FOXES MAGAZINE
ISSUE 4
SUNFLOWER BEAN RODNEY BINGENHEIMER - BRAD ELTERMAN - JUSTIN GOSSMAN HIDDEN CHARMS - NIGHT BEATS - BLOSSOMS - MR. ELEVATOR & THE BRAIN HOTEL
CONTENTS
FOXES MAGAZINE
FEBRUARY 2016
THROUGH THE LOOKING GLASS by Ben Cope An editorial with Justin Gossman in Los Angeles.
NIGHT BEATS by Julie Patterson
Wandering the streets of Downtown LA, we met up with Night Beats to discuss their new album Who Sold My Generation and their upcoming European tour.
DRIVE-IN SATURDAY by Brad Elterman
A tribute to the great David Bowie. Interviews with Rodney Bingenheimer and Brad Elterman.
A DAY WITH SUNFLOWER BEAN by Ryan James Caruthers
We spoke with Julia, Nick and Jacob in NYC about their new album Human Ceremony, how the band got together and what to expect next.
HIDDEN CHARMS by Phoebe Fox
Fresh out of the studio we caught up with London quartet Hidden Charms to talk debut albums and breaking America.
MR. ELEVATOR & THE BRAIN HOTEL by Daria Kobayashi Ritch
To the famous Bat Cave we went to talk music, a band members commute from Arizona to LA and what’s to come.
BLOSSOMS by Phoebe Fox
We caught up with the Blossoms boys to snap some shots before they hit the stage at their packed London gig.
MASTHEAD
EDITORS-IN-CHEIF
Tina de la Celle & Julian de la Celle
CASTING DIRECTOR Tina de la Celle
CONTRIBUTING EDITORS
Ashley Roth, Alex James Taylor & Julian de la Celle
CONTRIBUTING PHOTOGRAPHERS
Ryan James Caruthers, Ben Cope, Julie Patterson Brad Elterman, Phoebe Fox Daria Kobayashi Ritch
MARKETING DIRECTOR Zoe Peretz
INTERNS Nicki Contreras, Aimee Perez
SPECIAL THANKS
Crista Simiriglia, Jaclyn Ulman, Richie Davis Craig Tarry, Conrad Murray, Ryan Anthony Menge Sofia Karchi, Jose Velazquez, Lila Lebel
THROUGH THE LOOKING GLASS
Jacket The End Jeans Acne Necklace Models Own
JUSTIN GOSSMAN WILHELMINA MODELS BEN COPE Creative Director / Stylist RICHIE DAVIS Hair SULLY LAYO Makeup MIRIAM NICHTERLEIN Photography
Jacket The End Jeans Acne Necklace Models Own
Jacket The End Pants: Chapter Shoes Buffalo
T-Shirt Billy LA Pants Second Layer
Jacket The End Jeans Acne Shoes Buffalo Necklace Models Own
How did you get into modeling? Justin Gossman: Everyone back home in San Diego was asking me or telling me I should get into it. So, long story short, I was in LA one afternoon and I gave Ford, Wilhelmina & Next Models the choice to pick me up & Next was the first one to put a contract in front of my face. So I signed with thelm. I’m now currently signed with Wilhelmina NYC & Wilhemina LDN as well as New Madison Paris. What was your first big job? Justin: I believe my first big job was for Best Buy over in LA. Super commercial [laughs] big smiles & all. But my first big fashion jobs, not counting runway shows, I would say either Luis Avia Roma when I shot their looks in Paris. Or when I shot the Lanvin Campaign in London with Tim Walker.
Do you have a favorite Bowie period or song? Justin: I’m sorry, I can’t put a favorite time period on that legend. He was cool till the day he checked out. I can tell you though there is always a point in someone’s life or career when they’re no longer in their prime. But man he made it all look so easy! His death shocked me the same as Steve Job’s did actually. Odd thought.
How long have you been playing music? Justin: I have been playing music since I was 6 years old. I started off playing the piano then when I was in the 4th grade I got my first guitar. But I have been playing on a more serious level for about two years now when I started picking up playing the harmonica. I’ve picked up singing about a year and a half ago and haven’t stopped since.
If you could choose a spirit animal what would it be? Justin: I would be a sabber-toothed tiger or a wild mustang
Musical influences? Justin: I honestly have had so many musical influences that come from many different genres so I’ll just list a brief few: The 13th Floor Elevators, The Rolling Stones, The Velvet Underground, The Doors, Nirvana, Creedence Clearwater Revival, The Small Faces, The Brian Jonestown Massacre, etc. Are you in a band at the moment or planning to be? Justin: Yeah, I’m currently doing this project with my other friend Troy B. We are going by The Toy Guns. My band mate has another project The Hollow Suns that I’m sorta like a pseudo band mate for. I have one last project that’s slower to develop with Levi Dylan from Wilhelmina Models. So I kinda delve into a bunch this last year, but it’s all coming together so great. I’m really looking forward to this upcoming year. We are gonna be recording a lot. I won’t be playing live all that much other than rehearsal because of all the other work I’m doing. But you’ll see some stuff coming out soon. I can’t talk about it much but our first song is in a deal right now for a commercial. So stay tuned!
Favorite city to be in? Justin: Depends on the season. I always come back home to La Jolla, CA & Del Mar, CA. But Los Angeles & New York have become kinda like a second home for me. In reality though I really enjoy Paris, Milan & London all about the same. What’s coming up for you? Justin: Music! Lots and lots of music! Fashion! Runway in NYC. I’m excited because I did Costume National exclusively for Europe in Milan. So to get back to the hard struggle of castings especially in New York City’s blizzard and snow seem exciting. Worth the hard work. When you put your head down at night, you really sleep! [laughs] The future is looking great. I don’t want to spoil it, but just know acting is in my future sights. More modeling & LOTS of music!
