ISSUE 4 - S15
TWIN SHADOW V I E T CO N G | DU BLO NDE | A F R I K A N B O Y | I B E Y I E R I K H A S S L E | D O L D R U M S | D A N I E L A R I S T I Z Á B A L | JUNG L E J A M I E XX | WIL L BUTL E R | UZO ADUBA
Georgie ISSUE 4 - S15
Editor-in-Chief & Creative Director NATHAN MARSHALL
Associate Editors AARON PEDERSEN + AMANDA PURDIE
Fashion Director MICHAEL MENEGHETTI
Copy Editor JUDE ZUPPIGER
Contributing Writers KIERAN CHRYSLER, DUSTIN ESPANOL, ANITA FREEMAN, GLEN LEAVITT, ROL AND PEMBERTON, AMANDA PURDIE
Contributing Photographers ANDREW BURTON, MAYA DAGNINO, NEIL MOTA, NINO MUÑOZ, PEDERSEN, FL AVIEN PRIOREAU, MATHEW SMITH, JAN-MICHEAL STASIUK, SEAN TRAYNER
Contributing Interviewers FULLCOURSE, FELIX FUNG
Special Thanks CRISTINA ACEVEDO, FULLCOURSE, VANESSA FURINO, VALÉRIÉ L ALIBERTÉ, MODE MODELS, NICKOL WALKEMEYER, MATHIAS BP
Contact GEORGIE MAGAZINE 222 - 9662 101a Ave Edmonton, AB, Canada T5H 0A7 info@georgiemagazine.com | www.georgiemagazine.com facebook.com/georgiemagazine | twitter.com/georgiemagazine instagram.com/georgiemagazine FOR ADVERTISING OPPORTUNITIES info@georgiemagazine.com
Self published by Georgie Magazine Inc. Opinions expressed in this issue are the opinions of the authors and do not nessesarily reflect the opinions of Georgie Magainze. 2015© Georgie Magazine. Reproduction without permission is prohibited. Printed in Canada.
Features
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VIET CONG
DANIEL ARISTIZÁBAL - 31 -
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WILL BUTLER
IBEYI
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DU BLONDE
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JUNGLE - 35 -
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TWIN SHADOW
ERIK HASSLE
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A F R I K A N B OY
JAMIE XX - 41 -
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UZO ADUBA
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WORDS
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Kieran Chrysler P H O T O
BY
Pedersen
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VIET CONG Any band named after a Vietnamese militant group is sure to come up against a little controversy. Case in point? Viet Cong – the critically acclaimed Calgary-based, postpunk foursome. Despite the band issuing a statement dismissing any intent to cause offense – explaining they naively chose the name knowing little about the Vietnam War – it’s definitely rustled some feathers among Vietnamese-American communities. Even with the name controversy, Viet Cong continues to sell out shows. They recently returned from an extensive European tour, where they performed to packed venues on a nightly basis. But this wasn’t always the case. Lead singer
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and guitarist Matt Flegel – previously part of the punk band Women – says that before their debut self-titled album dropped, the band went on a mini-tour that involved playing to a lot of sparsely populated audiences. This time on the road allowed them to lock down their sets and really get to know each other. “We were testing the waters just to make sure the four of us could get along in an enclosed space for that amount of time,” Flegel says. Flegel appreciated the chance to flex his muscle as a lyricist. He describes the songwriting process as long but says it was about more than finding themes – it was about getting it right: “I can deal with putting a lot of time into the lyric writing because I didn’t want to fail.” Flegel admits that the repetitive nature of performing has some pull over the tracks that will get produced. “I go into recording thinking, ‘Okay I’m probably going to have to play this song 250 times this year,’ ” he says. “So we try and keep it interesting for ourselves.”
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WORDS
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Anita Freeman P H O T O
BY
Jan-Micheal Stasiuk
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believed what they were saying about me, which is always detrimental. The ‘cracking’ was finally being like, ‘Fuck this!’” Judging by the first single, “Black Flag”, listeners can expect a much heavier, edgier, and altogether more powerful sound than before.
