Worn & Torn by Daniel Evans

WORN &TORN

SUMMER ‘11 RAY-BAN ORIGINAL WAYFARER THE LEGEND JAMES DEAN THE VACCINES WAR PAINT THE GO! TEAM

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RAY BAN STYLE ICON: RAY-BAN ORIGINAL WAYFARER

Named by many as the best-selling sunglasses of all time, the first popular plastic frame, and one of the most enduring designs of the 20th century, the Ray-Ban Wayfarers are an accessory legend and a cult product. Since their release in 1952 the frames have been donned by almost every celebrity going, and continue to be worn by the newly familiar faces on our screens and magazines. The Wayfarers, in their clean and classically simple shape meant minimum effort for maximum impact as the public soon realised, and created instant star appeal for whoever shaded their eyes in the revolutionary plastic frames. Celebrities who also brought the Wayfarers to fame in the ‘50s and ‘60s included the likes of Bob Dylan, JFK, Roy Orbison and Andy Warhol. After a short decline in popularity in the ‘70s, Ray Ban drew up a Unique Product Placement plan to throw the frames back into the limelight. In 1983, Tom Cruise brought around the return of the Wayfarers phenomenon after wearing them in the movie Risky Business. The shades also made appearances in Miami Vice, Moonlighting and The Breakfast Club, causing a significant increase in sales and a further rise in popularity among music icons like Michael Jackson and Elvis Costello. Recently, Wayfarer copies have helped bring the iconic style to the masses, but there’s no comparison between the high-street imitations and the classic original in terms of durability and style. In recent years, the original frame has been revised to suit more modern tastes, and undergone a literal plastic surgery, going from acetate to a lighter injected plastic. And in a bid to improve the shades’ practicality, the frames were made smaller and less angular to keep them perched happily on our bonces. Subtle yet significant changes. But when mutters from your grandparents begin that ‘they weren’t like that back in our day’, just remind them that the sartorial heritage of the Wayfarers continues, and for further brownie points, add in that they nod to a time of impeccable style. Keep hinting, and they might just give you their Ray-Ban hand-me-downs, you lucky things.

Zoe Williams

WORN&TORN Issue 1 | Summer 2011

JAMES DE AN The Legend James Dean

‘If you get in that car, you will be found dead in it by this time next week.’ These are the words spoken by Alec Guinness just a week before the tragic car accident which claimed the life of the then upcoming superstar James Dean. He was only 24 years old. But at such a young age he had already achieved so much. The first actor to receive an Academy Award nomination for best actor posthumously for his role as, ‘Cal Trask’ in ,’East of Eden’. James Dean also received a second posthumous Academy Award nomination for his portrayal of, ‘Jim Stark’, in the 1956 George Stevens drama, ‘Giant’. But perhaps his most famous and recognisable role came a year earlier in ,’Rebel Without a Cause’. This role was extremely popular amongst teenagers because they saw it as an accurate representation of their own lives in 1950’s USA. During this time period the youth saw James Dean as their spokesman and representative.

He embodied their frustration and teenage angst and through his performances delivered a message which was not only powerful but also sympathising. Not only did the youth of the 1950’s relate to him but also the youth throughout the following decades up until today. His influence can be seen and heard regularly whether it be through references in music or by poles in magazines. For example he was voted the greatest, ‘Male Gay Icon of All Time’, by the readers of the Gay Times. There has been a lot of speculation about James Deans sexuality and many fellow players in the industry of his time would openly admit that James’ was in fact a homosexual. It is hard to deny that in his on-screen performances he is often seen as being very androgynous. Various other rebellious characters throughout time have also made direct reference to James Dean. Fonzie from, ‘Happy Days’, has his picture next to his mirror, Fry from, ‘Futurama’, was specifically drawn to look like James Dean and the character Rizzo in, ‘Grease’, has a poster of him on her wall. In music he is referenced regularly and his name is included in hit songs such as, Don McClean’s ,’American Pie’, Lou Reed’s, ‘Walk on the Wild Side’, David Essex’s, ‘Rock On’, Block Party’s, ‘Helicopter’, and many more. Noted admirers of James Dean include Elvis Presley and Bon Jovi. HIs legend is everlasting and his influence undeniable. Did his premature death act as a catalyst to his iconic status? That is irrelevant for he is fully deserving for all his appraisal and will remain so for many future generations. by Edward Lucas

WORN&TORN Issue 1 | Summer 2011

THE GO!

