Flesh & Bone Vol. 23

FLESH & BONE

in the pursuit of artistic passion

vol 23

EVELYN BENCICOVA - OLD NOTES - JACK McDERMOTT - HATTI BAILEY

W W W. F L E S H B O N E M A G A Z I N E . C O M Al l r i g h ts res e r v e d . N o p a r t s o f t h i s p u b l i cation m ay be repro du c e d i n wh o l e o r i n p a r t wi t h o u t p e rm ission f rom th e publ i s h e r. T h e vi e ws exp re s se d i n t h i s pu blic ation do n o t re f l ect Fl e s h & B o n e a n d i t ’s st a ff b u t re tain to th e ir res pe c ti v e c o n t ri b u to rs.

I n qu i r i es & Su b m i ssi o n s fl e s h b o n e m a g a z i n e @ gm ail.c om

FLESH & BONE M A G A Z I N E

V O L . 2 3

F l e sh & B o n e M agazin e is a bi-m on th ly c re ativ e ar ts p u b l i c a t i o n p ro d u c e d by ar tists wh o are c on stan tly i n sp i re d b y o t h e r ar tists. O u r goal is to sh are an d i n t ro d u c e o t h e r p e ople wh o are in te re ste d in ar t or i n t h e p u rs u i t o f ar t to oth e r c re ativ e in div idu als.

E a c h i ssu e h i g h l igh ts ar tists of an y ar tistic m e diu m , wh o t h e y a re , wh at th e y do, an d th e ir v ie w poin ts on t h e c o n si s te n t l y growin g ar tistic m ov e m e n t. ______________________________________________________ FOUNDER & EDITOR

BRANDYNN L POPE

COPY EDITOR

DONALD KIMBER

DESIGN & LAYOUT

BRANDYNN L POPE

COVER PHOTO

EVELYN BENCICOVA

WRITING TEAM

ASHLEY ATLUS DONALD KIMBER JAMES LIAM WARD

PHOTOGRAPHY TEAM

ASHLEY ATLUS BRANDYNN L POPE BRITTNEY TAMBEAU

January & February LETTER FROM THE EDITOR I must say first that I was personally so excited to have the talented Natalia Evelyn Bencicova as a part of this volume. She is one of my favourite photographer and even more generally one of my favourite artists and being able to share her brings me great joy. Beyond that I have also found that while January and February do have this strange “freeze” in production of music I have found myself discovering a lot of great new acts such as the groups we are sharing in this volume as well. I couldn’t be more thankful for having Flesh & Bone around to enlighten myself of different artists as well as have the opportunity to share them with another, wider, audience. Thank you for being a part of the build and supporting artists!

BRANDYNN

BRANDYNN L. POPE FOUNDER / EDITOR

Consistently inspired by every one and every visual that passes by, Brandynn decided to create a magazine that shows off the little bits of beautiful inside of an often chaotic world. She has her Bachelors in Design & Photography and uses it to consistently push for more photographic work, often working with musicians and occupying every waking moment she can spare. Besides horror movies, Pokémon and wood burning, her job is her greatest interest, allowing it to finance her addiction for tea and coffee.

DONALD KIMBER

COPY EDITOR / WRITER

Finding his greatest passion in poetry, Donald is working towards his Masters in Literature. He is a beautiful and critical writer with experiences in the most desolate of locations as well as the busier of cities. When Donald isn’t writing or working towards his Masters he is busy playing video games or hanging out with his cats, enjoying the simple experiences of life.

JAMES LIAM WARD WRITER

James describes himself as a twenty-one year old nerd who obsesses over things such as Pokémon, and 1980s era horror movies. His primary obsession, though, is music. Listening to music, creating music, he loves it all, but ever since joining Flesh & Bone Magazine he has also found a new love for critiquing it. He respects all artists and genres, regardless of if his thoughts are critical and often not always the most “respectful” and tries to approach every project with an open mind. Typically, he will find himself gravitating towards the unique, the macabre, and the “totally whacked out” – while also still bumping the Beibs when no one else is around.

ASHLEY ATLUS PHOTOGRAPHER

Ashley is a storyteller who uses photography, video, text and code in order to bring her story to life. She has a deep passion for photography, specifically in live music where she waits for that perfect decisive moment in order to capture the mood of the event. It was at the Medill School of Journalism of Northwestern University where she received her Masters Degree in journalism and now finds herself photographing and writing for Flesh & Bone Magazine.

BRITTNEY TAMBEAU PHOTOGRAPHER

Fun loving and food loving, Brittney is an experienced photographer and graphic designer from the East Coast. She has found a way to mend together her love for music and adventure with her talents in photography.

Now she is a part of the Flesh & Bone team documenting the moments of other artists and sharing the true experience of an event through her photographs.

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CONTENTS 08

Revisited: Amelia Fletcher

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Release Charts

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Albums In Review

James Liam Ward & Brandynn L. Pope

James Liam Ward

GA L L E R I E S & R E VI E WS 12 Arkells

Review & Photographs | Brandynn L Pope

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Frank Turner

Gallery | Brandynn L Pope

A R T I C LE S 16

Reset In Peace

20 RadioBlack Photograph | Samantha Madnick

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Hatti Bailey

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Jack McDermott

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Old Notes

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Evelyn Bencicova

Am el ia Flet ch e r REVISITED

Amelia Fletcher first graced us on the cover of our fourth volume. At that time she was traveling through North America documenting small towns and organic farmers, creating beautiful imagery along the way. Now she is a little more solidified and still quite passionate about photography and documenting people.

We were able to catch up with what she has been creating over the last two years.

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What were your main artistic priorities over the last two years? Was there anything you wanted to change then that you have become better at?

Over the past couple years I’ve worked on honing my photographic “style”. I’ve found an editing workflow that I’m happier with and feels true to the mood I want my photos to give. I’ve worked on building a brand and what I want that to look like and say to the viewer.

Since your trip across America what are some projects that you have found particularly important that you have worked on?

My trip across the states focused on organic farms and small towns, and that’s still a passion of mine today. I’ve worked with Organic Growers School and local magazine projects focusing on various folks in our region, and I’m starting a portrait project of folks in the community I grew up in. I think leaving and exploring different parts of the country makes home all the more special.

Do you find that you have stopped doing fine-art and heavily photoshopped work and more so take a journalistic approach to your photography?