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Jacket The End Pants: Chapter Shoes Buffalo
T-Shirt Billy LA Pants Second Layer
NOW SHOWING:
S T A E B T H NIG Photography JulIe Patterson assisted by charity ruther WORDS JULIAN DE LA CELLE
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“ I was 17 years old sneaking into their shows and eventually got to
become good friends with them and then eventually got the chance to play with them. � - Jakob Bowden
(From left to right) James, Danny, and Jakob
Can you introduce yourselves along with your favorite Bowie period or song? Danny Lee: My name is Danny Lee and I love “Heroes,” that’s my track. James Treager: My name is James Treager, and I couldn’t tell you just one. That’s tough. It’s a whole collection. Danny: It’s like picking a favorite child. Jakob Bowden: My name is Jakob Bowden and I can tell you my top three. “Aladdin Sane,” “The Man Who Sold the World” and “Low.” Where did you guys meet? Jakob: Texas. Danny: Yeah, we all grew up around DFW, Dallas/Fort Worth. We grew up together, James and I, in Dallas. Then Jakob we met in Austin. Jakob: I was 17 years old sneaking into their shows and eventually got to become good friends with them and then eventually got the chance to play with them. Danny: It was a very natural progression. When did you form? Danny: Well, I guess Night Beats started around 2009/2010. Our first release was in 2010. H-Bomb had four songs on it. What made you want to play music? Jakob: Always have. Danny: Yeah, like, what makes a painter want to paint? What makes someone feel something real? Jakob: We’ve always resonated with music. Danny: Music is a beautiful medium for having a voice and having an opinion, being able to tell that to the world. We are really very fortunate to be able to do it. Is there anything else creatively that you pursue other than music? Danny: I like to write. I like poetry, I like stories, you know. The ability to tell a story, to be heard, to dig on somebody that had something to say in the soul. Oh, everything goes back to the soul. I’ll probably say it 10 times in this interview [laughs]. Jakob: Poetry, cartoons and graffiti. I live in Houston now, but I was doing graffiti in Dallas. James: Music, really. I like to read and write and everything but I’m not nearly as good at those.
Major influences? Danny: Love, both the band and the concept. Arthur Alexander, Lee Moses. James: Cream, The Who. Jakob: The Stones, The Velvets, T-Rex, David Bowie, Scott Walker. Danny: Too many to name. Bob Dylan. Jakob: Hank Williams, Hank the Third. Yeah, we can skip over Jr. Jakob: Yeah, we skip Jr! James: Naw, I love Jr, I’ll throw in Jr. Jakob: He’s just not as real as his daddy or his son is. Now we got beef with Jr. He’s gonna catch us in Nashville! [laughs] James: I love you Hank Jr. So you’ve put out two albums so far and a third one entitled Who Sold My Generation that just came out the end of January, what do you think are the differences with this one compared to the other two? Danny: I guess we always try to find the line between chaos and controlled chaos and still have respect for a pop song and respect for a blues song. The difference between this record, well, one big one, is we recorded in California. The other two we recorded in Tacoma, WA. This is kind of one of the first ones where we could step out and really work with an engineer/ producer that we really connected with, and we recorded in his house, Nic Jodoin. He’s French Canadian but he lives in Echo Park. We also had the help of our friend Robert Been, from Black Rebel Motorcycle Club. He was really detrimental and just provided great ideas and he was digging into it as deep as us, which is rare. He’s a true talent. James: Yeah, everyone that was involved on this record, the energy was so cohesive, it was too much good energy going in one direction for it not to turn out a true work of love.
When you guys record, do you have a preference in analog or digital? Danny: Well, I guess preference, we lean towards analog because we like the way it sounds. James: There’s a magic to it. Danny: Yeah, but the thing is…I don’t like it when bands stick solely to it and stick in the mindset that nothing else can work. Whatever works, whatever you prefer, really. There are things you can gather through different forms. You can do cool things with digital and you can do cool things with analog. We’ve only really recorded analog for the most part, but when I was in middle school or something and working on music then I was only recording all digital and I liked it then too. So you signed with Heavenly Records, how did that come about? Danny: They came out to a show we did in the UK, actually. Yeah, I was surprised to see you guys on there because I’d only ever seen UK bands on the label. Danny: I think we’re one of maybe two. But, yeah, they came to a show and we kept in contact. By that time we had a full record and they had proposed doing maybe a 7” or something, but we sent them the whole record and they were into it.
And you have a month long tour in Europe coming up? Danny: Yeah, for about a month. In Ireland, the UK, Germany, France, Croatia, a lot of places. Jakob: It’s my first time in Europe ever! Do you feel like you have more of a following in Europe versus the US or vice versa? Danny: You can never really tell. James: I think I’m gonna take a leap and say that we may have more of a following in Europe, but I could be wrong. Danny: There is much love over there, for sure. Well, aside from the tour and the new album, what else do you have coming up? Danny: Well we’re working on the 4th album now. Jakob has been really great at bringing it and he has a really great voice and has his own catalog, it’s really cool. It’s true collaboration and it’s new and exciting. But, yeah, working on the next one, and the next one, and the next! We’re trying to get on over to South Asia. We want to go anywhere. World domination? James: That’s the plan.
DRI
IVE-IN SATURDAY Photography BRAD ELTERMAN
Artwork NICKI CONTRERAS Words ASHLEY ROTH
David Bowie. His name conjures his eclectic faces, his revolutionary sounds. He fostered social change; he empowered the misfits. He brought intellect to Rock and Roll, infused his music with other art forms. Never did he feel outdated, somehow he was always relevant and transcended all six decades of his career. His life set the paragon for an artist’s existence, with a death that devastated us all. Mourning Bowie became a collective experience— all of us grieving through our own experiences with him and his prolific art. We weep for a Bowie who crashed culture, a Bowie who wasn’t immortal no matter how much we wished it to be true. David Bowie fell to Earth—Brixton, South London—as David Robert Jones on January 8th, 1947. Childhood mundane, normal—until his father came home with a collection of 45s tucked under his arm. “Tutti Frutti” changed him forever, a moment Bowie later recalled as an awakening—the impetus for his creative pursuits. Early bands—the Konrads and King Bees—were unsuccessful. His first album as David Bowie (a certain Monkee made going by his real name problematic) was folky and soft, and flopped. Classes taken under Lindsay Kemp provoked a theatrical side. Bowie’s haunting voice made it to the charts with “Space Oddity”—a topical song echoing society’s fascination with space via Major Tom’s narrative. Here began the celestial associations. A later reinvention—two albums later—thrust him into the public consciousness as a bisexual, sparkly alien known as Ziggy Stardust. Alienated youth connected with his brazen stage presence and daring attire. On stage, Ziggy was larger than life and oozing sexuality—often pantomiming fellatio on Mick Ronson’s guitar. Off stage, life matched art. Excesses of cocaine, sex partners, an open marriage. Everything was a performance. Other characters followed: Aladdin Sane, The Thin White Duke. Albums fused with literature; albums fused with funk. David Bowie was one of the first white performers to appear on Soul Train, and—despite a misunderstanding when The Thin White Duke mentioned fascism—Bowie was a champion for racial equality. He also became an icon for LGBTQ rights, even if he did retract his own confession of homosexuality. David Bowie’s iconic status carried through the decades, through music videos, through diverse collaborations. He never went stale.
