick... Some of them were nice, but the ones I was rolling with were quite bad. Have you ever had fans come up to you, not knowing that your work is totally satirical? At a gig, a young woman and a tall man both came up on stage after I was packing up. I was ready, as usual, to have a conversation and accept complements – but this girl was definitely accusing me of doing something bad. She was saying, “How do you feel about guys singing along with the lyrics of Life is a Rehearsal?” She was saying that I should feel awkward that guys were chanting this line, because she was implying that the guys in the crowd weren’t singing it ironically, they’re singing it like a football chant. And I agree with that – I do feel uncomfortable when that happens, because I don’t know what they mean when they’re singing it. I know what I mean, but I don’t know what they mean. But I was thinking about this, and how dare I assume that they are incapable of irony themselves and are not just full bloodiedly enjoying the whole thing, knowing exactly what I mean and singing along with that? Until somebody presents to me a really good argument explaining that the whole thing is misguided and dangerous, and that I shouldn’t be doing it, I’ll carry on doing it.

I think you’d be the first person to know if it was dangerous though, surely... I don’t know about that, because I don’t think very carefully about what I’m about to sing. I write it down as it occurs to me – if it’s good, I sing it. I don’t really do too much editing. It sort of comes automatically. If I ever try to deliberately write something out, it becomes kind of boring. Now, I’m reading about patriarchy, so I’m dying to write the ultimate song about that or what’s going on right now with Weinstein – but, if I try to do that, I find out very quickly that I don’t really know what’s going on. I get kind of clueless – so, instead of doing that, I don’t do anything. I wait until I’m at work and think of some funny line, write that down, string it out into a couple of verses which rhyme and I then hopefully will have dealt with the issue, if I do that enough.

EASY EASY photography BY Adria Robles FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY photography BY michael townsend FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY ILLUSTRATION BY Zac Crocker FOR COOL BROTHER VOL 02, ISS 02.

BEHIND THE LENS WITH: Baron Wolman

Baron Wolman will have you gnawing your inner cheek like an anxious mother departing her young. Capturing etherial beauty liable to shatter at any moment, he photographed his heroes. The Summer of 1967 was the adolescence of a cultural shift. Inspired by the ‘50s Beat Generation, middle-class American kids spawned to Haight-Ashbury, San Francisco in seek of a better world. This was hippie counterculture at its peak. Nicknamed ‘Hashbury’ by Hunter S. Thompson, the district became overridden with drugs, free sex, free gigs and homelessness. Many were experiencing LSD for the first time. Although the Summer of Love only lasted that season, it went on to change society forever. Resident of the area himself, Wolman documented this transition. The flower children fled, as did the leaves on the trees. That Autumn, Rolling Stone magazine was created. Baron Wolman became the iconic publication’s first ever chief photographer. Letting the light in and the dark too, he documented Woodstock, the Altamonte Free Concert and gay liberation with an AAA pass. Jimi Hendrix, Janis Joplin and William S. Burroughs would sit before him, souls open wide. He grabbed the moment while others were still mid-blink. Wolman’s work beams silicone soft. Gentle on the eye, these were angel kissed times teetering on the cusp of collapse. He captured that fragility, creating silk tapestries of pure, utopian wine. Now, he shares his stories from behind the lens. Words: Woody Cecilia

What got you interested in photography? Here’s the whole story! My cousin had a camera – and, with that camera, he discovered he could cross police lines, because they didn’t ask any questions. They thought he was a professional journalist! So, I thought, ‘Hey, if he can cross the police line, I’m gonna cross the police line!’ So, I got myself a camera. The moment I got it, I fell in love with it. How do you feel when you look through that viewfinder? Listen. My entire life, our country has been at war with somebody. You can’t be sure of the future if there’s a war going on. First, I had World War II, then The Korean War, then Vietnam. It was war, war, war, war! And when people are dying all around you, you’re thinking, ‘Okay, am I next?’ The world was so chaotic and noisy. Well, it kind of pervaded my thinking – but when I picked up a camera, I could quiet down the noise and make sense of the world around me. I could take a moment that visually did something to my soul... It was magic, that’s all there is to it. It really was camera therapy. I heard you say yes to every opportunity that comes your way. What’s been the best yes moment? Well, the best story is when I said yes to [Rolling Stone co-founding editor] Jann Wenner. They were starting a publication, and they asked if I’d be the photographer, so I said, “Sure, why not?” I had no idea that it would blossom into the amazing plan it became. None of us did. We were just rolling the dice on a good idea! Who was the most fun to shoot? There was something about shooting Jimi Hendrix live that was otherworldly. It was an out of body experience. It felt like there was a force coming through me that was guiding me to take the pictures that I took. The pictures were so phenomenal, I truly felt like I was part of the band. I was so in-sync with what they were doing, I could anticipate Jimi’s moves. He was beyond a wonderful musician, so I got on this wavelength with him... In those days, each roll had about thirty-five frames on it and if you got two or three good frames, you nailed it! But the Jimi Hendrix contact sheets had twenty, twenty-five fabulous photos, so I know something was going on. After that, I found out how I could actually turn this force that was helping me get good pictures on and off. It was amazing!