Definitely. I’m more interested in photographing and working with people to create a series of images that tell a story, rather than spending hours in front of the computer on a single photo.

Have you done a lot of traveling for your photography since 2014? Do you feel like you are some-what more of a home body now?

Yes; I’ve been to Europe, Mexico, driven across the states again, and up and down the east coast. I always enjoy coming home and spending time with loved ones, but travel will always be equally important to me. Getting out of my comfort zone helps me stay motivated and inspired.

Have you found any shifts in your style since then? Is there anything that you approach differently than you had before?

I’ve curated my work more heavily than I did in the past, and focused more on simple portraiture and techniques to help people become comfortable in front of the camera. I started a photography business and am always finding the balance between being creative and putting in the work that needs to get done.

Is there anything that you have a more critical eye on looking back at some of your older work?

Oh yes. I always have a critical eye with my photos, most especially the ones from years ago. But that’s helpful in a way because looking back on old work and seeing where I could have done it better makes me realize that I’ve grown and improved with time.

And that’s always the goal

Ar kells Canadian favourite, Arkells had previously come across their native land the year before as well as performing at Calgary’s music festival, X-Fest. While before they showed off inside of the smaller club-like venue known then as Flames Central they came back across the entire country hitting up the larger venues.

This time around they brought with them fun and flirty Frank Turner and the Sleeping Souls.

Fans sighed with relief after bracing the weather when they found that the show had not quite sold out yet.

There were line ups of people trying to get to an ATM in order to purchase their last second tickets. While they were pulling out cash there were six other lanes for dedicated ticket holders as well as those who purchased the VIP package. By 8:00PM the central part of the room was filled with fans, a few holding up signs to the band and others trying to curve around the stage’s barricade. While I had been, at first, surprised to see that Frank Turner was put on a bill with the Arkells seeing the reaction and energy from the crowd throughout all of Frank Turner’s set.

Unlike most bands the lights did not fall off the stage as the band welcomed themselves to it. Instead the

lights stayed on and the same where the band had their walk-out song playing, beer (and a shot) in hand, and started their performance right into “A Little Rain (A Song For Pete)”. As always the band promised an energetic performance, becoming one with the crowd and addressing them during and in between songs.

The band alternated between their most energetic songs to their acoustic moving ones such as “And Then Some.” Half way through the performance the group merged themselves with Frank Tuner, covering Bruce Springsteen’s “Dancing In The Dark” as well as “Born to Run.” The effort became even more collaborative by the end of their main set which featured all the members of Frank Turner and the Sleeping Souls as they finished off with “Private School.” The show included twenty songs in their main setlist and added three into their encore. The twenty-three songs left the crowd satisfied, showing off an impressive collection of their older music as well as a taste from their most recent 2016 release.

Morning Report. I cannot imagine that it will be long before the Arkells grace themselves into the city of Calgary once more and there will always be a large, supporting, crowd.

FR AN K TU R N ER & THE SLEEP ING SOULS BRANDYNN L POPE

F R A N K TURNER & THE SLE E P I NG SO ULS BRANDYNN L POPE

R eset In Peace CHRISTOPHER GHIRALDI FA C E B O O K - S T O R E

I am a visual artist and an electronic musician. For over twenty years, I have been creating imaginative drawings and paintings that cover a wide spectrum of influences; in my work one can find anything from cartoonish robots and demonic cassette tapes to realistic figures and abstract patterns. My formal art education (BFA, SUNY Purchase 2000) gave him a love and understanding of color theory that can be felt across all of my art. My work has been purchased by private collectors as well as the color company Pantone.

For as long as I’ve been a visual artist, I have also led a double life as an original electronic music composer. Under the moniker “Velapene Screen” I have released 3 full-length albums and 3 EPs. My skill and creativity in the digital realm of music won me first prize at both the 2004 Philadelphia Laptop battle and the 2006 New York City Laptop Battle.

In addition to my solo material, I have also done remixes for Regina Spektor, Interpol and Radiohead. After losing it all and putting the pieces back together, I slowly started to regain traction and felt myself being pulled back to visual arts. I found fun in creating simple yet telling images and designs that translated well into print and t-shirts.

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When did you first start getting into art as a serious career versus it being something only for yourself?

Are you hoping to cross over your work as a musician with your work as a visual artist?

I guess the transition out of college forced me into thinking of it more as a career. I’ve always taken art seriously - I never wanted to keep my projects to myself. I liked the idea of sharing my art with the world.

Funny you should ask - this question actually just entered my mind this week. I guess the answer is “yes.” I’m slowly building a new body of music and I would love to do the visual design and branding for it when the project is finished.

Describe the sort of brand that you have created with Reset In Peace. What sort of What is the significance behind the safety merchandise do you want to share with pin? Do you feel that a lot of your work has people and where did the idea of it all stem some hidden symbolizm behind it? from?

The idea of Reset in Peace is about giving back. The idea of “resting in peace” was not an option for me, but to reset in peace was. When presented with the worst of the worst, there was never the absence of my creativity. I can recall being homeless and only having the clothes on my back, a backpack, and a sketchbook. It is from the pages in that sketchbook that the Reset in Peace designs were born. I want to share t-shirts and prints being that there was a time in my life where I didn’t have more than one shirt on my back - I felt like clothing was relative to my brand.

The safety pin had a utilitarian purpose behind it when I was homeless. I didn’t have a belt to hold my pants up so I used a safety pin to hold my pants together - it was a simple fix. When I thought about healing my heart and mind, the safety pin entered my thoughts as a simple fix to a big problem.

You have featured your work to say that it is combining art and fashion. How do you feel that your product successfully does this?

I’m not reinventing the wheel and designing a new type of shirt. I’m simply pairing original images with interesting color schemes in order to invoke new thoughts.

How would you describe your style as an artist? How did you come to adapt and create this style for yourself?

I feel like my style is ever-changing. At the present time I feel influenced by some street art, but on any given day I can throw up a canvas of abstract shapes and be content. My style varies from figurative to illustration to abstract.

Charity seems to be a large part of your creations. Who and why do you like giving back to these foundations?

When I hit rock bottom, the charity that I donate to was there to feed me, clothe me, and give me shelter. From that point on I decided that if I ever got out of that situation, I would make it a point to give back so other people would have that opportunity.

Recently you attended BUST Craftacular and nearly sold out of inventory! What did you learn from this experience? Where would you like to have some of your items sold in the future?