There was a dichotomy to David Bowie—that other half, David Jones. Jones was funny, an avid reader, a champion against whaling, a devoted father, and Iman’s husband. Their lives were the antithesis of Ziggy’s, secluded and unassuming. Bowie retreated farther into the life of David Jones after an on stage collapse and emergency angioplasty in 2004. He returned in 2013 with The Next Day. Rumors were circulating that Bowie was unwell, but we didn’t believe it. He seemed untouched by aging and he was in the midst of a blazing creative streak. Blackstar was forthcoming and he had just co-wrote the off-Broadway Lazarus—bringing back Thomas Jerome Newton in the form of Michael C. Hall. Nobody could have predicted the seemingly sudden death on January 10th, two days after he turned 69. Two days after the release of Blackstar. Bowie knew it was coming. David Jones did, too. It’s surreal for us, the fans. His parting gifts aren’t even cold. A world without Bowie is hollow. Many of his admirers—myself included—feel hopeless, like we lost our best friend. We’re consoling ourselves by playing his albums and watching his performances, his guises. This is his legacy; the part that will never die. Art immortalizes. Humanity leaves art behind to illustrate and define them for future generations. The people of tomorrow will see us through a Bowiecolored lens—I, for one, couldn’t be happier about that.
RODNEY BINGENHEIMER’S ENGLISH DISCO Words JULIAN DE LA CELLE
What made you realize you wanted to be in the music business? What were the first bands you remember listening to and going “I need to be a part of this”? Rodney Bingenheimer: I guess I’ve always been into music, since I was very young. Going to junior high I hung out with the school bands: The Fugitives, Two Plus Two, and The Renegades. They used to play Beach Boys cover songs and play at the Los Altos Teen Center. Then actually seeing The Beach Boys play at the Santa Monica Civic and bringing them back to my hometown to meet The Fugitives! I also used to intern at my local record store called Mountain View Music Center on Castro Street. What came first for you, your radio station or English Disco? How did both come to be? Rodney: Well, obviously The English Disco. Before the English Disco I had another club called The E Club, which is where Bar Marmont is now. That’s the club where David Bowie came by the night before his Santa Monica Civic show. He came with his body guard Stuart. That stayed open for three months, then we moved down Sunset to The English Disco. The club lasted about five years. It was so popular every major magazine did articles on it and people like Led Zeppelin, T-Rex, and Suzi Quattro would come by. I’d also have bands play every now and then like Zolar X, Shaun Cassidy and his band Longfellow, and Iggy and the Stooges. I would spin records every night and occasionally have guest DJs. I played glitter records: David Bowie, Mud, Slade, and some American bands as well like The New York Dolls and The Stooges. Toward the end of the club, disco was coming in and I wasn’t into it because I was more of a Rock n Roll DJ. At that point the owners of a new radio station KROQ came in and liked what I was doing and offered me a gig DJ-ing on their station, which I took. I did my first show a year later broadcasting at The Pasadena Hilton Hotel with The Ramones as my special guests. I went on to have more guests on my show like The Runaways, Blondie and The Damned together, The Bay City Rollers, and even a phone call from The Sex Pistols.
Rodney Bingenheimer and Brad Elterman
“ I was hanging out with David Bowie and going to recording sessions for his album Hunky Dory. I would tell him about all the music I was hearing at the local London discos...David suggested I should open my own club in Hollywood. � - Rodney Bingenheimer
What made you start English Disco and did you come up with the idea with a lot of different people? Rodney: I got the idea for The English Disco after I left working for Mercury Records to go to London. I was hanging out with David Bowie and going to recording sessions for his album Hunky Dory. I would tell him about all the music I was hearing at the local London discos which played all of the same bands I later played at my club. David suggested I should open my own club in Hollywood. After staying in London for a year, I came back to Los Angeles and hooked up with some friends of mine: Tom Ayres and Barry Barnholtz and opened The E Club which eventually became the English disco. Do you have a specific story you remember fondly of a night at English Disco? Rodney: One time Elvis Presley came to thank me for sending English beer to his recording sessions at RCA. He came with his bodyguard and his girlfriend Linda Thompson. And of course all the great memories of hanging with the regulars: Mackenzie Phillips, Lance Loud, Sable Starr, Lori Mattix, and so on. When did you first meet David Bowie and do you remember the scenario? Rodney: I first met David Bowie when I worked at Mercury Records as the FM promotion man. He was coming to town and they wanted to book him at a hotel, but I told them no because David was special and he should be staying at someone’s home. I arranged for him to stay at Tom Ayres’ house. I took him around Hollywood when he arrived to restaurants and record stores like Wallach’s Music City and Record Paradise, one of the only stores at the time to sell import records, where I originally bought his record, Space Oddity. I even took him to the famous Topanga Canyon Corral. Then we threw a press party for him at another friend of mine’s house, Paul Feigen. He did all the songs from The Man Who Sold the World album and some songs from Hunky Dory, which hadn’t come out yet. I later went with him to London and attended the recording sessions.
Tell us about your friendship with David Bowie and what he meant to you. Rodney: We became friends throughout the years and he’d always send me demos of new songs. He even sent me the demo of when he produced “All the Young Dudes” for Mott the Hoople. And of course he always had tickets for me for all his shows, even when he played with Tin Machine at The Roxy. He even had me introduce him on stage at his last Los Angeles show at The Wiltern. Did you have a favorite Bowie tune? Rodney: So many. Of course all of Ziggy Stardust, which was the anthem of The English Disco. I love “Space Oddity,” “Jean Genie,” “Velvet Goldmine,” “Rebel Rebel,” and “Cracked Actor.” Do you remember the first record you ever bought? Rodney: When I was a kid I listened to music all the time, when I was five and six on the radio. But when I got a record player, I remember buying records by The Ronettes, Beach Boys, Dave Clark Five, and The Beatles. The first live show you attended? Rodney: The Beach Boys at the San Jose Civic Auditorium. What was your favorite performance live by Bowie? Rodney: Santa Monica Civic October 20, 1972.