I heard he was quite shy off stage. He was always quiet! If you were sitting and talking to him, he was very quiet. He came on stage like Dr. Jekyll and Mr. Hyde. Two different personalities. He was very thoughtful, he was very spiritual, he was very socially conscious. Being a black man in a white world, he knew all about that. I loved the guy. We’re actually just about to send a book to the printer that contains all the photos of Jimi that I ever took. It’s gonna be a killer book! Very limited edition, only 750 copies, but what it contains! There are so many jewels. I had pictures of him resting and relaxing. You’d wanna know this guy, you know? How about on drugs, was he still very much the same Jimi? Jimi did drugs – we all did drugs, but Jimi was not an addict! When he took drugs that day in London, it was a total accident. It was a combination like a perfect storm. I mean, what he took, most people take and survive and get up the next day and play music. But it was a combination of events that unfortunately lead to his death. The rest of those twenty-seven-year-olds were addicts, so there was no surprise that they were gonna die. But Jimi! That was a big surprise. How do you ensure authenticity when taking pictures of people? First of all, I talk to them. Everybody’s favourite subject is themselves, right? So, I find out as much as I can about that person before I photograph them. I get them to understand that I care about them. Then they relax and they start to become a collaborator, rather than a subject. The moment that happens, I start shooting. What sort of headspace are you in when you shoot live photography? Rather than forcing the issue of taking pictures, I give up the control and I allow the decisive moment to emerge in front of me. When I see it, that’s when I take the picture. When I push the shutter, it’s like somebody else is doing it. It’s not me, but it is me. It’s a high that no drug can match. Did anyone take you by surprise? When I photographed Miles Davis, everybody warned, “Oh, Miles, he hates white people. You better watch yourself!” Well, I go up to his apartment, we get along fine! Here’s the thing about Miles... He loved boxing and he went to the gym three times a week to practice. The day I was up there was one of the days he went, so he said, “Oh, Baron, you are so out of shape! Come on, you’re gonna get in the ring with me.” So, we climbed into his red Ferrari and headed to the gym. I got a bunch of really fabulous pictures of him. He said, “Listen, Baron, if you really wanna understand what my music’s about, equate it to boxing, because you’ll hear me with a jab, you’ll hear me with a right cross, you’ll hear me with an uppercut. I play like I box, and they both mean so much to me that they’ve become synonymous, in my experience.” Could you describe living on Haight-Ashbury during the Summer of Love? It was pretty wonderful! You saw young people defying the accepted culture in a variety of ways and they’d do it with such joy... You saw people in colourful clothes, not in suit and ties, you saw free concerts in Golden Gate Park where people gathered and enjoyed being with each other. These were all such photogenic moments that, as a photographer, you couldn’t avoid, even if you wanted to. Did you feel fully immersed in that crowd? I’ve always felt like an observer, rather than a participator. I’m looking for the perfect picture, while maintaining my distance.