DU BLONDE Newcastle-born Beth Jeans Houghton, former frontwoman of The Hooves of Destiny, has returned following the 2012 release of Yours Truly, Cellophane Nose, this time with a new name, new sound, and a soon to be released album, Welcome Back to Milk – her first as Du Blonde. Houghton describes the change in direction as something born out of “a process of evolving.” She talks about the general mood of the album as one of finally cracking, explaining, “I went through a couple of years where I let people not treat me very well. I —10—
Due to be released mid-May 2015, the majority of Welcome Back to Milk was produced by Bad Seeds and Grinderman member Jim Sclavunos, and features vocals by Samuel T. Herring of Future Islands. Houghton says collaborating with Herring helped to broaden her creative horizons: “You can get stuck in a stagnant way of working, but when you do it with someone else you’re sort of forced to look at things a little differently.” When asked about her evolution as an artist, Houghton says, “I’m sure I will continue to change over the next couple of records. I don’t feel like I’ve hit the point I was looking for, but it’s definitely a lot different to the last record. I feel more like myself now.”
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Anita Freeman P H O T O
BY
Andrew Burton
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AFRIKAN BOY release of The ABCD, we chatted with Ajose about mentoring, motivation, and becoming a father. G—You’ve been on quite a journey to releasing The ABCD. Can you tell me about it?
Global MC Olushola Ajose, a.k.a. Afrikan Boy, first made waves on the London underground scene with the release of “One Day I Went to Lidl”, leading to a high-profile collaboration with M.I.A. Following the long-awaited
OA—My album has been a long time coming. Production came from Los Angeles, New York, Canada, Africa, Nigeria, London and Denmark, so I think it’s a representation of creating great relationships with friends and producers abroad. G—Your most recent single, “YAM”,
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has a lot of meaning behind it. Can you tell me about that? OA—YAM stands for young, ambitious and motivated. It was an ethos that sprung out of hard work and finding a way to keep motivated when we all have our own individual goals in life. It’s like a call to action, mainly for young people who want to create a network of like-minded creative people. I do a lot of work internationally and locally with young people who have been kicked out of school. G—Where does all this motivation come from for a guy like you from South London? OA—It comes from family, struggles, growing up, trying to escape harsh realities. It’s like when you’re coming from a dark place or the odds seem to be against you, you’ve got to fight your way out. Now that I’ve got a son, it’s a whole new level of motivation and focus and sacrifice.
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Amanda Purdie P H O T O
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Maya Dagnino
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IBEYI At just twenty years old, Lisa-Kaindé and Naomi Díaz – the French-Cuban twins better known as Ibeyi – have already experienced their fair share of heartbreak. At age eleven, they lost their father, wellknown Cuban percussionist Miguel “Anga” Díaz, and then their sister a few years later. But they’ve channeled their grief into creating evocative, soulful music rooted in pain, love, family, and spirituality. Ibeyi’s self-titled debut album is written in both English and Yoruba, a language that originated in Nigeria and Benin and eventually spread to Cuba through the West African slave trade. It’s a language that connects them to their ancestry:
interview, while Naomi chimes in to agree or disagree between puffs of hand-rolled cigarettes.
“We grew up listening to the Yoruba chants and seeing people do Yoruba dance. It’s an amazing part of our culture and ourselves,” explains Lisa-Kaindé. When asked to explain the meaning behind a Yoruba chant that intros the emotionally charged song, “Think of You”, the twins struggle to put it into words. “Even if you don’t understand it, you still get it,” says Lisa-Kaindé. “We don’t understand all of what we’re saying, but we can feel it so strongly. Everyone can feel Yoruba.” The twins may have the uncanny ability to finish each other’s sentences, but their personalities couldn’t be more different. Lisa-Kaindé, the more sensitive of the two, speaks candidly during the
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It’s only when performing that they become completely in sync. “We’re doing this job because we’re connecting on stage,” says Naomi. Musically, their talents are a perfect complement – as the lead vocalist, Lisa-Kaindé writes the lyrics, composes and plays piano, while Naomi provides the rhythm, using percussion instruments like the cajón and batá drum. Even with a critically acclaimed debut album release under their belt and an extensive tour underway, the twins remain grounded. It’s little surprise that this family-oriented duo looks to their mother for guidance. Explains LisaKaindé, “The biggest lesson she taught us is to give love to yourself and to others, and to choose what you want to do and do it” – advice that will no doubt continue to take these two very far.