BRAD ELTERMAN: A BOY AND HIS CAMERA Words JULIAN DE LA CELLE
Brad Elterman: I’ll go on record that my parents wouldn’t let me go to Rodney Bingenheimer’s English Disco. And why was that? Brad: Well, I was too young, I was a kid. I think my mom actually called the Hollywood Police Department and said “My son wants to go to this disco, what do you think about this?” And he goes “I don’t know, wouldn’t let my kids go there!” [laughs] Where did you grow up? In Sherman Oaks. But I went to a lot of other places that I didn’t tell my parents about. I went to the Whiskey too, they didn’t want me to go there either, but that wasn’t gonna happen. I’m guessing they weren’t very music oriented? Brad: Well, no, my mom was an artist, a painter, so she was totally cool. She introduced me to Andy…as in Warhol. That was in ’72 and she goes “We’re going to see Andy, bring your camera!” I didn’t want to go because I didn’t know who he was! But I did bring my camera and I did meet him and I did take a photo of him with…oh, Victor Hugo! That sort of set a tone for me because there were a lot of freaks there; I call them freaks, but they were just artistic people. I enjoyed it. When was the first time you remember music being a big part of your life? Brad: Probably when I heard my first Alice Cooper record. I heard “I’m 18” and I was around 16 at the time, I loved it. I found out who he was and saw his photos. The imagery you would get from a guy like Alice would really be from the albums themselves. You’d open up the vinyl, take it out, smell it, so you could smell the ink, and that’s where you would see all the latest pictures. But he was great, he was all about the theatrics.
Photography BRAD ELTERMAN
When was the first semi-professional shoot that you had done? Brad: Well most of the stuff I did, we called it “on spec.” Like, if The Ramones came to town, I would just take some pictures and then try and sell them. That’s really what the business was all about. You could send these to a magazine and they would actually send you a check! So, for all those years, there were very few that were assignments. With the Bowie thing in ’75, I just went there to take pictures of him and then sold the photos. In 76’ I got to meet Bob Dylan with Robert De Niro and was able to sell that too. Then I was able to actually make a living doing this. Did you know at a young age that photography was what you were going to do? Brad: I didn’t really know what I wanted to do, I still don’t know. I just didn’t want to grow up. I was having fun and I was doing what I enjoyed, which was taking pictures and developing them. I always enjoyed the art of hustling and trying to sell these pictures. It was a big kick to see your name in print and I enjoyed Rock n Roll. All of it was really, really cool and special. It was only a couple of us too: it was myself, my friend Richard Creamer and it was Jenny Lens. We all had our own individual personalities, but we all had one thing in common: we were a bit eccentric. But today is very exciting for me too because we have the internet and I can hang out with cool people and cool bands; like editors of FOXES Magazine [laughs] There’s a million kids that would want to be in our shoes today, believe me. I get e-mails all the time from young kids asking me how to do it, how to shoot bands. The hard part is the monetization of it. But that’s not why we do it, we do it because it’s fun. We’ll just go out and win the lottery.
Did you buy a lottery ticket? Brad: Yeah, I bought 10 of them. Get anything? Brad: Yeah, I won the Power Ball, but I made time to sit here to talk to my fans at FOXES Magazine. I have a private jet waiting for me! [laughs] So tell me about the day you shot Bowie. Brad: Yeah, that was dream-like. I can’t emphasis to you, the feeling of what it’s like to make a picture like that, to meet someone like that—but you’re not just meeting someone, you’re interacting, you’re capturing something. I had no appointment, he didn’t know this was going to happen, I just had the drive, I was like this unstoppable juggernaut and nothing was going to stop me. But, with that said, I was also very shy. When the adrenaline is pumping so much and you can feel it in your veins, it takes over, the shyness goes out the window. I don’t know what it’s like to shoot drugs and I never wanna know the feeling, cause that’s not me, but I have a feeling it’s like that. I think it’s how performers feel when they’re on stage: Frank Sinatra, Elvis Presley, The Buttertones, what have you. But anyhow, it was very early in the morning, the light was very crisp. I had a tip from my friend Michelle Meyer, she knew everything going on, and she called me and said “David Bowie is recording at the Cherokee Recording Studios on Fairfax! He gets there every night around 11:05PM and he’s there till 6:00AM.” Whatever, you know? I’d already been turned down for a photo pass for a previous concert. So, I went down there, I borrowed a camera from my brother, I still have it, it was a 50mm lens, and I parked my car and I waited. The sun started to come up with this beautiful morning light and the door opened and he emerged. It was pretty hard to miss him. He was wearing this really brilliant orange sweater, inside out, I didn’t know that til afterwards, and he had this cap and this cigarette. It was something out of a movie. It was a pretty cumbersome camera to shoot, especially with a 50, and you’re winding it, so I only had like 3 or 4 pictures of him walking and the shot of him inside the car. The good thing is he didn’t stop and pose, it would’ve been a very different photo if he did. He was such a god, and such an icon. Then the record companies saw it, it was published in Cream Magazine, and I thought “That’s it, I’m finished, I’m not going to get invited to anything.” But, the opposite happened. I got invitations for everything after that. It really took off. I never saw him again. It would’ve been nice to of had coffee with him. I met Mick Ronson a few times though. He died so young, it was so sad.