Didn’t Janis Joplin do a private show for you during this time? Eye called me up, asking for a colour shot of Janis in performance, but I didn’t have anything, so I said I’d call Janis and see what I could do.” I say, “Hey, you got anything coming up that I can shoot in colour?” “No, I don’t have anything!” So I say to Janis, “I tell you what. I’ll set up the lights in the studio as if they’re stage lights. You come over with a microphone and a little tape deck with some music you can lip-synch to and we can fake it!” So, she came over and we started shooting. First, she started lip-synching, then she started singing very quietly for a couple of minutes. Then, it got louder and louder and louder... In her mind, by the end, she was on stage singing for her audience. So, for an hour, she sang just for me [laughs]. She went through her whole repertoire of great hits. It was fabulous! What’s the story behind that Mick Jagger shot? After I shot The Who recording Tommy in the studio, Townsend, Kit Lambert and I went out for dinner. Soon after, Townsend says, “Hey, Jagger’s over in Kensington shooting this film [Performance]. Let’s go over and stir up some trouble!” So, we went over there. I had my camera, and Pete and Mick knew each other. We walked in and the filming stopped immediately, so I started shooting pictures. You’ve also photographed some pretty eccentric writers too, including Allen Ginsberg and William S. Burroughs. Who were the most peculiar, the authors or the musicians? C’mon, that’s like asking who’s my favourite child! I mean, everyone’s peculiar. If you’re an artist, you’re fuckin’ peculiar! But the thing is, that’s what makes us artists. Whether you call it peculiar or not, it’s our uniqueness. And it’s that uniqueness that I try to capture and that I love, you know? I love creative people. I love honouring them with my own creativity. I wanna represent them at their best. I really love everyone that I’ve photographed, because they’re giving me a moment of their time, their soul, their heart and they’re trusting me to do something really nice with it – I respect it and that’s what gives me the most pleasure. I feel so fortunate to have been in the world that I ended up in. People come up and say, “I want your life! Look what you’ve done!” but that was just my day-to-day living. I’m so blessed. You made an entire Rolling Stone issue on groupies. What sparked that idea? It came from watching these women backstage. They weren’t back there to score the guys – they didn’t wanna get laid, they wanted to be admired. You couldn’t ignore them! I thought, ‘What is going on here?’ So, I told Jann and he agreed that maybe there was something to the story and he put a couple of reporters on it. It became a big issue. I’d bring them into the studio and photograph every one of them as a top model. I gave them respect. In return, they gave us the story. There was not a woman there that I didn’t make look as good as she could possibly look. Now then. Woodstock! Go ahead and make us jealous... It was magical, it really was. I knew when I got there, this was the singular event that would make history. I decided to concentrate on the people who were there, rather than the musicians, so I wondered around in the crowd taking pictures. There were three-or-four-hundred-thousand people and there was no violence. No violence at all! There were a lot of drugs, no violence. There was a lot of bad weather, no violence. It was amazing. It was as authentic an experience as you’ll ever find. And it really was three days of peace, love and music, no question. The only mammals that had problems were the cows, because they were so intimidated by the noise from the crowd, they refused to give milk for the next month.

Why did you leave Rolling Stone? Here’s the thing! Life is like a buffet table. If you stop at the appetisers, you miss the soup, you miss the salad, you miss the meat, you miss the chicken, you miss the dessert. And I was getting to the point where I felt stuck at the appetisers. I had all this curiosity about all the other things that were going on! Now, exactly at this time, these two women came to me to talk about a fashion magazine that resembled Rolling Stone in terms of being an honest reflection of the fashion world. So, that became an opportunity to disengage from Rolling Stone and hook up with them and create Rags. I hired a bunch of the disaffected Rolling Stone editorial people to be on the staff and we took over the old Rolling Stone office. It was a very interesting transition, doing things that I learnt by working with Jann. Were the sixties just as we’ve imagined? Yes, they were! In every sense of the word. All the good and the bad. It wasn’t always easy, it wasn’t always pleasant, but it was a very, very life-enhancing experience. No question! I wish you had been there!

EASY EASY PHOTOGRAPHY BY CAMERON HOERTH FOR COOL BROTHER VOL 02, ISS 02.

On the Road with: TANGERINES There aren’t many bands quite like Tangerines. Formed by frontman Gareth Hoskins in his parents’ shed, they’re a South London four piece that have been straddling the industry sidelines for a good few years now. They’re a heavenly hit of brass knuckled tenderness and unvarnished slick. Music comes naturally to the boys. Immediately accessible, their sound is timeless with a slim snaggletooth of sinister. When he’s not fronting Tangerines, though, Hoskins goes by the DJ name, Diabloz. Mixing songs by the likes of Lindsey Buckingham, Nap Eyes and Betty Harris, his Mixcloud is a step through soul, rhythm and blues, experimental folk and beyond. Join Tangerines’ Gareth Hoskins on a car ride to nowhere, as he meddles with the tape deck. Words: Woody Cecilia