TEAM The Go! Team: Ian Parton Interview

The super energised hyper-fantastic concoction that is The Go! Team is most definitely the sole brainchild of Ian Parton. It’s his work in the studio that spills out and manifests itself in their live performances. Having just finished the U.K and EU leg of the tour for their latest album Rolling Blackouts, we caught up with him on his week off before continuing their assault on lethargy across the Atlantic: You’ve just finished up in Europe and the UK, where were the best shows? “Amazingly the best shows in the U.K were London and Manchester. I always love playing in Glasgow too. In Europe Berlin was cool.” Is the reception noticeably different in each country? “You do really get an insight into each national character. Like Ireland, some amazing crowds over there, real nutters!” WORN&TORN Issue 1 | Summer 2011

I read on Kaori’s blog that there was Tampax thrown onstage during the Irish gigs. What’s been the oddest reception so far on the tour? “I missed that actually [laughs]. We did have the strangest gig in Angouleme, France. The crowd were absolutely terrible, it’s never happened before, they were really shy. Weird, it was Saturday night and you’d swear we were playing at a funeral!” How do you deal with an audience like that? Do you change your performance at all? “We try and wear them down. Even if people aren’t digging it in the beginning we usually have them by the end. It makes you realise just how important the crowd is. At least 50% of a gig is the audience.” Rolling Blackouts still has that high energy Go! Team sound but there’s a more melodic element to this album then the previous two. Did this come as a natural progression? “I definitely wanted Rolling Blackouts to have more space, more contrast and less like someone’s poking you for half an hour. It still has it’s relentlessness but I’ve realised things mean more when they have something different next to it. A Mo Tucker style song next to something loud, I like that idea, it makes it count more. What is your favourite track off the album? “If I look at my play count on itunes it’s actually Super Triangle, which is just an interlude song.” Do you listen to your own music? “Not in leisure scenarios, more to check in. After the first two albums I’ll listen back and think that should have been a little different. I haven’t had that on this album yet. Which song from the album took the longest to turn around from beginning to end? “Running Range was kicking around for a long time. A lot of these songs start life kicking around. They would have been something on a Dictaphone. I’m a hoarder, every single idea I have is on a file on my computer; Break beats, samples and my own melodies that I’ll sing. It’s constantly listening back thinking that’s good, then thinking that needs a verse, always wracking my brains. Rarely would I write a song with a guitar.” You’ve collaborated with a few female vocalists on this album. How did that go? “Most of them were remote affairs, working where they lived. I spoke to Bethany from Best Coast on the phone, emailed a few people, I met Dominique Young Unique. It’s quite a tricky way of working actually. Often I would be working with vocalists and it just wouldn’t suit and I’d have to go searching for something else.” Are the collaborations a reflection of your own personal taste? What do you like? What do you hate? “I like girls in the garage, 60’s girl group one hit wonder kind of stuff. I don’t really like Elbow. People like The Drums I don’t get. I love noisy guitar and feedback. I always tell myself going into the studio to record that I’m going to make that kind of album. Then you end up thinking you sound like you’re ripping someone off. I think bands should try and carve out their own sound.” How do you all get on in the band as such striking individuals? “We don’t argue. The lack of ego has kept us together. If there was someone really arsy in the group that wanted to take over or got annoyed that I write the music that might have caused problems.” It has been mentioned that Rolling Blackouts may be the end of the road for the band as it stands. Is there any truth in this? “I don’t really want to commit to that idea. 2011 might be the last year we play as a band. You know how it is these days, everyone reunites. We have 2011 vaguely mapped out.”

Gemma Coughlan

WORN&TORN Issue 1 | Summer 2011

THE VACCINES

ALBUM: What Did You Expect From The Vaccines The Vaccines What could you expect from The Vaccines? Largely thanks to them gracing the front cover of NME’s ‘Bands For 2011’ issue, The Vaccines went from strength to strength in a matter of weeks - and not undeservedly so. At first glance the quartet could be easily mistaken with any typical indie setup, but have a listen and the differences are clear. So much more than long hair and shirts tucked into chino’s, The Vaccines deliver what has been needed in the music industry for a long while - music that genuinely cheers you up. Their debut album ‘What did you expect from The Vaccines?’ contains no depressing ballads laced with hidden meanings of bitter memories, just straight to the point tunes that make you want to dance. Even the two slightly slower songs are too upbeat to be saddened by for long. Lead singer Justin Young gives a voice harsh enough to grab your attention, but soft enough to flow with the melodies Freddie Cowan (guitar), Pete Robertson (drums) and Arni Hjorvar (bass) create. Of course it would be ignorant to mention the Vaccines without mentioning the many bands they are clearly influenced by. The Strokes are definitely present in ‘If you wanna’, and The Ramones’ edginess is apparent in ‘Norgaard’. ‘Wreckin’ Bar’ even takes you back to the late fifties/ early sixties, entwining its incredibly catchy hook with inspiration from artists such as Buddy Knox. So maybe they aren’t new in every sense of the word, but what does that really matter? The Vaccines have taken the best bits from at least three decades of music, and combined them with a modern edge to create a very short - but definitely very sweet - album. Amie Box