When did you and Rodney meet? Brad: I would say mid 70s, it was before that Bowie shot. Rodney was and is a really good friend of mine. He introduced me to a lot of people, he introduced me to Kim Fowley, Joan Jett, etc. He was a good source for girls…and groupies, and what not [laughs]. What was the biggest “star-struck” moment for you? Brad: One of them was Bowie. Another was 1976 meeting Bob Dylan, to me that was the ultimate—I was so in love with Dylan. I looked just like him back then also, he told me that. Even though Bowie was reclusive, Dylan was even more reclusive. It wasn’t even about selling the picture, it was about getting the picture, getting to meet him, having the experience and having my picture in People Magazine. They published it and it was a brand new magazine. It was Dylan with De Niro, but at the time I didn’t know who he was. Taxi Driver had just come out! But Dylan really wanted to meet him. I used to go to this photo lab on Sunset and Highland and I told the guy “I don’t know, I took this picture and then Dylan made this big fuss about this guy, Robert somebody…” And the guy goes “Yup, it’s Robert De Niro, he’s in this new film Taxi Driver.” Then 20 years went by and I met Dylan again and I mentioned the whole thing and he couldn’t care less. Sometimes it’s very difficult to meet your heroes. Do you remember the first record that you ever bought? Brad: Probably a Beatles record, A Hard Days Night, I think. First gig you ever went to? Brad: Sly & the Family Stone at The Coliseum. But the concert that really knocked my socks off was Dylan with the Band in 1974 at The Forum. I had a front row center seat and brought my camera with me and took photos. I got them published too! Had you ever seen Bowie live? A favorite show? Brad: Yeah. The Santa Monica Civic, for sure. It was great. Do you have a favorite Bowie tune? Brad: I love “Drive-In Saturday.” But Hunky Dory is the best album, I think. I love “Life on Mars,” and “Kooks”…I used to love “Suffragette City,” but now I’ve heard just way too much of it. “Queen Bitch” was pretty cool too. He always closed the show with “Rock ‘N’ Roll Suicide” too. Going to a Bowie concert, half the fun was looking at the crowd.
“ The sun started to come up with this beautiful morning light and the door opened and he emerged...It was something out of a movie. � - Brad Elterman
SUNFLOWER BEAN
Photography RYAN JAMES CARUTHERS Words JULIAN DE LA CELLE
This New York trio, consisting of Julia Cumming (vox/bass), Nick Kivlen (vox/guitar) and Jacob Faber (drums), have taken the world by storm ever since their time at CMJ in 2014. “We played about 8 shows in 4 days and we got a ton of attention really quickly.” Nick says. “That was when we were all out of school; Julia had just graduated high school and Jacob and I had just finished up our first year of college.” From then on they’ve been playing nonstop with two full American tours and two full European tours in 2015 alone. Here’s what they had to say about how it all began and what to expect next.
In honor of David Bowie, could you introduce yourselves along with your favorite Bowie period or song. Nick Kivlen: My favorite Bowie song is “Space Oddity,” as stupid, and as overplayed as that choice is. Julia Cumming: Mine is “Life on Mars,” I guess, I think that’s my favorite one. That also goes for the video, the whole presentation. Jacob Faber: Yeah, I’d have to agree with Nick and go with “Space Oddity.” So, are you guys all from New York? Nick: Yeah, me and Jacob grew up in Long Island and Julia grew up in Stuy Town in Manhattan. Where and when did you guys meet? Jacob: Nick and I met in high school, like, our junior year, when we were playing in another band together. Nick: Yeah, I was in another band called Turnip King, which is still a band that’s around. It was all people from my high school and we would play in Brooklyn, probably once or twice a week. Our drummer was going away to college and Jacob filled it and that’s how we met. In December of our senior year we started jamming together and then we started writing a lot of songs, but we didn’t have a solid bass player and I met Julia through the music scene in New York and really wanted her to be in the band. I kinda asked her for a little while until I was finally able to convince her. Had you been in any other bands before, Julia? Julia: Yeah, I joined a band when I was, like, 13, and as Nick said, the boys were in a band before and our old bands actually played a show together and that’s kind of how we met up, but I played guitar in that band. I was working on some solo stuff too and I wasn’t really trying to join a new band, but then I tried it and I wanted to practice more bass because I knew how to play, but I’d never been a bass player in a band and I was really interested in doing that. Then as soon as we started it was like ‘let’s go, this is it!’ How long have you guys been together? Nick: Like, two and a half years now.
“ I’ve definitely been into wearing suits lately. I’ve been wearing this one jumpsuit everyday, it’s kind of Nico-ish. But that’s what’s fun about it, you don’t want to be like just one other person. ” - Julia Cumming Have you felt like this last year was really busy for you? Nick: I would say CMJ 2014 was when stuff really started to get busy for us. That was when we were all out of school; Julia had just graduated high school and Jacob and I had just finished up our first year of college. Then we took a semester off— Jacob: Well, we just stopped going [laughs] Nick: Yeah, then at CMJ 2014 we played about 8 shows in 4 days and we got a ton of attention really quickly from various booking agents and labels. Within a few weeks of that we’d had meetings with a lot of people and we got a team together then went to South By and since then it’s been kind of full force. We did two full American tours in 2015 and two full European tours. Jacob: And recorded an album. Nick: And that! [laughs] It was a really busy year for us. Was that your first time in Europe? Jacob: Our first time as a band was when Saint Laurent flew us out to play their after party. Nick: Which is funny because we went to Europe three times, but only played one show the first time we went. It was only Paris. Jacob: Then we went back in May. Do you remember the first show you guys every played together? Nick: The first show…well, we played one show under a pseudo name because we had only been practicing for like two weeks with Julia. Our first official show was…August 28th 2013. Julia: I can’t believe you remember that. [laughs] Yeah that’s crazy. Nick: I just remember! It was at Death By Audio with that band Viet Cong, we opened for them. Were you guys friends with any other bands from the start or became friends with other bands through touring? Nick: We started out in Brooklyn playing with a lot of local bands that we had been friends with for a long time, like, this band Ginger Leaves, we’ve played with a bunch. Jacob: And Honduras. Nick: Honduras, this band Hey Baby, we’ve played with a bunch. They’re a lot of bands in Brooklyn, obviously. There’s a very healthy scene that we came up with. Then we started touring more and we became pretty good friends with Cherry Glazerr and did a tour with them. We stay at each others houses when we play in each others cities. We’re also pretty tight with Diiv and we hang out with them, played a lot of shows with them.