Where are we going? Porthcurno There’s room for another. Who’s coming with? A stranger Who’s driving? Certainly not me, otherwise this’ll be a short trip What’s the vehicle of choice? Ford Capri Got any good snacks? No, I’m on a diet Wait, what’s that in the glove box? You didn’t see that What did you do with the map? I smoked it Why’s it in Swedish? Cos it tastes better

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Ro a e

Denim - Midd le of

Baby Can’t You y See m m To

What’s on the mixtape? Angel Gu tierrez - Eter na

- T hu n der

Moore Rudy Ray

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- Pigs

Bob D yla n

Robert Wyatt

On T he Mou ntai n

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Rob er to

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- Arabia

NeelAm KhAn VelA Shoots From the Hip

Raised in Barcelona, Neelam Khan Vela captures moments of rebellion and pure of Communication (UAL,) where she developed passion and prowess for bands. Hinds, Iggy Pop and HMLTD are on that list, as well as Twin Peaks, romancing about the past and open your eyes to what’s going on right now. discreet little mole holes that open up into bounteous lands of good times, her way. Words: Woody Cecilia

Who hAven’t you met? MAriAh CArey. Do you plAy Any instruments? No, but I would love to plAy the drums. FAvourite bAnd to shoot? Live, Hinds – And for portrAits, Confidence MAn. House pArties or festivAls? House pArties. Who’s your fAVourite Orielle? I couldn’t possibly pick one, but I must sAy Sid And I hAve this speciAl bond over fudge And Kinder Buenos – the other two don’t pArticipAte, becAuse they’re vegAn. Give us some good words of wisdom. If you’re not hAving fun then just leAve. WhAt inspires you the most? My friends. How old were you when you first picked up A cAmerA? I cAn’t remember, I’ve AlwAys hAd A cAmerA in my hAnd. HAve you kept Any of your photos you took when you were young? Yes! ActuAlly, I recently found some film photos I took when I WAs About seven or eight thAt I love. WhAt’s your go-to pose when the cAmerA’s on you? I normAlly just stAnd there. If you hAd to weAr one outfit for the rest of your life, whAt would it be? My turquoise skirt suit – I cAll it the ‘power suit.’ WhAt’s the story behind your LeAve Britney Alone jAcket? I bought the pink blAzer in A chArity shop for 99p And soon I reAlised I probAbly wAsn’t gonnA weAr it, so I thought I hAd to pAint something on the bAck to mAke it cooler – And whAt better thAn ‘LeAve Britney Alone’! CAn I hAve it? No, sorry. PlEAse? MAke your own! Who’s your best friend? Cheese. RAmen or Pot Noodle? I prefer the instAnt rAmen Pot Noodle stuff thAn ActuAl reAl rAmen, but the Pot Noodle brAnd is Awful. BuckfAst or cervezA? CervezA. WhAt mAkes GlAsgow’s music scene unique? The Accent. Best venue in BArcelonA? Apolo. WhAt’s A nicknAme you’ve AlwAys wAnted thAt never cAught on? For A while when I wAs eleven, I wAnted my nAme spelled ‘NylAm,’ but thAnk God it never cAught on. WhAt time do you usuAlly wAke up? Between 10Am And 11Am. WhAt’s the first thing you do? Check my phone. CAmerA of choice? A point-And-shoot MinoltA I found At A chArity shop. I Also love shooting with Fujifilm InstAX. Film or digitAl? I think I like both equAlly, but I wish I could Afford to shoot more film. BlAck And white or colour? Colour. Tips for getting to the front of A busy show? Just push your wAy through trying to be As polite As possible – you’ll get bAd looks, but it’s worth it.

joy on film. She moved to London to study photojournalism at London College music photography, taking snapshots into the lives of some of your favourite Her’s and The Orielles. Now, she resides in Glasgow. Neelam urges you to quit Grains of subculture are all around. Wherever she goes, she finds the real heart and honest people. Cool Brother shoots fifty quick-fire questions