WORN&TORN Issue 1 | Summer 2011

WAR PAINT

Warpaint

“Formed on Valentines day 7 long years ago, Warpaint are a jaded lover’s worst nightmare. Dark, wistful and irresistibly stylish, this band will drag you down to their aphotic depths with an ethereal, untameable swagger which will leave you crying, screaming, twisted and reeling and begging them to hold you down longer. The band was born and raised in the heady and depraved surroundings of naughty Los Angeles back in 2004 and was founded by childhood friends Theresa Wayman and Emily Kokal. Their debut EP “Exquisite Corpse” was self released in 2008 and has, for my money, one of the greatest EP titles ever put to print. Produced by Red Hot Chilli Peppers guitarist John Frusciante, the EP sounds, perhaps unsurprisingly, absolutely nothing like the Red Hot Chilli Peppers. It is, instead, a shimmering, reverb-laden honey-pot of terrifying emotions which gathers up your tiny head and fills it with intimate female noises. Like I said – terrifying – but all the more beautiful for it. Warpaint “Formed on Valentines day 7 long years ago, Warpaint are a jaded lover’s worst nightmare. Dark, wistful and irresistibly stylish, this band will drag you down to their aphotic depths with an ethereal, untameable swagger which will leave you crying, screaming, twisted and reeling and begging them to hold you down longer.

The band was born and raised in the heady and depraved surroundings of naughty Los Angeles back in 2004 and was founded by childhood friends Theresa Wayman and Emily Kokal. Their debut EP “Exquisite Corpse” was self released in 2008 and has, for my money, one of the greatest EP titles ever put to print. Produced by Red Hot Chilli Peppers guitarist John Frusciante, the EP sounds, perhaps unsurprisingly, absolutely nothing like the Red Hot Chilli Peppers. It is, instead, a shimmering, reverb-laden honey-pot of terrifying emotions which gathers up your tiny head and fills it with intimate female noises. Like I said – terrifying – but all the more beautiful for it. After the moderate success of the EP, they have since been signed up by UK label Rough Trade and released their debut album “The Fool” in October 2010. The album does not stray far from where the EP left off and continues along the same faux-innocent psychedelic thought process as Exquisite Corpse. It is at times akin to MGMT, Incubus and most certainly British alt-indie hipsters “The XX” - a band which Warpaint were sent off to support on tour soon after signing with Rough Trade. The similarity between the two bands is perhaps most clearly evidenced in the opening track of the album “Set Your Arms Down” with an initial bass riff and syncopated drum beat which are well produced and performed with an almost lazy indifference. This laid-back tempo is vindicated fantastically by the vocal melody, which drifts into your ears as if it was born of an ancient celtic dreamworld, full of noble barbarism and misplaced nostalgia – tales around the campfire and true love cut cruelly short by perennial tribal warfare. Beautifully traumatic.

WORN&TORN Issue 1 | Summer 2011

Another overriding influence on this band is Icelandic lunatic songstress Bjork. Her otherworldly, avant-garde life force is most certainly living happily amongst the sound waves that emanate hesitantly from Warpaint’s war-chest. Her spark is only felt in fleeting moments of excitement, but it is these moments, these resonant and inspired moments of beauty which set this band apart from the bulging crowd of budding style-icons that are just itching to get their coiffured features into your bathroom reading material. Aesthetically, Warpaint are just as interesting as they are sonically. Having an all-female lineup in a credible indie band does give them a slight head start, but they have taken the allure and the intrigue that this undoubtedly brings, and they have run with it. Their music videos are tinged with lesbian homo-eroticism which always feels much more stylistic than it does erotic. They are provocative, without being crass, and are engaging without losing integrity. Backwards fireworks and foggy forests cement in your head the ghostly charm, which was instigated by the woozy, fluttering and vaporous music that got you hooked in the first place. The cumulative effect of all this is to completely absorb the listener into a world of confusion and euphoria. Perhaps the only criticism that I feel could be aimed at this band is that their tempo is never pushed too far – they never really put the pedal to the metal and let rip, preferring to keep it sweet and dreamy. Perhaps a quickening of step and a change of pace would be a welcome candle up the proverbial anus, and put another string on the warpaint bow – adding a new dynamic to what can, at times, feel slow and drawn out...but then, perhaps any change would only serve to spoil the delicately crafted, and carefully painted emotion and feel. Either way, Warpaint are a band which will most certainly grab you by the soul and take you on a scaryspooky ride through a conceptually shadowy musical forest and will drag you right down into their murky aural wonderland. Just make sure you hold on tight.”

By Tommy Ray-Gun Bravado

WORN&TORN Issue 1 | Summer 2011