Bust Craftacular was an amazing event. I tested out a new idea there and brought these custom clocks I made with some of the images from my t-shirts on them. They were really well-received and I sold almost all of them. I guess something that I learned from this experience is that you never know what is actually going to sell. It was a great time. In the future I would love to see some of my shirts make it into stores like Urban Outfitters and other shops like that.

By the end of 2017 what are you hoping to have achieved with your brand?

I hope to achieve covering a wider audience, getting the word out about recovery, and showing that if I can turn my life around, anyone can. I hope to be a positive influence to any struggling artist, addict, or person.

Ra d i oB l ack

W E B S I T E - FA C E B O O K - W E B S I T E RadioBlack is a simple three piece rock band who has the main goal of creating organic melodic rock n’ roll. They feel a deep desire to connect people with the music that they do not feel gets enough attention even though the deep craving they feel and know that other people feel for it.

What aspects of music have driven you to push for it as a career path?

Its basically the, bordering on insane, drive to never want to stop making music and getting it out there.

We’ve all been in bands and played shows our entire lives. I think for most musicians life eventually gets in the way and it becomes a hobby. All of us had life get in the way at one point or another and we told it nope, we’re not stopping. That’s actually the inspiration behind our song “Can’t Stop”.

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Who and what influenced you the most?

For me it always goes back to the music that I loved as a kid, and the records that were an escape for me. Nirvana, Red Hot Chili Peppers, Soundgarden, everything in that vein. That’s why our sound falls somewhere in that 90’s alt/grunge world. When I was a kid that music was my escape and as I got older, my escape became writing songs. I found the songs were most authentic when I wrote in line with that music I connected with as a kid. The real influences then become life experiences and relationships with friends, family, girlfriends, etc. Then I’m able to take it to Derek and Hayato and they put their stamp on it and the RadioBlack sound emerges.

So far the visual of RadioBlack features monotones along with the rugged target rings. Is there a specific idea behind this visual? If so, what’s the significance behind the monotoned imagery that you guys use?

I think the monotone and darker images we use represent the place the music is coming from.

We always say we’re generally not the band you’ll listen to when you’re partying on a friday night, but we’re there to help you through your hangover the next day. The songs all try to find hope in those hopeless or depressed and anxious moments we all experience at one point or another.

What was the motivation behind finding such a specific production team for your upcoming album?

I can see how it may seem very specific and orchestrated in retrospect, but at the time it came about really organically. Before I found Derek and Hayato I was looking for a studio in town [L.A.] to record at and a buddy of mine in the industry sent my demos to 606. Their in-house producer Lou wanted to take on the project. When he was trying to find studio musicians Taylor (Hawkins) was in the studio and said he dug the music and wanted to play drums. That’s what kicked this whole thing off, and eventually it evolved into a big crew of producers and studio players. Then I decided for the rest of the album I wanted to turn it into a real band and our assistant engineer Vanessa said Derek would make a great permanent drummer for the project, and she was right. We found Hayato shortly after.

With the release of “Nothing Is Permanent” you have stated that the track assesses the view of the world today and the uncertainty that has fallen on us. Do you feel like a lot of your musical themes fall in this category?

What should people expect out of the album once it is released?

I think “Nothing is Permanent” is a little bit of a departure for us because its more of a social commentary which is not usually our thing. But its similar to the rest of our music in that it refuses to ignore the difficult parts of life, but refuses to give in and feel hopeless.

What sort of themes do you want to address and highlight in your music?

I guess its in line with what I was saying in the last couple questions; we’re not afraid of making the songs introspective and deep and contemplative.

Life is full of complex emotions that can’t always be summed up in a happy song, or even a simple sad song. That’s what music is to us: expression of those complex emotions you maybe can’t completely put your finger on. Most of our counterparts, other bands who delve into deeper topics, put a dark spin on it. We try to make it okay to delve into some darker stuff and come out feeling okay and hopeful as long as you don’t ignore that stuff.

I think they should expect a really diverse collection of songs. While they all hit on a lot of similar themes, we wanted to make sure each one had a very unique starting point. That’s one thing I’m proud of about this record. We didn’t settle for the first 12 songs we wrote, we really took our time and made sure each one struck a chord with us in its own way.

What do you want people to get out of your music once they hear it?

We honestly just want people to connect with it in some way. Every time we get a comment or message from a fan letting us know one of our songs helped them through a hard time, or that the lyrics really connect with them, we’re so thrilled. That’s what music always has been to us and to be able to pass that experience along is its own reward.

Hat t i Ba i le y

W E B S I T E - I N S TA G R A M - FA C E B O O K I am Hatti Bailey, a visual artist and illustrator from the UK who is stuck in a constant state of wanderlust. I draw everything from whimsical snow scenes to tropical fairy tale lands. I don’t like to take myself too seriously.

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Are you formally educated in illustration or going through a formal education? What brought you to make the decision to pursue this artistic venture?

I very recently graduated from the University of Brighton studying illustration. The energy of the city is so vibrant and filled with so many inspirational people doing amazing things, that it was constant source of inspiration.

I remember very clearly when I was very small, watching my Grampy paint effortlessly with watercolours. I would look back at my own work in dismay and became convinced it was his brush that made it better than mine!

After switching brushes I was obviously very disappointed to find I was still not good and stubbornly decided in my little head that I would keep practising. Now here I am today!

You have such a vast collection of images of all different subjects. Are there any particular subjects that you enjoy illustrating the most?

I’m obsessed with drawing plants, that much is certain!

The things that draw my attention the most are taken from the natural world. It can range from small things like plants and animals to natural phenomena; my favourite being the Aurora Borealis. There are so many fascinating things in the world and I try and capture the magic of them in my own way.

Your work has also touched base with mixed media and animation. Is there one that you enjoy doing more than others? How do you approach these mediums differently from the other?

I enjoy the challenge of animation as it completely pushes me out of my comfort zone in terms of technique. I find the process fascinating and I’m always surprised by the end result. There’s just so much possibility when you work with different medium and technique. It’s definitely all about the experimentation for me, the element of play is very important to my creative process.

Do you keep a sketchbook with you everywhere similar to that which you used on your travels to Finland? Do you find that you use a lot of those sketch book ideas in future illustrations?

My sketchbook comes with me wherever I go! I’ve been lucky enough to travel to some wonderful places in 2016, and having my sketchbook with me means I’ll always have little nuggets of inspiration to use in future illustrations, from even the most obscure things I see!