Describe your encounter with JArvis Cocker. The first one wAs AwkwArd As fuck! I wAs seventeen And I wAs Almost crying. I wrote him A letter, but never mAnAged to ActuAlly gAve it to him (I found it recently And I wAs mortified, so thAnk God I didn’t). The second one wAs funny. It wAs At Rough TrAde. I knew I wouldn’t hAve more thAn A few minutes until he escAped, so I tried to milk it As much As possible. I took his portrAit, got A picture with him And got him to sign my copy of his book in About four minutes. I wAs on A mission! The third one wAs my fAvourite. I bumped into him At PrimAverA lAst yeAr. I hAd A lovely quick chAt And took Another portrAit of him. Did you whisper sweet nothings or keep it cAsuAl, bAby? Keep it cAsuAl, AlwAys. Who’s the most inspiring person you’ve ever met? Christopher Owens. Do you hAve Any siblings? An older brother And An older sister. How mAny berets do you own, dAmmit? Now, five. I used to hAve more, but I gAve A couple AwAy thAt I never wore A few months Ago And I lost my fAvourite blAck one! PizzA or pink, one hAs to go. Which gets the boot? This is the hArdest question Anyone hAS ever Asked me. I guess pizzA would hAve to go. Best song for Summer? ‘You MAke Me WAnnA Die’ by The ShivAs. SAntA’s Little Helper or GAry The SnAil? SAntA’s Little Helper. WhAt do your fAmily think About wHAt you do? My mum totAlly loves it, but I don’t think the rest fully get it. Do you know Any jokes? I’ve known A couple of good ones through my life, but I AlwAys forget them. Describe your coolest dAnce move. I love thAt one when you’re dAncing with someone And you hold hAnds And you both put one Arm behind the heAd so the other one ends up in your pArtner’s shoulder, And then you let go ‘til your hAnds reACh AgAin... You know thAt one? Do you wAnnA give it A nAme? I’m sure it must AlreAdy hAve A nAme, but let’s cAll it The HeAd Click. WhAt word do you use too much? Like. Midnight snAck of choice? Olives. Tumblr or InstAgrAm, which do you prefer? InstAgrAm. WhAt’s the best thing About being A music photogrApher? Touring And meeting AmAzing people All Around the world. HAve you got Any tips for people wAnting to follow in your foot steps? Work hArd And be persistent. Here’s your chAnce to tell A mAte you love them, who Are you gonnA pick? Ade te quiero!!! WhAt bAnd should we All be listening to right now? Her’s.

EASY EASY photography BY SADIE BAILEY FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY photography BY michael townsend FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY ILLUSTRATION BY SJ HOCKETT FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY ILLUSTRATION BY BENN JACKSON FOR COOL BROTHER VOL 02, ISS 02.

Creative fulfilment is important to Holly St Clair and James Christopher. Co-founder of Hi Bye Studio, Holly is an illustrator, while James balances making abstract art with co-running Kind Studio, a creative agency based in Brixton which specialises in design. They’re busy people! And to top it all off, they’ve just got engaged. Yep, that’s right – they might have just out-cooled you. Their work is a playful escape from the mundane. Holly creates zines, t-shirts, pin-badges and editorial work designed to make you smile. They’re a wink-wink-nudge-nudge, poking fun of you, me and everyone you know. We’re a weird bunch! Stop pretending you’re not, okay? ‘Please Sir, Can I Have Some Morleys?’ is a standout piece of Holly’s, perfectly highlighting her ability to dishevel the ordinary and make it funny. Aesthetically, she keeps things unpolished, which adds to her cheerful charm. James’s style is a little more abstract. He uses contrasting textures which are then flipped into digital shapes. Collaged into place, they tread that golden line between chaos and order. Using beautifully thought out colour palettes, each illustration is refreshingly unique from the next. Head with us to Kind Studio and meet two of London’s most celebrated illustrators of 2018. Words, styling and creative direction: Woody Cecilia Photography: Caoimhe Hahn