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musician
HAIR + MUA
BY
Vanessa Furino
ERIK HASSLE LA-based, Swedish-born singer-songwriter Erik Hassle is part of the latest cohort of talented Scandi-imports to make waves on North American shores. Tall and lanky with a mess of curly red hair, his look is as unique as his sound – an intriguing blend of soul and electro. His latest single, “No Words”, is his most dance-worthy track to date, taking Hassle out of the realms of the introspective, atmospheric electronica sound characteristic of tracks like “Pathetic” and setting him up for more mainstream success. Georgie recently caught up with Hassle to talk about his newfound urge to dance, what influenced his love of soul music and the pain of heartbreak.
INTERVIEW
BY
Anita Freeman P H O T O
BY
Neil Mota
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My friend’s dad had a rehearsal studio where we used to go up and play on the instruments and we found a few vinyls – Wilson Pickett, Creedence Clearwater and Elvis Presley. We started listening to that and then we started playing music after that.
G—Can you tell me about your new single, “No Words”? Erik Hassle—I did this song when I was in a really heartbroken moment. I was so in love with this girl who didn’t want me, and the song kind of reflects how in love I was and how sad I was at the same time. G—Interestingly, when I listened to the track it actually made me feel quite uplifted. Lyrically, you can understand the heartbreak, but it’s quite a dancey track – it made me want to move!
EH—Yeah, but when you are in love that’s when you feel the most, you know? I think that’s when you want to dance too! [Laughs] G—Is this kind of a new direction for you, this more sort of dance-pop?
EH—My friend’s dad had a rehearsal studio where we used to go up and play on the instruments and we found a few vinyls — Wilson Pickett, Creedence Clearwater and Elvis Presley. We started listening to that and then we started playing music after that. G—Have you done any collaborations recently or do you have anything coming up? EH—I’m doing something with my friend RRReymundo – we’re releasing a song together in a little bit. I’m also featured on a Vario Volinski single coming out called “I’m Falling in Love”, and I did something with Icona Pop, which will be coming out on their album. G—And what are your plans for touring the
EH—Yeah, I think so. I feel like that’s more what I’ve been doing lately, maybe even without purposely thinking about it. I think I’m just in that mood now – I feel like I want to dance!
new record?
G—“Pathetic” has a more soulful sound. Where does that soul influence come from for you?
bit there and just hope that I get some slots. I just
EH—I just got told that I’ll be playing my first festival in September in Washington, D.C. Then I’m going over to Sweden in May to play a little want to be out there.
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DOLDRUMS WORDS
BY
Roland Pemberton
PHOTOGRAPHY
BY
Neil Mota
“The combination of mess and chaos has been one of the things I’ve been most interested in,” says Airick Woodhead, the primary songwriter and producer behind Doldrums. The freewheeling Montreal-based electronic pop group is freshly signed to the iconic rock label Sub Pop and has just released its new record, The Air Conditioned Nightmare, on April 7, 2015. “With psychedelic music, it’s often what you read into it rather than what it tells you. So even though there’s more information, it leaves more up to the listener.”
a romanticism in whatever themes you’re addressing.”
Named after the 1945 Henry Miller book, The Air Conditioned Nightmare brings to mind the image of a dystopian present where even temporary discomfort is an inconvenience to be avoided at all costs. But for all the technological conceits of the title, Woodhead’s lyrics revolve around human interactions, romantic entanglements and the uneasy dynamics of contemporary urban life.
“I still jam at Torn [Curtain]. I definitely reminisce about that one summer that was fucking crazy every weekend, like 500 people,” says Woodhead. “Having a setting for your music is the most important thing. Having a venue especially makes for the most fertile ground for creativity because you have people [performing] and you have an audience. There gets to be some communication there. It sets the parameters for necessary creativity.”