Do you guys remember the first record you ever bought? Nick: I don’t remember the first record I ever bought myself, but the first record my parents gave me was this Ramones compilation. Julia: I remember…my parents played a lot of music for me, but if I’m thinking of a full record, one that really influenced me, for better or for worse, Nevermind the Bollocks by The Sex Pistols. I remember listening to that a lot with my mom. Jacob: I think mine was probably The Who Live at Leeds. That was the first album that I would listen to. Julia: Yeah, I mean, I wouldn’t call The Sex Pistols a building block of my musical talents [laughs]. My dad played more of The Beatles and stuff. Speaking of influences, what are some for you guys? Nick: One of the bands that really influenced Jacob and I when we first jamming together was Unknown Mortal Orchestra. Their first album had just come out over that summer and that’s what kind of gave me the idea for a psychedelic rock trio. Because there aren’t many trios around Brooklyn, I feel. I just wanted it to be pretty stripped down, but full. Julia: Yeah, with a trio you’re working with not so many elements, you can’t really hide behind anything. Not to say that if you’re not in a trio you’re hiding, but you just have less factors. It works out, I think. Nick: And sometimes you see a band and there are two guitarists and I don’t like when you can’t watch the band and automatically understand which part each member is playing. You’re like “Oh, is that melody coming from that guitar or that guitar?” What are some of your influences fashion wise, is there anyone you take your style from? Nick: I mean, there are so many cool looking bands. Jacob: I don’t know, I feel like, for me anyway, it’s organic, but then I’ll look at a picture of The Velvet Underground and I’ll be like “Oh I kinda dressed like that.” Nick: Yeah, it depends on the day. The Velvets are dressed pretty sharply, and cool, but also sleek and minimal. Julia: I’ve definitely been into wearing suits lately. I’ve been wearing this one jumpsuit everyday, it’s kind of Nico-ish. But that’s what’s fun about it, you don’t want to be like just one other person. Nick: Yeah, I think for me Jimmy Page is a pretty big style icon. I really want a one piece suit like his. Oh yeah, those rose embroidered suits, they’re great. Nick: Exactly! Julia’s mom makes a lot of clothing and I bought like giant floral print fabric and I really wanted her to make me this bell bottom suit, but it hasn’t happened yet. Julia: The thing about her and sewing is she only likes to sew for herself. [laughs]
Are there any other creative things that you guys pursue besides music? Nick: I paint a lot, but I would never…I should stick to music is what I’m trying to say [laughs]. I really like going to thrift stores and buying garbage, I really like playing chess…I don’t know. I just made all these stencils and I’m going to start making a lot of one of a kind march pieces, I think. Oh, were you the one making those jean jackets? Nick: Yeah, I wanna make some more, make some better ones. It’s a lot of fun. People really liked them so I was happy! We sold all three in the first hour and I priced them, in my opinion, pretty high. I had them at $60. But making the stencils alone took me 6 hours. I’m also a cheap ass. Jacob: Yeah, you wouldn’t pay $60. Julia: Hell, I wouldn’t pay $60 for anything! [laughs] I would say that we don’t really have a lot of other major hobbies that we spend all day doing, but I like to read a lot, I don’t think that really counts. Jacob: I don’t do anything. [laughs] Nick: We all could spend hours, well not Julia actually, but me and Jacob are like YouTube surfers. We could watch YouTube videos for like 6 hours, digging into concert videos or whatever. Julia: I’m just really bad at technology. You know how they say technology is changing our brains and how we work? I feel like my brain is just not meant for this time. When we all lived together, for a whole year I couldn’t figure out how to turn on the TV. Nick: Yeah, Julia couldn’t watch TV unless someone turned it on for her. [laughs] Julia: It’s not like I couldn’t of figured it out, but do I wanna spend all my time pushing a lot of buttons? Nick: It was complicated to be fair. Julia: But I have been trying to use Logic and I actually illegally downloaded it onto my other computer and then my computer crashed and I had to clear the whole thing so that sums it up for me! But I would like to learn more about production, I had a really good time doing the producing work on our new record Human Ceremony and really going into that. I’m having like fantasies now about being an old music producer. What’s coming up with you guys now? Jacob: Well, we’re leaving to go to Europe the end of January for a few weeks. Then we get back to NY and play Bowery Ballroom on Feb 25th, which is our record release show. We’re going out on tour around the US. Nick: We’re doing a full US tour down to South By and then back across. Julia: And the Bowery Ballroom show is our only NY show for a long time so that’s the one we’re really pushing a lot, so if you’re in NY you should definitely go to that one!
HI
M R A H C N DDE Photography PHOEBE FOX Words ALEX JAMES TAYLOR
MS
Having only put out a limited number of tracks since their inception, London quartet Hidden Charms are proving to be quite the tease. Whetting our appetite, each song alludes to a different–yet equally satisfying–dimension. From the high octane romp that is “Love You ‘Cause You’re There” to the seductive purr of “Dreaming of Another Girl,” Hidden Charms are here to fulfill your every need. Having cut their teeth playing venues across the UK and US, Hidden Charms have been honing their sound Stateside with the help of Nick Waterhouse – the authority on all things R ’n’ B (and Brylcreem). And his influence has rubbed off nicely, take their Rubber Soul-esque track “Sunnyside,” for instance, a hot slice of swingin’ psychedelia that wouldn’t be out of place amongst the music credits for Blowup. Looking like Carnaby Street has just thrown up on them – all paisley clad and moptopped – it doesn’t take too much detective work to figure out their dominant sources of inspiration. Donning a mellifluously retro style these lads spin music that ambles down the path first founded at a Mississippi crossroads and later trodden by the meanderings of 13th Floor Elevators, the punch of The Seeds and the steady cool of The Doors.
Within this R ’n’ B guise, their refined sound comes robust and fluent. Frontman Vincent Davies’ vocals are ballsy, piercing the starry-eyed psychedelic sound, he recalls tales channeling the ecstasies of young love and the wallow of young lust. It’s an awareness of this revivalist ethos fused with a determination to innovate and create new that pushes these kids to transcend their influences, becoming an entity in their own right. Alex James Taylor: So I hear that you guys are heading into the studio, is that to record your debut EP? Oscar Robertson: We have recently spent a few weeks working with a producer called Mr. Chop. Yes its for our debut EP but we’re not really looking at it like that. We just have a bunch of ideas and a really good relationship with the producer so whenever we have time off tour we are gonna be in there working on tracks, be it for the album or whatever. AJT: Nice, where are you recording it? OR: We are recording it Liverpool way, on the Wirrall. Mr Chop has a lovely home studio, right on the marshes. It sets a great atmosphere; Wales is only a stone throw away. He also has some incredible analog gear too.