Do you collaborate on much of your work together? Holly: Very rarely - it’s something we’ve spoken about, but I think we’re both a bit shy about it. Most of our collaboration tends to be in the form of feedback – a little bit of criticism and encouragement when it’s needed. I trust Jim’s judgement and I think he trusts mine! James Christopher: We’d like to do a children’s book together and get it published though. It would definitely be an interesting clash of styles. How do you make your illustrations? Holly: Pen goes straight to paper! I tend to work very directly. Inspiration comes from the people around me – little quirks people have and weird things they’ve said. I’m a bit obsessed by the idiosyncrasies of speech and language – little phrases that people say without realising that they’re really rife with visual potential. James: I got into making abstract art around two years ago. I’ve always had an interest in illustration, but never really settled on a style or method. I tried lots of different things and found that I enjoyed the messiness and process of collage. I spend all day as a designer working with grids and pixels, so it’s nice to come home, get the pens out and chop stuff up without having to worry about a composition meaning anything. Explain Kind Studio! James: Kind Studio is the creative practice where I spend most of my weekdays. We work across branding, digital, making and animation. I started the studio around three years ago with a friend, and it’s grown a lot since then. The name came from a guy we knew at university who used to use the word ‘kind’ instead of ‘good’ or ‘cool.’ He went to steal some of my work for his portfolio, so it seemed to make sense to steal his word! When did you decide you wanted a career in design? James: It sounds really stupid, but I’ve known since I was about eleven or twelve. When I was young, I used to spend hours drawing Simpsons characters or super detailed space battles – and since then, I’ve always had an interest in illustration, which developed into an interest in design as I grew up. Holly: I went to an anime convention called MCM Expo in Greenwich. I was fourteen and already posting my work online, but I never thought illustration could be a career. I got talking to this artist, Timothy Winchester, and I was so amazed that this was his actual, real, grown-up job.

“We both swiped right and the rest is h i s t o r y.”

How did you guys meet? Holly St Clair: Tinder! We both swiped right and the rest is history.

What’s the best advice you’ve ever been given? Holly: Being honest is more important than being polite. In other words, fuck politeness! You’ve done a few illustrations on skate decks too. When did you get into skating? Holly: Three years ago! I became friends with Liisa Chisholm through Charlotte Mei actually, and she’s a sick skater. I wanted to give it a go and caught the bug in a big way. Do you skate by yourself or with friends, usually? Holly: I’ve just joined a little Whatsapp group of skaters and I’ve been loving skating with them recently. We’re all girls, non-binary or queer – people who can feel a bit pushed out of mainstream skating scenes. We even have a little puppy mascot called Murphy. Who are your favourite illustrators at the minute? Holly: I love Samuel Eckert, Sujin Kim, Tomomi Mizukoshi, Karolina Osiadacz, Maria Ramos, Misaki Kawai... I could go on and on. James: I love pretty much everything Jake Hollings puts out! I’ve just put out a collaboration I’ve done with Otto Baum from Germany too – he’s great. Who do you like to listen to while getting creative? Holly: There’s a weirdly specific genre of hazy, poppy, girl-led guitar bands that gets me in the perfect head space for drawing. Think Frankie Cosmos, Hop Along, Japanese Breakfast, Tennis, Whitney, Pavement, Ratboys, etc. James: I have music on from breakfast until I go to bed, so it’s kind of hard to nail anything specific down! At the moment, I’m listening to a lot Shame. I went to see The National last month and so their whole discography has been back in heavy rotation. Drake’s new album is great. I’ve also been getting into the Grateful Dead.

is that

sauce on yo ur

k s e d

Holly wears – TOP: Wood Wood, JACKET: Folk, TROUSERS: Dr. Banana, SOCKS: Folk, SHOES: Birkenstock, GLASSES: Bailey Nelson James wears – TOP: Heresy, TROUSERS: Folk, SHOES: Converse, SOCKS: Heresy, GLASSES: Cubitts

Holly wears – TOP: SCRT, TROUSERS: YMC, SHOES: Stepney Workers Club, SOCKS: Folk, HAT: stylist’s own, GLASSES: Bailey Nelson James wears – TOP: Heresy, SHIRT: Potato Head, TROUSERS: Dickies, SHOES: Stepney Workers Club, GLASSES: Cubitts

Holly wears – TOP: Folk, JACKET: Nanamica, TROUSERS: Folk, SHOES: Reebok x Beams, SUNGLASSES: Ace & Tate James wears – TOP: YMC X MUNDIAL, TROUSERS: Maison Kitsuné, SHOES: Clarks Originals, SOCKS: Folk, CAP: Norse Projects, GLASSES: Cubitts

EASY EASY PHOTOGRAPHY BY MATT CORREIA FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY ILLUSTRATION BY ZORAN PUNGERCAR FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY PHOTOGRAPHY BY KUBA TRZCINSKI FOR COOL BROTHER VOL 02, ISS 02.

EASY EASY ARTWORK BY JACK RICHARDS FOR COOL BROTHER VOL 02, ISS 02.