“We’re at this time where a lot of music is being really explicit about its themes. I still like the idea of the songwriter addressing issues thematically [but] still having
A jumble of distorted samples, ethereal vocals and electronic noise that sounds like the damaged laptop it came from, Lesser Evil figured amongst the second wave
Woodhead’s previous effort, 2013’s Lesser Evil, emerged from the backdrop of a burgeoning loft party scene in Montreal that found musicians of various genres playing mixed bills at all-night gatherings and drawing inspiration from club music, like a 21st century version of Manchester’s rave scene. Airick Woodhead lived in one such venue, the legendary Le Rideau déchiré (the Torn Curtain).
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of physical releases to come from Montreal’s Arbutus Records, a cadre of Mile End pop futurists with divergent sounds but a similar ethos and aesthetic. But since that time, the principal figures have been largely absent from the city, be it due to touring obligations or relocation. “I don’t think I would’ve been able to make records at all if it hadn’t been for the support of people like Seb [Cowan, CEO of Arbutus Records] and Claire [Boucher, of Grimes]. I don’t think the music would’ve sounded the way it did if it wasn’t for Kyle [Jukka, from Pop Winds and Flow Child], Tim [Lafontaine, from Cop Car Bonfire] and Sami [Blanco].” The Air Conditioned Nightmare is a deeper listen than Lesser Evil, a distinctively more mature and organic statement that draws from the considerable mixing talents of Damian Taylor (Björk, Arcade Fire) and Shawn Everett (Julian Casablancas, Weezer). The Air
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Conditioned Nightmare occasionally sounds like the soundtrack to the after-party at the end of the world. This shift has a lot to do with Woodhead moonlighting as a DJ in recent years. “I have so much respect for having a honed, cohesive DJ set,” says Woodhead. “It’s more about learning about genre in general, in terms of electronic music... Getting into tools a bit more in that way, drum sounds and patterns, things like that. Deconstructing techno has been the most creative thing for me.” Album opener “HOTFOOT” is the closest Woodhead gets to replicating the frenetic live energy of the afterhours events he arose from – a raging storm of digital screams, cymbal crashes and skittering techno rhythms. “I would love for Doldrums to sound like the house band at the Montreal weird loft party. That’s all I care about.”
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artist
DANIEL ARISTIZÁBAL
CÓSMICA Y SUS HUEVOS INTERVIEW
BY
Glen Leavitt
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My concept for Cósmica y sus huevos stemmed from the idea of what happens inside a black hole, a place where the rules of physics don’t apply in the same way as they do here.
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artist
Daniel Aristizábal is a Colombian artist, illustrator, and graphic designer who has described his style as “pop surrealism”. His work combines elements of Cubism, Dadaism, and Futurism with pop art and postmodern design. Aristizábal’s work is saturated in 1980s pastel hues, bold geometric patterns, and a playful sense of the absurd. We spoke to Aristizábal about his influences, the role of symbolism in his work, and his recent project, Cósmica y sus huevos, which explores the ancient myth of the Earth being born from a primordial egg.
G—Your recent editorial project, Cósmica y sus huevos, references the ancient belief that the universe was hatched from a primordial egg. How did you encounter this belief, and why did it take on such significance for you? Daniel Aristizábal—Well, since I can recall I’ve been interested in philosophy, history and the origins of the universe. My concept for Cósmica y sus huevos stemmed from the idea of what happens inside a black hole, a place where the rules of physics don’t apply in the same way as they do here. G—Human subjects are largely absent from Cósmica y sus huevos, except for these detached black model hands. Can you tell me how you decide what kind of objects you want to include in your work? DA— Yes, the human body as a whole is absent. I like to break things down into smaller pieces and mix them so that they don’t seem to match. Two of the bases of my work are juxtaposition and Surrealism. G—Your work seems precisely and meticulously arranged. Is there room for improvisation and last minute changes during the actual arrangement of objects?