“ I’m a closet ballerina; it comes out from time to time when I’m excited and or aroused. ” - Oscar Robertson
AJT: Sounds great, my Mum lives around there actually so I know it well. Have you got it all ready or are you still working on some tracks? OR: Well, we have about five tracks done so far, which we are pretty exited about. But as I said we just want to keep going and not stop recording so always more to get down. AJT: Talk me through the sound, will it follow a similar pattern to your previous material? OR: Well if you heard our last single “Love You ‘Cause You’re There” it’s a similar vibe to that. All the new songs are like mutations or distant relatives of that song. Big, fat, dark and soaked in reverb. Also it’s all recorded at the same studio with the same gear so there is a nice continuity to it all, but there are also some surprises thrown in. AJT: I hear that you’re all football fans, what are your teams? OR: Yeah, course. We are football fans, some more than others though. Vincent (Davies, vox/guitar) is a Chelsea fan, Josh (Lewis, bass) is an Arsenal fan and Craig our manager is a huge Man City fan, he claims he would rather be beaten by a horny Mexican gang of bikers than wear a Man United shirt. Ranald (Macdonald, bass/keys) and I support New Mills. Big up. AJT: I’m a United fan so I won’t mention that to Craig [laughs]. OR: [laughs] It’s for the best.
AJT: So how did you all first meet? OR: Well Josh and I were both playing in Vincent and Ranald’s bands, separately, without them really knowing we knew each other. One night we all ended up bumping into each other at a jam night and Vini and Ranald got up on stage and sung some old rock ’n’ roll tunes together and it kind of went from there. We were essentially aiming for the same thing and both loved blues so combined forces. AJT: Nice, did you begin by playing covers together then? OR: Absolutely, I think its important for all bands to, it allows you to grasp the the blueprint of songs, the melodies and structures. We were working with Nick Waterhouse In LA and before we cut anything in the studio he made us learn a bunch of cool old R’n’B covers, the likes of “Woman” by The Emperors and “Voodoo Working” by Charles Sheffield. AJT: You’ve recorded and played a lot in the US, have you found the US sound leaking into your own? OR: As a band we absorb a lot from the places we go and we have spent some time in the States which influenced our sound at the time but nowadays we spend a lot more time in Liverpool which has changed it a bit. Maybe it’s a more rainy sound then LA sun nowadays. AJT: What are your hidden charms? OR: I’m a closet ballerina; it comes out from time to time when I’m excited and or aroused. AJT: A demonstration at your next gig will be required as proof. What does 2016 hold for Hidden Charms? OR: It’s a big year for us, we have a new EP out in April/May and an album to follow. AJT: Lots to look forward to. Lastly, in honor of David Bowie, do you have a favorite song? OR: Ashes to Ashes.
MR ELEVATOR & THE BRAIN HOTEL Photography DARIA KOBAYASHI RITCH
Words JULIAN DE LA CELLE
“ I was the little Asian kid in a suit playing recitals and stuff and then in junior high I just cracked, I couldn’t do it anymore. ” - Tom Dolas
So you guys moved to LA 4 years ago? What made you move out? Tom Dolas: From Orange County, yeah. Wyatt Blair: We were just bored. There wasn’t a lot to do. We’re from, like, really South Orange County, it’s really suburban. We decided to move to LA in like a week and then we did. [laughs] Where do you live now? Wyatt: In Echo Park. When did you both meet? Tom: 5 years ago? Wyatt: Yeah, something like that. 2010, 2011. Tom: He was playing in a band and I was playing in a different band, but I worked at this vintage store with my friend and I’d always see him play in bands there. So it was another friend that introduced us. Then you told me about one of the guys living in Arizona? Wyatt: Yeah, Evan. Similar deal. He was playing in a band and we played with them when we went out there and kept in touch. When we were thinking of adding a fourth member we were like ‘we should just ask Evan.’ It was kind of a whacky idea, but it’s been working! Tom: We did our first national tour, which Wyatt mostly booked, and we asked Evan’s band to do the first leg of it with us and that’s when we really became close. Do you have a favorite Bowie song? Wyatt: I like “Hunky Dory” and I think my favorite song is “Changes”. Tom: I like “Man Who Sold the World,” it’s very raw.
What made you want to play music? Was there something else you were pursuing at the time? Wyatt: I don’t know. My dad was a musician so I just grew up listening to music. There was always shit hanging around, like drum sets and stuff, but my dad would never let me play them. He would just be like ‘Nope, can’t play ‘em.’ I would get in trouble if I was to fuck with any of his stuff. Then I got older and he kinda said to me ‘If you wanna play this, it’s not a toy, it’s serious, you’ll have to take lessons.’ So he taught me, basically, and it morphed from that. Tom: My mom and dad had my brother and I play and learn instruments when we were really young, kinda the same thing as Wyatt, it was really driven in my life, like, you had to practice a lot. I was doing violin classes and cello class and piano classes and I was in orchestras. I was the little Asian kid in a suit playing recitals and stuff and then in junior high I just cracked, I couldn’t do it anymore. I had an older brother who was better and I think I was just like ‘I don’t want to be like my older brother’ and I got into skate boarding and was like ‘fuck music I just want to skate.’ Then I went on a big friend trip to Big Bear and one of my friends that went was really into music and kind of brought me back into playing. He had this amazing studio set up in his garage and I’d just go over there after school and we’d play music and it kinda just spiraled from that. I didn’t really want to be in a band until we started Elevator. Wyatt: Yeah, me neither. For me it was just surfing. I never thought of doing anything with a band until this. Before it was just fun, I’d play music with other people. Like jamming and stuff. Wyatt: Yeah, totally. I mean, we started off with just jamming. We didn’t have songs; we’d play shows and just free jam. Tom: Yeah, for the first year we just didn’t care. We tried to make it as improvisational as impossible. Wyatt: The first record is just all the stuff that we jammed that we liked and made into songs. [laughs]
What was the inspiration behind Nico & Her Psychedelic Subconscious? Tom: Well, our previous drummer was a big part of the band when we first started, he would name all of the songs. His fiancé at the time was named Nicole and she went by Nico. So the first song we ever wrote he called Nico. That end jam part used to just be really, really long and really out there. When we made the album we wanted to consolidate it into an actual part and we just called the end section Her Psychedelic Subconscious. Do you remember the first record you ever bought? Wyatt: Yes! Goldfinger Hang-ups. I still have it in my car somewhere. I love that record, so much. My dad used to buy me records as gifts and the first time I saved up $8 and went to Warehouse Records and bought the CD. I remember it very well because it was like explicit lyrics and I was just like ‘Damn, this is fucking cool!’ Tom: I think it was Green Day Dookie. Oh yeah I remember that cover. Tom: Yeah! I would always listen to it on my five-way CD changer. It had the LED lights that would change colors and I remember just sitting in my room examine every character while listening to it. I still like that record. Wyatt: That’s like real nostalgia. What were the main influences for Mr. Elevator? Wyatt: There’s this band called The Ultimate Spinach that we really liked. They were a 60s band from New England, I think. There was a band Blue Phantom as well. They were a huge inspiration. We still strive to be like them. Tom: Yeah, they’re like an Italian instrumental band from the 70s. There was a composer that brought all these musicians together and only made one album. It’s really fuzzy and psychedelic. Do you guys remember the first concert you ever went to? Wyatt: Umm…the first one… Tom: Mine was a Yes concert because my dad was really into Prague music. I remember I was like 4 and he took the family out to a Yes concert. I remember being in the front with big headphones on and just looking at John Anderson’s long shiny hair. Wyatt: I wanna say mine was The Red Hot Chili Peppers and The Flaming Lips opened up for them. I remember it being the most bizarre thing ever. It was the tour where they were wearing all bunny suits when they played. I was just like this 9 year old going ‘What the fuck is this?’