When I was sat for hours in the beautiful greenhouse of Helsinki’s Kaisaniemi Botanical Garden I couldn’t have predicted I’d be using those drawings as reference a year later for my final project of university!

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Where do you find a lot of your inspiration?

I have a list of inspiration many miles long! However, there are a few specific things that I turn to often when illustrating. I adore playing around with colour but I also find it important to limit myself to a small colour scheme for each illustration I start.

I also surround myself with inspirational things. Wherever I work, I usually have to be surrounded by my books and plants.

Do you find that there are specific themes that you resonate to with your artwork over anything else?

I am always very drawn to mythology and fairy tales when it comes to narrative. Fairy tales teach us important lessons as children and I think it’s really important to keep on with that tradition.

Mythology is amazing because these stories are our human response to the world. What are stars? How did the world begin? Why does it rain?

Where would you like to see your imagery in the future? What major projects do you hope to have complete in the coming years?

I would love to be able to walk into an art gallery in London and see a book I’ve illustrated in the book shop.

At the moment I’m hoping to get my small fairy tale published. It’s a story that I felt was very important to tell for a younger audience. A modern fairy tale of two princesses who fall in love, with a much needed happy ending!

J a c k M c De r mo tt W E B S I T E - I N S TA G R A M

My name is Jack McDermott, I am a Seattle, WA based photographer and videographer. I specialize in documenting the lifestyle of adventure on my trips. I love inspiring people and making them feel like they need to get out and do things on their own. My dream is to pursue photo and video as a career, traveling the world to document and share my life.

When did you first start taking an interest in photography? Have you ever had any formal education behind it?

I started photography at 13, after seeing my stepdad taking photos on all of our vacations. I began with a simple point and shoot, taking photos of anything that would catch my eye. I took a single photography class in high school, but it taught nothing but the basics. Eventually I worked my way to shooting wildlife and nature. As soon as I discovered Instagram, I connected with a few local photographers and developed my own style to document the mood of the Pacific Northwest.

“Broke and stoked” is possibly one of the more warm-hearted descriptions we have read when coming across an artists work.

Have you found that the being “broke” part is associated with your artistry? Is photography your main source of financial “stability” or that you have to pick up the odd job here or there to supplement it?

Broke and stoked is a phrase to remind myself that no matter where my photography takes me as a career, I’ll always be stoked to get out, explore, and shoot what I love. As a student, I barely have time to balance school and photography, let alone a job, so I tend to stay on the frugal side of things. Although I’ve only done odd jobs and senior portraits for photo work, I hope to soon start working the commercial aspect of photography. Whether I’m able to pursue photography as a career or just keep it as a hobby, I know all always be eager to get out and find new angles to shoot.

How many days of the year do you find that you remain in the Seattle area versus traveling? Do you find that you have grown particularly fond of photographing the Seattle area or that you would much rather travel and find a new place to document?

I live in Seattle for the majority of the year, taking various trips throughout. The majority of my photo work is done in the Pacific Northwest, mainly Washington, Oregon, and British Colombia. The northwest will always have a special place in my heart, but I love exploring new places and learning the ways of cultures around the world. Soon I see myself taking off from my day-to-day life to travel for an extended period of time. I can see Norway, New Zealand, Argentina, and maybe Egypt in my future.

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What is the furthest location that you have traveled and documented? Do you find that you are more motivated to travel for the sights and experiences or do you think that it is also motivated by being able to document them?

This past summer I traveled to Cambodia and Vietnam for two weeks, the furthest and one of the most culturally diverse places I’ve visited. I travel primarily to experience first hand the rest of the world, capturing the moment in the places I visit and later to share these experiences. I am driven by inspiration, whether that is something that inspires me or the feedback I get from inspiring others to get out and experience things for themselves. It is through documenting and then sharing that I feel most successful while traveling, I’m able to show my audience the places I’m visiting and hopefully inspiring them to visit on their own.

Through your exploration has there ever been a time where safety was a concern for you? Are there any particular stories that you would want to share?

Overall I have felt safe while traveling, I’m used to going through customs and other measures when traveling internationally. If you’re smart about your belongings and watching over them then there usually is no issue. One of the only times I have felt concerned for my safety was in Ho Chi Minh City this past summer. Wanting to watch the EuroCup final, my friend and I ventured out at 2am looking for a bar. As we were walking along the street, people would approach us, try to talk to us, and some started following us. Being an eighteen year old in a city I was barely familiar with, I was a small bit concerned while walking around at that time of night.

Is there any other streams in photography that you would want to venture down?

Currently I work on a majority lifestyle, portraiture, and landscape. I would love to work more on travel photography specifically, where I can document my trips. Although it’s not photography, the avenue I am currently experimenting with is video. I feel that video can have a much greater impact on a person than Have you ever had second-guessing moments with the work that you do? What just a single photo. Ideally I will be able to document keeps you motivated to keep moving and my trips through both photography and videography.

producing work?

There have been some close calls while out adventuring. Whether I’m on the coast at the edge of a cliff with 50+ mph winds, driving on icy mountain roads in the middle of the night, or walking through unfamiliar territory in a foreign country, I will do whatever to get the shot. I strive to produce work that is original and gives a new perspective on places people may have seen over and over. It’s through putting myself in harsh conditions that I’m able to document what most others wouldn’t.

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When people look through your work is there anything that you want them to be able to take with them after the experience?

I strive to leave a lasting impression on anyone who sees my work. I want the viewer to remember this photo or video when they are thinking about what they should do next and thus inspiring them. I want people to get the aching feeling within for the need to get out, travel, and experience things for themselves.

Old N ot e s FA C E B O O K - B A N D C A M P

Old Notes is a three-piece emo band that enjoys writing beautiful melodies as much as they thrive on singing about the anguishes of life.

Backed by intricately-layered chords and guitars, booming bass, and massive percussion, the raw emotional lyrics shine and give the listener a reason to feel. You may hear sounds reminiscent of 90’s emo such as Mineral, The Promise Ring, and American Football, as well as more modern sad-rock acts such as You Blew It!, Modern Baseball, and Tiny Moving Parts. With the August 2016 release of their debut album Former Self under their belt, the band is ready to hit the road and spread sad tunes played by rad dudes.

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As a band you all are fairly fresh. When did you all start exploring music and then finally come together as a band?