DA—Yes, actually there’s a lot of last minute changes. I am never fully married to an idea – there’s always room for improvisation. I like to see each illustration as its own world, and each world has its own set of rules in terms of colours, composition and “physics”. After I decide what kind of settings are going to rule this particular world, I start to move stuff around. It’s a very controlled randomness. G—Your colour palette of bold pastels – pinks, blues, yellows – as well as the black and white stripes and geometric patterns in your work refer back to elements of 1980s postmodernism. How did you become exposed to that style, and why does it appeal to you? DA—That style has become so massproduced and absorbed by popular culture that it was impossible for a kid growing up in the early ‘90s not to be exposed to it. I love colours and absurdity, and I’m a very political person, so the idea of an art style that tries to break the establishment is very appealing to me. In the end, I think I am more influenced by the spirit of Surrealism, Cubism and Dadaism. G—The ‘80s postmodernism Memphis movement was born out of an artist rebellion to challenge the approach to designs. Why do you
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think there has been a resurgence of this style and do you think it still carries the spirit of rule-breaking innovation?
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DA—I try to create little worlds in a visual sense and incorporate personal symbols in my work. There are examples of inside jokes and references to people in my life. My main
DA—Time is a flat circle; we are destined to repeat certain aspects of our history. For better or for worse. At this particular time, I believe that design is returning to a more artistic approach. For years, graphic design had been considered just a part of advertising. People like Milton Glaser and his work shaped the early years of graphic design, perhaps the more important years, and that same vibe of creating more personal and artistic graphic design is coming back.
desire is to be able to explore an abundance
G—Can you tell me about the role of symbolism in your work? To what extent are your design choices influenced by a desire to communicate some meaning beyond the immediate visual effect?
impossible that everyone who comes across
of ideas and concepts about life. G—Is it acceptable to you for an audience to appreciate your work on a purely aesthetic level, or must they also grasp the meaning and cultural references layered below the surface? DA—Just the fact that people like what I do is enough for me. I am still amazed at how well my work has been received. I really think it is an art piece will understand the real intention of the creator. Some people will, others won’t. It will affect each person according to his or her own experiences and I love that.
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I like to see each illustration as its own world, and each world has its own set of rules in terms of colours, composition and “physics”.
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JUNGLE WORDS
BY
Amanda Purdie P H O T O
BY
Mathew Smith
In 2014, Jungle had critics’ tongues wagging with the release of their self-titled debut album. It earned the duo a Mercury Prize nomination and a host of favourable reviews describing them as the one of the most exciting things happening in music – not bad for a band that seemingly came out of nowhere.
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I don’t really believe in trying to define music or classifying genres – I just believe in music. Music has a cycle of borrowed influences.
In fact, Jungle is the product of childhood friends and London natives, Josh Lloyd-Watson (J) and Tom McFarland (T), who were making music together long before forming the band at the start of 2013. After releasing two selfproduced, dance-worthy singles online, “The Heat” and “Platoon”, a coveted spot on BBC’s “Sound of 2014” list was quick to follow. At the time, Jungle remained shielded in anonymity – not even their names were public knowledge. So when their video for “The Heat” went viral, many wondered if the pair of spellbinding, roller-skating dancers seen on screen was actually the men behind the music. As it turned out, they were two guys known as Icky and Silence from the High Rollaz UK skate crew. And so the mystery deepened. At first glance, it might seem like the initial facelessness of Jungle was intended to build hype around the band – a way to get people talking. But J explains that it was completely unintentional. “I think it stems from a general misunderstanding of our original artistic concept,” he says. “Everybody’s insecure and self-conscious, and I think in the beginning it kind of stemmed from that,” adds T. “We used to play in a band before and we wanted to remove ourselves from that and leave it to the music.” It wasn’t long before Jungle’s disco-tinged brand of modern soul caught the attention of XL Recordings. Their debut album was recorded between the band’s own home studio and the XL recording studio – a first for the two, who started off as bedroom producers recording on their laptops. J acknowledges the ease with which people can make
music in today’s digital era: “Anyone can stick a track on SoundCloud and have an audience for it – which is where we started. But the difference for us was when we started playing live and were able to see the impact.” Performing live is what changed – and finally exposed – the face of Jungle. After forming a collective of several different artists pulled from a range of disciplines, they eventually expanded to a seven-piece band. The intention was to take their music beyond the bedroom to create a real connection to the audience with a fuller sounding, more experiential performance. As J recalls: “We played a show in Mexico to around fifteen thousand people and the energy from that crowd was just immense. It’s reassuring to know you are creating something that’s touching people.” Trying to fit Jungle into any one category is no easy task, with a sound that’s influenced by several decades’ worth of funk, soul, electronic, world music and seemingly everything in between. And that’s just fine with T: “I don’t really believe in trying to define music or classifying genres – I just believe in music. Music has a cycle of borrowed influences.” The initial mystery surrounding Jungle may have diminished, but their popularity continues to soar – as does the potential for criticism. Says T, “The more exposed you become, the more people want to bring you down. People are going to write negative things about you but you can learn to be stronger and use that criticism to help your process of writing.” In the end, Jungle isn’t about the mystery or the hype or the image people choose to buy into. As J puts it, “It’s about removing the possibility of our own ego.”
