Flesh & Bone Vol. 6 by OBSESSIVE-COMPULSIVE

FLESH & BONE In pursuit of art and music VOL.6

F&B

Submissions: If you are intertested in being featured in F&B contact: fleshbonemagazine@gmail.com All images copyright the respective contributor.

FOUNDER: Brandynn L. Pope COPY EDITOR: Donald Kimber DESIGN & LAYOUT: Brandynn L. Pope COVER DESIGN: Morgan Fraser WRITERS: Sara Almlah Angela Butler Ashley Houston Donald Kimber Brandynn L. Pope

THE TEAM PHOTOGRAPHERS: Angela Butler Brandynn L. Pope Brittney Tambeau Sami Wideberg

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CONTENT

NOVEMBER, 2014 | VOL. 6

ALBUM REVIEWS FROM INDIAN LAKES

ALBUM: Abscent Sounds RELEASE: October 7th, 2014 STAND OUT: Breathe, Desperately AUTHOR: Donald Kimber

Although this is the first I’ve heard of From Indian Lakes, they’ve impressed me in a way that makes me feel like they are an old friend. Their sound reminds one of solemn, contemplative silence in nature. The unassuming vocal expression coupled with the shy instrumentals spur one’s thoughts into lazy action. As I listened to Absent Sounds it seemed to fade pleasantly into the background, making itself a gentle companion. Perhaps it is the album’s repetitiveness that gives it this intangible quality of familiarity and comfort. However, this same repetitiveness risks the songs sounding generic, making them indistinguishable from other indie groups. The album is set apart by its lyrics: they cryptically tease at meaning, begging to be considered

seriously. They are incredibly rich. Spilled out in breath-line, they examine the speaker’s self, with particular emphasis on mental illness. “Am I Alive” and “Runner” look closely at this issue (I get the feeling it’s specifically depression), in relation to other people and how they play a role. These tracks express a heartbreaking concern for how the subject might be hurting someone they love, their own selfdoubts, and their regrets. The album’s stand out, “Breathe Desperately” expresses a concern for the way that growing up and simply being in the world might sadden or ever corrupt an individual. From Indian Lake’s dusty sun-beam melodies will strike a note deep within any who oblige this album’s invitation to ponder it.

Although the wonderful Meghan Trainor is relatively new to the mainstream music scene, she is absolutely killing it. In June, Meghan released her first single “All About That Bass”, which is now on her new EP: Title. If there was ever a song to get you dancin’ and booty poppin’, it’s “All About That Bass”. Meghan tell us it’s okay to not be a “size two”, and that you should love who you are, embracing every curve and extra piece of junk you have. Another favourite of mine is “Title”, which is filled with so much attitude. Meghan lays down the law to a boy, telling him that if he wants her, he needs to claim her and make her his own. Overall, this EP has the perfect

number of songs for a debut, and gives the public the right idea of what’s to come. Meghan has an old-school style to her and I love it. She’s different, fierce, new and already impacting the music industry in big ways. Meghan’s full-length album debuts on January 13th, 2015.

MEGHAN TRAINOR

ALBUM: Title EP RELEASE: September 9th, 2014 STAND OUT: All About That Bass AUTHOR: Sara Alhmlah

SET IT OFF The most immediately noticeable aspect of Duality is the step that Set It Off has taken into the Pop genre. Their first single, “Why Worry”, hinted towards this, and the rest of the album followed through. While they have shifted in this direction, Set It Off still maintains the things that made them an interesting band to listen to all along. For instance, the album’s opener, “The Haunting,” is reminiscent of Set It Off’s previous theatrical approach in Cinematics. ALBUM: Duality Trumpets make a reprise in tracks RELEASE: October 14th, 2014 such as “Wolf In Sheep’s Clothing”, STAND OUT: Forever Stuck In Youth and lyrically, Set It Off is consistent with their aggressive and honest AUTHOR: Brandynn L. Pope storytelling. Each track on this album is able to hold its own, making it difficult to call any of the tracks “filler”. They all have catchy riffs and harmonization

that skulk about the mind even after unplugged your headphones. The album highlights frontman, Cody Carson’s vocal capabilities, showing his range in songs like “Forever Stuck In Our Youth”. He pushes himself further, exploring his own skills more than in previous releases. Two of their tracks also feature artists who have impressive vocal capabilities, which when contrasted with Carson, create exquisite harmony. William Beckett in “Wolf In Sheep’s Clothing” explores this subtly, while “Tomorrow” featuring Jason Lancaster acts as a beautiful addition by exploring the positive aspects to an otherwise difficult life. It would come as a surprise to me if none of the tracks from Duality found success on the radio.