Devin: I have been playing guitar for about 13 years and have played in a few bands before this. Eli and I met in high school at a district honor band practice when I was a senior. We both jammed blink-182 and Angels & Airwaves songs during break, and I think we even played Crazy Train by Ozzy Osbourne. Four years later, we reconnected through Facebook, and I sent him demos of songs I was recording in my bedroom. Then, everything just clicked. We both were in a place to start another project, and we found that our music taste had evolved in a similar fashion. This is where the skeleton of Old Notes was When it comes to the writing process do formed. Justin knew Eli from winter drumline and he you find that a lot of the music comes from specific inspiration or do you have to turn convinced him to come play sad tunes with us.

Eli: I’ve been playing drums for about 12 years now, and as Devin said, we met in honor jazz band and connected back then. Justin and I were in college marching band together and formed a rap group. A few weeks later, I asked Justin to play bass for us because I knew he’d fit in perfectly.

What are some of the major themes that you followed in the creation of Former Self? Do you find that there is one particular thing that you wrote about of anything else or are there several topics explored?

D: Lyrically, the songs tie into my experiences at Northern Arizona University and my first years back at home from Flagstaff, AZ. These lyrics covered feeling disconnected, always feeling stressed/ sick, and being at the receiving end of emotional/ verbal abuse. Old Notes formed two years after these songs were conceived lyrically. So much had happened within these few years, and we felt it was appropriate to call the album Former Self. Musically, I love large-sounding guitars and the use of inverted chords. They often provide a catalyst for emotional lyricism.

off outside influence in order to create something? Who would you say are some of Old Notes biggest influences?

D: I think our music draws from outside inspiration or from personal exploration. I also love using alternate tunings like those in songs by American Football, Tiny Moving Parts, and Into it. Over it. I love how they sound so lush and full. I then try these new tunings myself and mess with the possibilities in each. It becomes a personal challenge to write something original in a new tuning or something out of my comfort zone. But most importantly, if something I write makes me feel emotional, I want to use it.

E: At that point, we all get together as a group to work through the new parts and build the rest of the structure together. It becomes an important part of finishing the song as a whole.

Do you find that you write music periodically as it comes to you or do you all come together in a room and try to build something together all at once?

D: Throughout the day, I get lyric ideas in my head and write them down in my phone. As for guitar, I Justin: Many themes of the album are based around will constantly be messing around with riffs in my experiences of Devin’s at NAU, but some stemmed room. I will take my ideas to Justin and Eli, and then from troubles both he and I came to find out we had we will build songs around them. Sometimes we in common. A lot of it has to do with self-acceptance build songs organically at practice, or Eli will come to practice with a riff/rhythm idea and we will flesh it and how to move on from a place you’d rather not out. be.

How do you find that the Californian scene Now that Former Self is released what has influenced your band or yourselves as is the plan for the band? What are you musicians? How much have you ventured hoping to accomplish over the next year? outside of California for music purposes?

D: Growing as a musician in the California scene has made me want to venture out more and play away from my home town (sorry for the pop-punk plug).

We are saturated with music here in the Los Angeles area, so that in one night there will be upwards of 50 shows going on in one city. On the other hand, it’s awesome that there are so many great musicians here and that we have made lasting friendships with amazing people in the music community. We haven’t ventured out of California for music purposes yet, but that is going to change very soon.

What do you want people to take away from the experience of seeing you live?

Is there anything that you hope resonates with people once they hear your music?

D: I want people to walk away from our set with a sense of emotional bliss. I want them to connect the songs with things that they are currently experiencing, but I also want them to feel happy that our music made them bob their head and cry a little.

When people hear our music, I want a picture of our experiences painted in their head so they can apply it to their current or former situation. I would feel accomplished and happy if anyone used our songs to get through difficult times.

E: I just want to showcase the real, raw emotion we put into our music. I want us to be taken seriously as a band and to show everyone that we put so much effort into our craft. I want to show that Old Notes means business.

D: We are currently writing for whatever comes next musically. We have a couple music videos in the works, and a west coast tour is being booked.

I would love to accomplish all of these things and release another album or EP. E: The tour is still super duper top secret, but definitely something we are very excited about. It will be the longest we’ve been out on the road, individually and as a group. Hopefully we can put out some more music and play with many more awesome bands.

LISTEN TO FORMER SELF HERE

Eve l yn Be n c i c o v a W E B S I T E - FA C E B O O K - I N S TA G R A M

Natalia Evelyn Bencicova ( 4.12.1992 ) is a visual creative exploring mainly the medium of photography. With the background in fine art she combines academic knowledge with influences of contemporary fashion and advertisement industry. In her work, she is trying to pursue a point where the commercial and the artistic merge, focusing on the conceptual as well as the visual aspects of photography. While weaving through various genres and techniques Evelyn’s work can be recognised with timeless signature and individual aesthetic.

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Your work offers deep consideration, merging the artistry with commercial light. How much work do you put into a photograph before even taking the image?

Do you find that you have to do a lot of research for all of the projects that you take part in?

It often depends on a project but I prefer to develop the concept in the process. I’m driven by what I’m interested in but the way, in which it might lead me is kind of unpredictable. I’m mostly doing staged shots what requires quite a lot of planning and organisation but I improvise a lot on the set. I like the power of accident inside of the perfect structure. This change, a slight distraction makes me really excited.

How did you come to approach your style?

In what way did you start approaching your photography before coming to the slick and fine-tuned imagery you have at this time?

I would not say that my style changed that much during my practice. Now it is only the 4th year of my interest in photography and I feel that the only radical change is the technical quality. My early work is more emotional and it developed into more subtle and minimalistic but Im still in the process of learning through experimentation so lets see where will it go.

What are some of the most prominent messages that you have designed into your How do you feel growing up in Slovakia has work? Do you find that you work with a influenced the work that you have done? common theme or are there many topics Please, where we grew up influences not only topic of that you explore within your work? work but also overall way of thinking and practice. In Slovakia, often instead of finding possibilities you have to create them yourself. It’s all about DIY. We did most of our project not really caring about who is it for and what we are going to do with it. Everything was driven by our own motivation, the desire to create. And this stays the most important till this day!

The topic differs from one project to another, it is a way for us to explore deeper into the issues we are interested in. Most of my work has various layers, there is a general meaning as well as more personal symbols, which might not be readable for everybody.