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JAMIE XX WORDS PHOTO
Dustin Espanol
BY BY
Flavien Prioreau
“Sometimes it’s easier to be in a group. Sometimes it’s easier to be inside your own head,” says Jamie xx. Full stop. Jamie always speaks succinctly. No more, no less. As a listener, you might feel short-changed, but in hindsight, you can glean volumes from what he does (and doesn’t) say. In this instance, Jamie is describing his headspace as he created his second solo album, In Colour.
libs of jungle MCs navigate the listener through the frenetic percussion. “Sleep Sound” is perky with its jacking house bassline. “I Know There’s Gonna Be (Good Times)” employs Young Thug and Popcaan to complement its easy-going bop. Relative to previous releases, adjectives like “minimal”, “ephemeral” and “whispery” do not apply this time around.
In Colour eschews the trademark broodiness that has garnered The xx worldwide acclaim over the past six years. It’s upbeat. It has thump. It’s happy (!). For Jamie, it was a release that needed to happen. He explains, “I could continue to tinker with things, but at some point you just have to let it go.”
In Colour culminates Jamie’s journey as an artist to date. He was adamant in releasing In Colour only if it was in step with his own development. “I kind of feel lucky because I had time to ease myself into this,” he explains. “I’ve always had somebody else to take the weight from my shoulders. I had been gaining confidence, and this just seemed like the right time to do it.”
In Colour pays homage to the London music scene that raised him. “Even as a kid, club music is always present. New genres come out all the time. It pushes me to make music that’s very eclectic.” Jamie processes his influences but ensures they travel through his filter before finding their way to the listener’s ear. That’s what makes his music so inherently Jamie xx. It’s one thing to stay ahead of the curve; it’s another to ignore the curve altogether. Jamie explains: “Because there are fewer and fewer boundaries in both pop and dance, it’s less about cutting less of a niche, but more about being classic.” The drum and bass overtones of “Gosh” hit unlike anything Jamie has previously released. The ad-
Jamie feels the prolonged creation period was a test in itself: to make music that isn’t a flash in the pan. “It was made over a period of six years – I wanted it to be timeless,” he says. Such displays of patience and reluctance are scarce amongst people his age. At 26, Jamie has a music career so many would covet. Just as he speaks, each of his contributions to the musical ether is carefully deliberated. Downtime is a luxury that Jamie can’t afford at this time. The next group xx album is being primed and a ballet scored entirely by him is set to debut in both the UK and New York. It makes sense that a person like Jamie xx is so soft-spoken. His actions do all the talking.
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WILL BUTLER INTERVIEW
BY
Kieran Chrysler P H O T O G R A P H Y
BY
Neil Mota
Most people will recognize Will Butler as the talented multi-instrumentalist and younger Butler member of Arcade Fire, whose charismatic on-stage persona makes him a hit at shows. But with the band’s hugely successful Reflektor tour now behind him, Butler is ready to branch out. This time, he’s going it alone with the release of his debut solo album, Policy – an eclectic eight-track collection influenced by Butler’s American roots. Butler recently talked with Georgie about political commentary in music, the value of reading reviews, and his thoughts on selling out.
G—So what ultimately convinced you to do a solo record? Will Butler—Arcade Fire was taking a little bit of a breather after the Reflektor tour and the timing felt right after the Oscar nomination [Butler was nominated for Best Original Score for his work on Spike Jonze’s Her]. So I kind of knew I had a window and I had some songs I wanted to put out there. G—Has Arcade Fire encouraged your solo musical pursuits?