STATE CHAMPS

ALBUM: The Acoustic Things RELEASE: , 2014 STAND OUT: If I’m Lucky AUTHOR: Ashley Houston

Being a fan of State Champs already, I was very excited when they announced that they were releasing The Acoustic Things. Each new version of the songs has its own little spark when played acoustic, “Elevated” probably being the biggest surprise. The song was a very pop/ punk track on the original LP, and one of my personal favorites off their first album. I just didn’t know what to expect! All of these songs truly highlight Derek Discanio’s voice, and it feels good to hear his voice in this way. The Acoustic Things is a solid acoustic album for the pop-punk genre of music. State Champs understands how to re-release new versions of old

music and make it sound new again. The two new songs featured are not to be overlooked either. Of all the recent album releases, plan on adding this one to your fall playlist. You don’t want to miss out on it.

WHY, MARILYN This debut EP, Outcasts, takes one on a veritably personnel journey in just five short tracks. The EP’s pseudo-narrative starts, oddly enough, with “Closure”, a song that showcases Why Marilyn’s sensual melodicism. This flows easily into “Lions, Tigers and Bears”, a track that makes me truly admire this band for its strong commitment to its craft. The real “Oh My!” in all of Outcasts songs is Erin Maddock’s voice. Her voice skips right over powerhouse on its way to “powercastle”, or something ALBUM: Outcasts of the like. Maddock’s talent shines RELEASE: October 10th, 2014 through in her subtly. She sings along STAND OUT: Lonliness Is Underrated almost casually through the album’s most intense moments, and still makes AUTHOR: Donald Kimber the instrumentals struggle to keep up (which they do, but just barely). Strong currents of love, and love lost run through the album at this point and the stand out is “Loneliness is Underrated”.

This song features Jeremy Richardson, who steps up to the vocal plate and matches Maddock’s lofty challenge. The antagonistic duel of voice and emotion that takes place within the song’s narrative equates to gorgeous chemistry for the listener. Richardson’s vocal presence highlights both the heartbreak-battle taking place within the song, and Maddock’s stellar voice. Next, the track “John Doe” has a lot to offer lyrically and has much to say to all us John Doe’s out there… The album closes with “Supéro”, another powerful song that leaves us with a sense of personnel affirmation after the emotional voyage this album is.

YELLOWCARD

ALBUM: Lift A Sail RELEASE: , 2014 STAND OUT: Illuminate AUTHOR: Ashley Houston

Be warned, Lift A Sail is not the brand of pop-punk we have all become accustomed to when talking about Yellowcard. Overall, the band’s current sound is much more in line with alternative rock. However, different doesn’t always mean bad. I would say the album sounds more akin to Lights and Sounds rather than Ocean Avenue. While diehard Yellowcard fans will notice the absence of a healthy mix of ballads and fast-paced punk-rock songs, they will also surely notice a veteran band rising to a challenge. Part of this stylistic change in direction may have been brought on by Nate Young (of Anberlin), filling in for the

departed Longineu W. Parsons III. The drumming on this album may be a tad less energetic then albums past, but for what it lacks in speed it makes up for in creativity.

OUT THIS MONTH

11.04 11.04 11.04 11.04 11.10 11.10 11.10 11.11 11.17 11.17 11.18 11.25 11.24 11.28

Major League Mother Mother PVRIS Seaway Brent Walsh Foo Fighters Machine Head Cult Of Youth The Ghost Inside Various Artists The Red Threat Circa Survive Nicki Minaj Eminem

Thereâ&#x20AC;&#x2122;s Nothing Wrong With Me Very Good Bad Thing White Noise All In My Dead 7 Sonic Highways Bloodstone & Diamonds Final Days Dear Youth Punk Goes Pop Vol. 6 Violent Love Descensus The Pinkprint Shady XV

YOU ME AT SIX

GALLERY

GALLERY REVIEW

Jalen Frizzell “I am 21 years old. My resting status is stoked and covered in bruises.