How much do you build your photos in camera versus’post-production?

I use much less post-production than earlier. Even though I prefer to create as much as possible on set post-production should not be seen only as a way to fix mistakes but also as next creative tool, sometimes as interesting as photography alone.

What is the most attractive thing about working with a medium format?

It’s quality. I also love the sound of it, which is much more mechanical. But I have to mention that till now (I won Hasselblad Masters 2016 and just received my medium format camera) I was using the same gear (Canon 5D Mark 2 + 2 lenses) without feeling any need for new products. So no matter how much Im in love with medium-format, it still stays secondary. The desire to create and motivation to try are much more important factors.

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Do you find a stronger interest in working and building still life or working with people?

I cannot really clarify myself into any genre. I feel that I’m still at the process of fast and unexpected development and Im wandering myself where will it take me. I enjoyed both and many other styles of photography, I’d rather challenge myself with new things than staying comfortable in what I can do quite well.

How do you go about picking a team of people that help you compose your images? Do you prefer working with a team or working on a project solo?

I always prefer to work with team. Collaboration opens new possibilities for conversations and either supporting or challenging each others abilities. Even though it is not always easy each time it is worth it!

What has been one of the greatest challenges you have faced for a project?

We often fight with our projects! Sometimes it even requires to give it few tries before reaching adequate result. The most important and also hardest is not to give up on your vision and sometimes to seek ways into impossible. And if there is no way you can still create it yourself.

What are some topics of interest that you are hoping to explore in the next year? Where do you want to see your work being used in the future?

Our previous project were quite often dealing with certain kind of nostalgia, taking inspiration in past and translating it in our own visual way.

Currently Im getting inspired by the presence, or even the future, the way how the contemporary society is developing. For this reason I would also like to move forward using new technologies, which can extend the option how we experience photography. But let’s see!

Albums In Review C HARTS _________ complaints about the end of this record other than it bores me to tears. “Still Remembering” is thankfully the only ballad on this thing, but in their cruelty the band put one of the most boring cuts at the end of a streak of boring cuts which just makes me upset when I should actually be rejoicing that this album is finally over.

TOP ALBUM RELEASES 1. RTJ3 Run The Jewels 2. Process Sampha 3. The Return of East Atlanta Santa Gucci Mane 4. Do What Thou Wilt Ab-Soul 5. Floss Injury Reserve TOP SINGLE RELEASES 1. “Everybody Dies” J. Cole 2. “Governed By Contagion” At The Drive In 3. “Hallelujah Money” (Ft. Benjamin Clementine) Gorillaz 4. “Ballad of the Dying Man” Father John Misty 5. “Show You The Way” (Ft. Michael McDonald & Kenny Loggins) Thundercat TOP MUSIC VIDEO RELEASES 1. From Indian Lakes “Blank Tapes” Joshua Halling 2. Can’t Swim “We Won’t Sleep” Marlon Brandope 3. Foxing “Indica” John Komar & Josh Coll 4. Petal “Chandelier Thief” Sarah Trad 5. Touché Amoré “Benediction”

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3.8

AS IT IS

BEST TRACK: “Soap” WORST TRACK: “Patchwork Love”

Okay.

Fearless Records 20.01.17

Okay is the second LP from British pop punk band As It Is. Since signing to Fearless records the band has done nothing but annoy me with their generic, emotionally sterile music, but okay appeared to come through with a more compelling concept and aesthetic, so I decided to give it a shot.

The album opens with the first two singles. “Pretty Little Distance” essentially sounds like a watered down New Found Glory song, and “Okay” does little more than live up to its title. “Hey Rachel” was an interesting song for me, as the lyrics revolve around singer Patty Walters’ tumultuous relationship with his younger sister. While I like to think the relationship between me and my sibling is a good one, this was still a pretty touching concept as the vocal performance comes off as quite genuine. As okay plods along it continues to serve up weak choruses and lifeless performances; even on the fast paced “No Way Out” which surprisingly contains a spoken word section and accompanying breakdown, the band fails to excite me. Probably the only song I can actually get down with is “Soap”, simply because it sounds so different from the rest of the record.

The vocals on the chorus are harsh and catchy, and the song is smooth and groovy overall; I especially like the harmonized guitars that glide the song into the second verse. I thought from the grimy bass tone that opens “Austen” that it would be a darker and more exciting tune and while that is the case with the verses and breakdown, the chorus sweetens the song way too much.

Beyond this point, okay continues to deliver a collection of tracks that are simply just okay – I don’t really have many

7.1

CODE ORANGE

Forever

Roadrunner 13.01.17

Code Orange are a hardcore/metalcore group from Pittsburg, who I’ve been following since the release of the band’s crushing debut Love Is Love/Return To Dust. While it wasn’t a perfect record, I did enjoy a bulk of the songs and I was excited to see where the group would go next. I Am King saw the quartet experimenting with some new sounds and ideas, which ended up being very hit or miss for me. On their latest effort, Forever sees Code Orange partnering with a major label to deliver a sound that is as baffling as it is brutal.

Forever is definitely the most adventurous and experimental record Code Orange has released thus far. This is primarily reflected in the album’s opening songs, which contain a number of dark ambient and electronic segues worked into the tracks. The bizarre transitions in Forever’s opening moments feel more like well executed detours – auditory breaks in the mayhem to make the next riff or breakdown hit as hard as possible. “Kill the Creator” and “Real” are two incredible tracks that break up killer riffs and intensity in exactly this manner. The lead single and title track is

a solid opener, although the “massive” breakdown at the end does little for me. After three strong tracks the record throws its first real curveball, “Bleeding in the Blur”. This song is a mid tempo grunge tune that in my mind, has no business being on a metalcore record. It isn’t a bad track by any means, but why would you put a track like this on a Code Orange record when you already have a successful 90’s worship project? It could be justified that it makes the record 6.2 LESS THAN JAKE more dynamic, but the experimental and ambient additions already give the record Sound The Alarm enough variety over its relatively short Pure Noise Records run time.

03.02.17 Beyond this point, it’s business and bangers as usual - the riffs are savage, the vocals are animalistic and the breakdowns are heavy. “Ugly” is another interesting track that goes for an alternative metal vibe with a chorus reminiscent of bands like Slipknot. As a result, I need to be in a special mood to really enjoy it. Towards the end of the record, the band fully embraces the somber, experimental tendencies placed throughout Forever. “Hurt Goes On” is an ample closer, although I would’ve preferred it if stayed quiet rather than bringing in the full band for that cliché big finish. The band seems to reconcile this on “Dream2”, but the track just comes off as boring and uneventful to me, even though I do enjoy Reba Meyers’ voice.