I wanted to ask about your involvement in Lollipop? Wyatt: Well, I own it, co-own it. It started technically it started in 2011, but it wasn’t really trying to be anything. It was just me and Tomas making tapes. Then in 2013 we ended up getting a storefront, kind of on a whim. Tom: Well, first we got the studio space. Wyatt: Oh yeah, which we split with our friends, just to practice. So do you both own it? It always seems like there are a bunch of people who own it. Wyatt: Yeah, basically [laughs] Like…in total there have been a dozen people involved. But it started with the studio space, us and Mystic Braves shared it, and there was a computer repair guy next to us and he left and we kind of said ‘what if we opened a record store?’ Tom: I remember that night. Wyatt and I have lived together in probably 6 different houses. Do you live together now? Tom: No, this if the first year where we’ve split off. Wyatt: Yeah, it’s weird. Tom: I remember we were sitting outside at this green table going ’Should we do this? It’s a possibility.’ Wyatt: We put a lot of our own records in the store. Most of my record collection is gone. We had help from friends; a lot of them donated stuff. We still have the same mindset. We just wanna help underdogs. What do you guys having coming up for this year? Wyatt: We have a record that we’ve been sitting on. Just sitting on it? Wyatt: Yeah, it’s done. Tom: We finished a record almost a year ago. We’re just trying to see how to be proper as a band. Wyatt: Yeah, we’ve never done anything right, never had a music video, never toured correctly. We’ve done everything kind of ourselves. This time we want to see the possibilities.
BLOSSOMS
Casper and Alex of
BLOSSOMS Photography PHOEBE FOX
Words JULIAN DE LA CELLE
“ Growing up listening to and watching bands like Oasis and Arctic Monkeys kind of give you the belief that, even if you’re just 5 normal lads from a working class background, you can take this round the world. ” - Tom Ogden
Where are you from and how did you all meet each other? Tom Ogden: We’re all from Stockport, England, which is a town about 10 minutes from Manchester. I met Joe, our drummer, at school 10 years ago; Joe was in a previous band with Charlie (bassist), and Joe used to date Josh’s (guitarist) sister. We used to go to parties in a flat above a curry house, which Myles (keyboards) lived in. What made you form the band? Tom: We were all unsatisfied with the state of our current bands at the time, so naturally we started jamming together as a four piece for something to do because we had the free rehearsal space in Charlie’s granddad’s scaffolding yard. Myles joined a few months later and then Blossoms, as we know now, was born. Who are some musical influences for you guys? Tom: All the obvious ones really which come from a classic pop songwriting background; The Beatles, Abba, Oasis, Arctic Monkeys, even more recently Taylor Swift. What was the first record you bought? Tom: I think mine was Justin Timberlake’s Justified. What was the first live show you went to? Tom: Oasis, Heaton Park Manchester 2009. Any venues you love to play? Tom: There’s so many great ones we’ve been lucky enough to play already, Albert Hall Manchester, Apollo Manchester, Southampton Guildhall are all great.
Were you friends with other bands when you started? Tom: We became close friends with a band called The Vryll Society from Liverpool through touring. They’re a band with great songs, and are supporting us on our upcoming Feb/March UK tour. Where did the name Blossoms come from? Tom: It comes from a pub in Stockport called The Blossoms. How would you describe your sound? Tom: I always think it’s such a difficult question to answer. Eventually, when you’re well established, you don’t have to describe your sound, people will just say it sounds like Blossoms. But I would say melodic synth guitar pop. Is there anyone you look up to or see as a role model? Tom: Growing up listening to and watching bands like Oasis and Arctic Monkeys kind of give you the belief that, even if you’re just 5 normal lads from a working class background, you can take this round the world. If you could spend 24 hours with someone in music, alive or dead, who would it be and what would you do? Tom: James Skelly of The Coral, he’s producing our debut album. We’d watch Basket Case 1, 2 and 3 and Rocky 1-6. Do you have a preference in recording analog to digital? Tom: Not particularly. I think you can get caught up with trying to re-create old sounds or spending 2 hours getting to correct cymbal sound. It’s 2016 so we have the ability to not have to worry about that so much. If it sounds good it doesn’t matter if it came from a 60’s amp found in the back of a skip or a preamp in ProTools. Any influences in film? Tom: I’m a big fan of Alfred Hitchcock movies; a character from Vertigo inspired our song “Madeleine” in fact. What’s to come for 2016? Tom: Debut album release and then the world!
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