I am fascinated by science, and technology related to philosophical hypothesis. I was raised in all corners of Calgary – just me and my Mum, my Auntie, and my cousins who are like sisters to me. I grew up in, and around antiques, I’ve been riding the public transit system on my own since elementary. Being exposed to all these factors and those that hold hands with those experiences made me how I am today, and makes my art. I started drawing and doing woodcarvings as a kid when I attended Sunnyside elementary in the heart of Kensington. I always attended arts schools, which peaked my interest in fine art. I grew up on Hip-hop, and the Classic Rock of the 70`s. I think the musical references from those genres made me fall in love with Metal in my teen years. The people and artwork of the Calgary Metal scene had a huge influence on me. Tortured blood bath scenes, warped almost illegible bands names. Quick and to the point band tees. The references from Metal got me into the Dubstep Calgary scene: the gateway to crazy psychedelic art. Skateboarding from show to show got me into graffiti, and the beauty of board deck art (a lot of the same principles of bands tees). And now I work at a tattoo shop!”

A LOT OF YOUR WORK IS CONSCIOUSLY VOCAL REGARDING DIFFERENT ISSUES. IS THERE ANYTHING YOU WANT TO EXPAND ON TO EXPLAIN WHERE THE VOICE BEHIND IT COMES FROM? On a daily basis I picture myself in outer space among babes who complain about their space helmets not being large enough to accommodate their freshly picked afros. I fantasize about having all gold teeth and new basketball shoes to wear every day. I imagine my favourite rappers doing karate with me. I see movements in my mind where anatomy is fluid, and it is ripping between dimensions in pain: a visual representation of the pain we feel everyday with our new age anxieties. That’s the context of my voice and where it comes from. I think oppression fucking sucks. It exists in a more subtle way in this age. Through flowery tampon commercials, Seventeen magazines, and processed food packages. Let’s take the supremacy away by laughing at it: it’s a powerful farce. Oppression is relatable because we’ve been surrounded by it for so long. I hope my art makes people laugh because of its brazen nature. Similar to stand-up comedy that uses this strategy.

My bikini lady series has the swimsuit models’ faces covered, but not their bodies because I believe in the sexual power of women. I made these pieces more so to comment towards the people who look down on women who chose to use their bodies to gain power. It’s an economic demand, and if women choose to capitalize, we should support and protect them. Sex, and wanting sex, is not wrong. We need to decriminalize lust. If it wasn’t taboo it could be safe. I think this would allow our society to move to a higher level of consciousness, and see sex & women as what they are, instead of seeing them as an outdated moral code. I made these particular images to communicate the mindful beauty and freedom of the models by depersonifying them.

ARE THERE ANY THEMES THAT YOU WANT TO PURSUE IN THE FUTURE?

The newest new of all new. ROBOTS. Can they love? Does artificial intelligence deserve its own set of rights? What will their effect be on the human society? Will we rise or fall? I could make so much expressive art out of that. I’d also like to explore & replicate the Romantic era: their portraits were very deep emotionally: I want that in my drawings. Patterns of hair growth is cool.

Like when you look at someone’s beard, or chest, or leg hair: how it swirls on their skin. Does like, your body touching the insides of the womb make that happen? I’d like to Google why that is and paint that. Drawings of glamorous shit. Literally. White milk dripping over chocolate brown skin. Puke in the back of a Rolls Royce. A diamond covered in poo. Disgusting aesthetics are wassup.

70’s Blaxploitation movies. Mixing tacky textures and concepts with humor/feeling is how I operate. Sarcastic punk shit is delightful. I’ll take breaks, meet up with some cool, people who inspire my art-heart, find some new music to get down to. All of this and an unlimited supply of heated beverages helps me make cool stuff.

HOW DO YOU LIKE TO APROACH YOUR WORK?

WHAT ABOUT COLLAGING IMAGERY EXCITES YOU?

My approach is one of two ways: pristinely planned out like a Victorian table setting, or clusterfuck of I’m not sure what. All mediums of art can overlap, so I’ll start out with a phrase, idea, life situation. I collect textures (random sheets of paper etc.). Once I have an idea I’d like to run with, I do a couple small sketches to weigh out the best options for composition, then move forward with my ink liner. After the first round I do a 2nd round of ink to add weight and intensity to the focal points of the piece. In the random sense, I’ll usually have a lonely doodle that I didn’t want to give up on and collage it, either digitally or with good old fashioned glue stick n’ construction paper. I start to feel out why I drew the doodle in the first place, and the image as a whole begins to take shape. I usually choose a muted pallet similar to the faded colours on films from