Code Orange came through with another solid record on Forever. Unfortunately I’m still waiting on a album from these guys that I can love unconditionally, so until then I will continue to admire the band’s substantial success for their age, and their refreshing take on such an uninspired genre.

BEST TRACK: “Kill The Creator” WORST TRACK: “Dream2”

Florida punk band Less Than Jake are releasing their latest EP Sound The Alarm on Pure Noise Records. Less Than Jake has said in the past that they prefer EP releases; I personally enjoy the art of the EP as they contain concentrated awesomeness of a great artist, but they are also a good way for bands that have run out of ideas to continue to sell records.

I haven’t dabbled in much of Less Than Jake’s discography myself, but from what I heard on this EP I’m not sure that I am missing out on much… A lot of the material you will find on this record is essentially meat and potatoes pop punk with some surprisingly great ska influences. I found myself gravitating to the slower, more reggae sounding tracks over the relatively bland rock tunes like “Call To Arms”. The chorus on “Whatever The Weather” is decent, but on this song and throughout Sound The Alarm, it’s the brass sections that really shine.

“Welcome To My Life” is one of the couple tracks I really like; tasteful horns, catchy guitars and a good hook make for a solid, upbeat ska tune. “Good Sign” picks up the energy of the EP, but really only serves as a stark reminder of how boring this would be without the brass sections.

One highlight towards the end of Sound The Alarm is the lead guitar on “Years of Living Dangerously”; everyone else performs well on this cut but God damn that lick is killer. The final track does a decent job of finally blending the two styles that Less Than Jake has been flipping back and forth between so often, but the result isn’t very exciting and the repetitive ending doesn’t leave me with

a desire to return to this thing… I’m just thankful this wasn’t a full-length album.

BEST TRACK: “Welcome To My Life” WORST TRACK: “Call To Arms”

7.8 MIGOS Culture

300 Entertainment 27.01.17

Migos are a prolific trap trio from Atlanta, Georgia. The group consists of members Quavo, Offset, and Takeoff, all of whom are directly related and perform as if they are one single rapper. This is not only because of the trio’s on-point adlibs, but also through Migos’ tight synchronization, tradeoffs, and vocal layering within their songs. I always enjoyed the chemistry within the group and the energy they would bring to a track, but I was never quite sold on their albums due to the unhealthy amount of filler tracks that would come with them. As a result, I was very excited to see that their sophomore album Culture was only an hour-long affair - thirteen tracks is basically an EP by trap standards.

Culture opens with a somewhat confusing title track, featuring the always-hilarious DJ Khaled yelling random obscenities at the listener and informing everyone “Culture album coming soon”, even though the album has already arrived … The single “T-Shirt” is where the album really starts, and kicks off an undeniably great streak of tracks. One thing I appreciate about Culture is its use of more unique sounds; the old school organ that somehow works on “Call Casting” and what sounds like a flute on “Get Right Witcha” were both clever additions that helped flesh out these beats and make them sound distinctive. It would be a crime for me to review Culture

and not talk about “Bad and Boujee”, considering this is the third week that the track has topped Billboard’s Hot 100. I have thousands of songs that I could be listening to at any moment, but for some reason I just keep coming back to this one. “Bad and Boujee” deserves its number one spot not only because it contains one of the most mem(e)orable hooks of the year, as well as a killer beat from Metro Boomin’, but because Migos and Metro have been so influential in their genre that it’s about damn time they got a number one hit.

My one gripe with this song is Lil Uzi Vert, whose verse isn’t complete trash but I still don’t think he fits amongst everyone else on the track.

One thing that surprised me about Culture was the lack of truly hard tracks. This album bangs don’t get me wrong, but it seems Migos have consciously hopped onto tracks that sacrifice aggression for melody. The beat for “Slippery” is a good example of this; the synth lead that glides over this track sounds so melancholy, nothing I would expect the God of Trap to hop onto, but everything works thanks to a sharp hook and great verses. Frequent Migos collaborator Zaytoven shows up about halfway through the album to lay down some beautiful piano work, particularly on “Big on Big”. The ascending synthetic strings all over this song really add a great sense of urgency and intensity to the track.

“What The Price” is the third single off of Culture and while I love the dark vibe of the instrumental and the over-the-top guitar work, I think the hook is kind of stupid.

Well past halfway; I think this album finally hits a low point. Unfortunately the hooks are nowhere near as strong on cuts like “Deadz”, while the production and lyrical content of “All Ass” is pretty bland and generic. It’s a shame because Culture didn’t need these tracks to be great, especially since the album ends so strong. “Kelly Price” is appropriately dark for the Travis Scott feature, but even though I like the hook on this cut it did not need to be six minutes long. “Out Yo Way” is a surprisingly commercial closer, taking a more relaxed and melodic approach.

The descending vocal melody on the hook is a bit repetitive, but honestly it’s catchy enough that I don’t mind. All in all this is a really good trap record, but it is still a trap record; no one should go

into this thing expecting “bars”, or some thoughtful revelation about the human condition. Culture should be taken for what it is, a fun, energetic and very enjoyable trap record. Migos knows who they are as artists and what they are good at, and it is certainly delivered on this album with relatively little filler.

BEST TRACK: “Bad and Boujee (Feat. Lil Uzi Vert)” WORST TRACK: “All Ass”

“Hillside” has a pretty catchy tapping guitar lead, and there’s a nice little ambient outro to finish off the record. While it does sound pleasant, I feel that Former Self might have had a more memorable finish had they put “Earthworms” in that final slot, but maybe that’s just my own personal bias.

Overall this a solid emo record; good performances albeit not incredibly memorable from all members and I’d be interested to see if the band heads in a more ambient direction given their songwriting tendencies.

BEST TRACK: “Earthworms” WORST TRACK: “Father’s House”

6.5 OLD NOTES Former Self

Self-Released 08.12.16

Former Self is the debut self-released album from emo band Old Notes. The album begins with the track “Urn”, a song that opens with a lush guitar line and vocal melody reminiscent of Wild Nothing’s Nocturne. The introduction resolves explosively enough and glides into the next track Ashes. The slinky, sliding guitar melody that kicks off this track reminds me a bit of American Football, but the song quickly picks up energy with more aggressive drums and shouted vocals.