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30 | 10 | 18 - 31 | 10 | 18 UT UT - 03 UT O | | | 11O | 18 | 11 O | 18 01 11 18 - 02 SOLD LD SOLD SO “COME ON PILGRIM...IT’S SURFER ROSA” SPECIAL 30TH ANNIVERSARY CELEBRATION FOR FIVE NIGHTS

PIXIES

- ROUNDHOUSE -

01 | 11 | 18

HATCHIE

- ELECTROWERKZ ISLINGTON

05 | 11 | 18

THE SHEEPDOGS - BORDERLINE -

WEDNESDAY 31 OCTOBER

05 | 11 | 18

ZOLA JESUS - OMEARA LONDON BRIDGE

MOTH CLUB with SPECIAL GUEST

The Finks (solo)

FENNE LILY PLUS

WYLDEST

FRIDAY 12 OCTOBER 2018

BORDERLINE

ORANGE YARD - OFF MANETTE STREET - W1D 4JB

JENCLOHER.COM

BY ARRANGEMENT WITH PITCH & SMITH

DEBUT ALBUM ON HOLD OUT NOW - FENNELILY.COM IN ASSOCIATION WITH ATC LIVE AND CHIVERIN

T I C K E T S AVA I L A B L E F R O M

SEETICKETS.COM - GIGANTIC.COM - TICKETMASTER.CO.UK ALTTICKETS.COM - DICE.FM - EVENTIM.CO.UK - ROUNDHOUSE.ORG.UK - STARGREEN.COM @CROSSTOWN_LIVE -

/CROSSTOWNCONCERTS -

@CROSSTOWNCONCERTS

P R E S E N T S

DEATH CAB FOR CUTIE

08 | 11 | 18

HENGE

- THE LEXINGTON -

08 | 11 | 18

UK TOUR 2019

485C

- SHACKLEWELL ARMS DALSTON

F R I D AY 0 1 FEBRUARY

EVENTIM APOLLO

| 11O| UT 13LD 18 SO

- 14 10O|UT 18 SO|LD 15 | 11 | 18

HAMMERSMITH

TEENAGE FANCLUB

BY ARRANGEMENT WITH CAA

- ELECTRIC BALLROOM -

15 | 11 | 18

JEALOUS OF THE BIRDS - THE ISLINGTON -

UK TOUR 2018

22 | 11 | 18

LUSTS

WEDNESDAY 14 NOVEMBER

- SHACKLEWELL ARMS DALSTON

O 2 ACADEMY BRIXT ON

27 | 11 | 18

LONDON

LYDMOR

COURTNEYBARNETT.COM.AU

- THE WAITING ROOM STOKE NEWINGTON

WITH SPECIAL GUEST

LAURA JEAN

05 | 12 | 18

BY ARRANGEMENT WITH X-RAY

BUFFALO TOM - ELECTRIC BALLROOM -

NEW ALBUM

TELL ME HOW YOU REALLY FEEL OUT NOW

24.10.18

Electric Ballroom LONDON

BY ARRANGEMENT WITH X-RAY

- THE LEXINGTON -

★

DU EX ET TR OO VER AD A D WH DE AT ELM D E ING DE MA ND OUT ! THURSDAY 15 NOVEMBER SOLD

★ FRIDAY 16 NOVEMBER ★

THE CAT EMPIRE ROUNDHOUSE - LONDON EUROPEAN TOUR OCTOBER / NOVEMBER 2018

THECATEMPIRE.COM

12 | 12 | 18

LIELA MOSS

BY ARRANGEMENT WITH UNITED TALENT AGENCY

26 | 01 | 19

SNOW PATROL - THE O2 -

02 | 02| 19

SNOW PATROL

- THE SSE ARENA, WEMBLEY O|UT | 02 02 19 - 03 02O|UT 19 - 05 02O|UT 19 SO|LD SO|LD SOLD 06 | 02 | 19 - 07 | 02 | 19

THE STREETS

- O2 ACADEMY, BRIXTON -

T I C K E T S AVA I L A B L E F R O M

SEETICKETS.COM - GIGANTIC.COM - TICKETMASTER.CO.UK - AXS.COM SSEARENA.CO.UK - EVENTIM.CO.UK - ROUNDHOUSE.ORG.UK - STARGREEN.COM @CROSSTOWN_LIVE -

/CROSSTOWNCONCERTS -

@CROSSTOWNCONCERTS

WWW.coolbrother.co.uk @coolbrotherzine facebook.com/coolbrotherzine

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