The texture. I love the texture and the fullness of the colours in collage. It’s the best medium to get a flat, fuzzy, muted orange. Just from craft store construction paper book that has rainbows and smiley faces and shit on the cover. And that’s a huge component too: the nostalgia. I’m still exploring the best ways to execute my collages, but for now good old fashioned glue stick n’ scissors is something very interesting to consider. The time it takes to hand cut the right length and width of pieces, the sometimes shakiness of the lines is super endearing. Also the physical depth. The layers of paper literally add depth. It’s awesome. It is truly craft. Digital collage is becoming a stronger entity in art. I find everything is becoming digitized, which I don’t have a problem with. I’ve used it for a majority of these pieces. I just would like to hold onto the kinesthetic feeling of putting art together by hand.

OPPRESSION IS RELATABLE BECAUSE WE’VE BEEN SURROUNDED BY IT FOR SO LONG. I HOPE MY ART MAKES PEOPLE LAUGH BECAUSE OF ITS BRAZEN NATURE.

ARE THERE ANY ARTISTS THAT YOU ADMIRE OR DRAW INSPIRATION FROM?

Egon Shiele (fantastic at grotesque beauty), Chapman Bros (they do some awesome stuff with found images / book pages), Ratt Fink (more gross stuff), Jamie Hewlett (his graphic lines are the best), Botero (adorable unconventional beauty), Erykah Badu, Outkast, Busta Rhymes, Missy Elliot (outer space hip hoppers awe yea), Kawanabe Kyosai (super cool classical Japanese artist).

IS THERE ANYTHING THAT YOU WANT TO TRY OUT OR WANT TO EXPLORE?

I write poetry and rap, so I think it’d be super fun to do a children’s book one day. I’ve been exploring ways to mold my poetry into my visual art. Text is an exciting medium. Comics are a great way to fuse the two together. Animation: I’ve always loved cartoons, I don’t think I’ll ever grow out of them, and animators have amazing drawing skills. I have dreams about characters and their relationships often. I’d like to eventually turn one of my melting faces into a clay WHAT’S YOUR FAVORITE OBJECT OR PIECE sculpture: extending tall and morphed. Altered eyes and mouths ripping through space-time in a black OF ART WORK AT YOUR HOME? hole. Even interactive sculpture, say where you press Probably my table. I use it for everything. I think it’s from the 70’s… somebody once told me it was worth a button and it shouts at you. Or maybe you get a a lot because it has a fold down option on either side secret message or a little treat. Skateboard decks would be amazing to put some art onto. I’ve also been of it .It’s a faded lemon yellow, complete with two really wanting to buy a samurai sword lately. tiny almost-falling-apart yellow chairs. I stole it from the laundry room of an apartment building. It was exhilarating. It’s in a better place now.

DO YOU HAVE ANY SORT OF “DREAM PROJECT” THAT YOU WANT TO DO?

Tattoos. I’m currently working towards, and apprenticeship as a tattoo artist. It’s such a purposeful medium. There’s a real human connection putting your art on somebodies body, and the work that it takes to get to that point is comparable to getting an art black belt or being in-training to become a samurai. Tattoos are evolving so quickly. Art is becoming the focal point. I’d like to somehow translate my collages into tattoos. The hard lines mixed with strokes of colour. The dedication of a tattooer has to be 100%. I think that’s so honourable. I want that for myself. Look out for me in the future.

tumblr @fatasscatmats

Angela Smyth

THE NOSTALGIC ARTIST

You know those crazy people who wake up with so much delight and elation it makes you sick? I am one of those people. I can’t sit still, I drink way too much tea, and I’m constantly craving breakfast food. Any free time I have, I’m either making art, exploring, or reading. I come from a family with no art background, so to receive all of the support I do on a daily basis is quite a blessing. My two core art practices fall under painting and printmaking, while also incorporating photography, as well as photography and textile practices into the two.

YOU REFER TO YOURSELF AS “THE NOSTALGIC ARTST”. IS THERE A PARTICULAR REASON WHY YOU’VE ADOPTED THIS TITLE?

I am fixated on the idea of home. I chase it like a dog chases cars, with nothing but instinct and heart. Even if it had just been a dire motel stay, or a half-sleep-state car ride, I have seldom been anywhere I felt akin. The in-betweens felt more settled than the arrival. I use my work as research to understand why such a heavy emotion has its roots in me. Nostalgia has tormented, untied, and tricked me. Instead of letting it ruin me, I embrace it. It’s now my superpower.