“Ashes” has some pleasant instrumental detours in between the more energetic sections, and during this time the bass cuts through the mix like a 1000-degree knife through butter. While I appreciate the groove, I feel the bassline could have been spiced up a bit more since it is heard so prominently during this section, and on other tracks such as “Masculine” “Father’s House” is the lead single off this record, and while I don’t always care for the vocal melodies on this track, I do like the lyrics and the song builds nicely. Overall I can’t say I’m in love with many of the melodies on this record or the tone of the vocals, but the singer’s whine is trademark emo so I won’t knock this album for that.

“Earthworms” is definitely the highlight for me; this is the strongest instrumental the band serves up on the record and I love the lyrical concept behind the track. The closer

5.5

T.S.O.L.

The Trigger Complex

Rise Records 27.01.17

T.S.O.L. (True Sounds Of Liberty) is a punk rock band that has been at it for decades, and in a recent move the band signed to Rise records, promising a new record with a new sound. Having been previously unfamiliar with the band I checked out their older material, finding an accessible mix of punk and rock music – not exactly as gritty or in your face as I typically like my punk rock to be, but it wasn’t bad by any means.

Now with The Trigger Complex, I am a bit confused… The sound on this latest record essentially sounds like a poppier version of the band’s older work, as evidenced by drab the lead single “I Wanted To See You”.

T.S.O.L.’s performances are undoubtedly energetic, but I don’t find anything about the compositions to be forward thinking, or different; it’s just straight up rock and roll. While there’s definitely nothing wrong with some straight up rock and roll, this album sounds incredibly dated for 2017... the band has done little to update their sound for a new generation, so I really don’t know whom this record will really appeal to. “The Right Side” sounds straight out of ’83 from the

spelling out of ‘R-I-G-H-T’ to that classic rock organ; it’s old school, it’s cheesy, but it’s actually pretty fun too. The lyrical sentiment behind “Why Can’t We Do It Again” is also a good laugh, although the “la-la’s” towards the end of the track kind of kill the fun for me. The album doesn’t really deliver any more highlights for me until the end, when the piano becomes more of a driving force in the instrumentation on the track “Don’t You Want Me”. This track has a nice swing to it, as well as a solid hook and guitar solo. The closer “Bats” is also a funny track for me because I just can’t un-hear Coldplay’s “Clocks” during the intro. Beyond the first few seconds the melodies get a little more interesting and original, and it makes for a good instrumental finish.

I want to like this album, but the compositions, the lyrics and just the sound of this record is so rudimentary.

The Trigger Complex is a painfully safe rock record that essentially sounds like a bunch of out of touch 50 year old dudes trying to make punk rock. T.S.O.L. come through with a couple of memorable tracks here and there, but I think even fans of the band wont miss out on much if they take a pass on this record.

BEST TRACK: “Don’t You Want Me” WORST TRACK: “I Wanted To See You”

this new record. Vocalists Romy and Oliver both serve up solid performances on I See You, but the delivery of both singers is so laid back that it makes for some less than explosive chemistry; Jamie’s urgent and psychedelic production on “Violent Noise” and a number of other tracks really steal the show from the other two members.

The slow and somber “Performance” showcases a weeping guitar melody and tense strings, allowing Jamie to take a backseat and let Romy’s captivating vocal performance take the spotlight.

“Lips” is the band’s attempt at a more seductive instrumental with a catchy 1-2 groove and some great guitar work.

Although I find the introduction of “Brave For You” to be a bit cheesy, it is definitely one of the better choruses on I See You, and the smooth guitar line adds a lot of color to the mix.

I don’t think any of the songs on I See You are bad, but because every song is so reserved, so barebones, and so melancholy, the album does get a bit tiresome. The songs on this record try not to venture into too upbeat or too depressing territory, so it’s hard to find material that really stick out among the rest. My favorite track has to be the satisfying closer “Test Me”, which pairs some effectively shy vocals with Jamie xx’s stunning production.

BEST TRACK: “Test Me” WORST TRACK: “I Dare You”

7.3

THE XX

I See You

Young Turks 13.01.17

I See You is the third album released

by British indie-pop trio The xx. I was first introduced to the band’s music through Jamie xx, whose solo album In Colour has remained one of my favorite electronic releases in recent memory.

The track “Replica” actually would have fit quite snugly into the track listing of In Colour, and Jamie’s colorful sampling and percussion remain a standout on

6.0

YOU ME AT SIX

Night People

Infectious Music 06.01.17

uninspired and slightly edgy pop-rock tunes.

The album kicks off with the lead single and title track, “Night People”. This song features a hard rock inspired main riff with a sing-along chorus and plenty of “woah-ohs” to boot – not a bad opener by any means and the groove drives the song well. The second track “Plus One” features the saddest excuse for a lead guitar riff I’ve heard so far this year! One bended note repeated three times… I refuse to believe there wasn’t something more interesting the band could have done instead. Thankfully the lead work gets a little better later in the record on songs like “Cant Hold Back”. “Heavy Soul” and “Brand New” are decent radio rock with solid choruses, but nothing close to exciting. The hook on “Take on the World” is sweet on the ears and it’s a solid ballad overall, I just wish this track and others changed up the typical pop song structure a bit.

“Spell It Out” is the standout track on Night People for a number of reasons, the main being that it is simply a wellwritten song that builds nicely and contains solid performances from the whole band. The atmosphere around this track and its minor key are a good representation of the darker tone that Night People and its artwork have been going for this whole time; its just a shame that this really only happened on the penultimate track. The backing harmonies on this song are great and I really like the groove that the whole band rides during the song’s climax. “Spell It Out” is followed by the closing track “Give” which has a really catchy chorus, making for a surprisingly strong ending to Night People. This is a decent rock record, but I don’t have much more I can say about it. The performances aren’t bad and the choruses are okay for the most part; there is just no material on here that really interested or gripped me as much as I would have liked.

BEST TRACK: “Spell It Out” WORST TRACK: “Plus One”

The gloomy album cover of Night People hinted that British rock band You Me At Six was going to come through with a darker tone on their 5th LP. While this is the case on a couple of songs, I found most of Night People to be business as usual for the band, with a collection of

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FLESH & BONE in the pursuit of artistic passion

FIN