WHAT DO YOU DEFINE YOUR WORK AS? http://www.thenostalgicartist.com/____ facebook @angelaerinsmyth____

Simply, I would say my work acts as a way of understanding myself through understanding things that are foreign to me. I want to share parts of myself I didn’t know existed with complete strangers. I love that kind of abnormal intimacy: to share your entire soul with someone, whether or not they’ll understand you.

A LOT OF YOUR WORK USES ANIMALS AS THE MAIN GRAPHICAL ELEMENT. IS THERE A REASON WHY THIS IS THE CASE? The immediate focus in my practice is grounded around the human/nature correlation. Areas such as

fetishization, preservation, and possession of nature are common themes of mine. I guess you could say I paint animals as a way of preserving them in a single moment without disturbing them. It’s reinforcing the “look, don’t touch” notion we learn as kids.

YOU’VE WORKED WITH QUITE A FEW DIFFERENT MEDIUMS: FABRIC, PAINT, & WOOD SLICES, TO NAME A FEW. DO YOU HAVE A SPECIFIC PROCESS YOU PREFER FOR EACH INDIVIDUAL MEDIUM?

I have such an intimate connection with the materials I use, and I can’t stress enough how important it is to fall in love with a medium. That love for me is wood, where the connection is the strongest. My work emphasizes the essence of the natural, so I know I’d be a fool not to familiarize myself with it. It’s used predominantly. Even if the material itself isn’t used, its presence is still evident. The great part is that this is a material that is so accessible and easily manipulated.

IS THERE ANY PLACE YOU WOULD LIKE TO SEE YOUR WORK GO?

I think it’s important for me to create works that can be viewed in a conceptual manner, such as in a gallery setting, as well as ones my viewers can take home. I can’t imagine ever getting tired of a complete stranger telling me they admire and support what I do. It’s even better if I can give them something with my entire heart and soul in it. This is a huge reason I have my muse. I want to be accessible to every type of audience I can, and I think every artist would benefit from doing this.

SINCE A LOT OF YOUR CRAFT WORKS AROUND THINGS BEING HANDMADE, CAN YOU EXPLAIN WHAT THE IDEA OF “HANDMADE” MEANS TO YOU?

Handmade is such a malleable term. It challenges the practices of numerous contemporary artists that work with readymade objects. I don’t get the wood myself, nor do I make my own paper or paint, but I’m

“THE ARTIST’S HAND MUST BE EVIDENT, WHETHER YOU TAKE ‘THE HAND’ PART LITERALLY OR NOT. TO ME, THAT IS WHAT HANDMADE IS ABOUT: HAVING THE ARTIST THEMSELVES IN THE THINGS THEY CREATE.”

taking these materials and modifying them with my own design in mind. The artist’s hand must be evident, whether you take the “hand” part literally or not. To me, that is what handmade is about: having the artist themselves in the things they create.

WHAT IS YOUR FAVORITE HANDMADE OBJECT THAT YOU OWN?

A favourite handmade object of mine is a stuffed mouse that was passed down to me from my stepdad. It’s in horrible condition, but through all of the times I’ve gotten rid of childhood objects, I have never considered giving it up. It holds more aura and memories than anything I’ve ever owned.

IF YOU COULD COLLABORATE WITH ANY OTHER ARTIST, WHO WOULD IT BE?

I’d love to work on something with my best friend Joel Warkentin. Much of my work has his presence, which is a collaboration in it’s own way. I think so highly of him, and I’m lucky to have direction from someone who treats my work with the attention and care that he

would his own. It’s valuable to surround yourself with people who not only encourage you, but can also tell you “This has so much more potential. Push yourself even further.”

IS THERE ANY FUTURE PROJECT THAT YOU ARE EXCITED TO GET STARTED ON? Currently I’m deeply immersed in the idea of incorporating sculpture into my print practice, but have a diminutive (replace with “little”) understanding in this mutation (area?). I have completed only a few projects merging the two, but this duo can be somewhat tricky. The problem I’m facing is that I need my prints to be confident. Anything sculptural I add into the same space as the print must be (carefully) deliberated (on). I need to consider both works separately and as a whole in order for my ideas to be transferred to my audience. I’m eager to see where my exploration and experimentations will push me over the next few months.

In pursuit of art and music Do you want to join our team? You can contact us at fleshbonemagazine@gmail.com with your application.