WB—I mean, this album is like a book of short stories, so there are a lot of characters. But you’re still working out your own emotions or your own feelings or your own feelings about your feelings in something where you aren’t the main character. And I really care about all the characters, so it feels quite personal. [Laughs] G—Policy has some light satirical commentary on capitalism, religion and politics. Do you see yourself making heavier political music as your solo career evolves?
WB—Yeah, and there’s a lot of us doing a lot of creative things all the time. Richard [Parry] is working on classical music lately and Sarah [Neufeld] is doing solo stuff. There’s an element of a community of artists and it feels very exciting to be in that community. Arcade Fire is very aesthetically satisfying work. [Laughs].
WB—I think so. It’s just what I’m engaged with naturally, so it would be surprising if it didn’t come out in the music. And I love a political song that really engages you emotionally, that’s not just like major punk rock, but that gets really gnarly and complicated – which a lot of punk rock can do. But my goal is to try and write it in a really gnarly way.
G—How much does your writing feel like it’s personal, and how much of it is commentary?
G—As an artist, do you think reading reviews is helpful or detrimental when it comes to writing?
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BY
Vanessa Furino
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WB—The reviews by themselves are not that helpful when it comes to writing if you’re just saying, “What do people think of me?”, but I think it’s part of the larger exercise of being in conversation with the world – of being in conversation with fans and critics, and people who like music who aren’t fans, or haters who are hating. I think there’s value in having a conversation about art.
discussion to discuss artists making money off music in
G—What was the biggest takeaway of your pursuit of this solo album?
good. But the sad thing about selling out is that it enables
the digital economy. What’s your take on the whole “sellout” phenomenon? WB—I mean, I’m 32. So I’m an extremely grumpy old man. But what I said is I kind of don’t care about selling out, as long as the art you make when you sell out is more people to have careers making bad art. It’s a tricky thing to say.
WB—Having the responsibility and knowing if you screw up no one’s there to fix it! [Laughs]. No, I’m certainly working with a safety net – I’ve got a really good day job I can go back to. But it’s nice to have the final artistic responsibility fall on my shoulders, and have it be on my name.
G—Do you think you will continue releasing solo records in the future? WB—Yeah, most certainly. We’ll see what the timing is like – it will depend on what Arcade Fire is doing and what
G—Recently at South by Southwest you sat in on a panel
the world is doing and all that – but yes, definitely.
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TWIN SHADOW Amanda Purdie P H O T O G R A P H Y B Y Neil Mota WORDS
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Could John Lewis Jr., the Dominican-born, Florida-raised man behind Twin Shadow, finally be ready to step out of the darkness and into the light? Following the release of what is arguably his most honest album to date, Eclipse, Lewis admits the last year has been one of both self-discovery and selfsurrender. Now, with a more approachable sound, the backing of a major label, and a decidedly fresher outlook, the new Lewis is set to sing his way (sans guitar) to neverbefore-reached heights. But getting here has been a journey of significant ups and downs for Lewis, whose first taste of success came with the 2010 release of Forget. In the couple of years that
followed, a demanding tour schedule and a rise in popularity led to a slew of empty relationships, late nights partying and substance abuse. Lewis turned a corner in 2012, citing a more sober approach to recording Confess, but the years of overindulge – compounded with recent personal tragedies – caught up with him. “I think I was in an emotional rut. I was looking at everything in a very cynical way,” says Lewis. “During the time leading up to the making of Eclipse, I experienced a lot of new relationships and the mending of old relationships. It gave me this new kind of hope, which I think is reflected on the record.”
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During the time leading up to the making of Eclipse, I experienced a lot of new relationships and the mending of old relationships. It gave me this new kind of hope, which I think is reflected on the record.
Eclipse certainly marks a change in direction for Lewis, who bids farewell to the somewhat coded lyrics of bygone albums and ushers in a more direct approach to songwriting. The album takes listeners on an intimate journey, veering between the extreme highs and lows of love and heartbreak – or, as Lewis describes it, “…a lot of shadows at play, and a lot of lightness and darkness competing for space.” Towering over soaring synths is Lewis’ signature croon, belting lyrics that reveal much about his own vulnerability – “Hey, hold on to me / Don’t say it’s the end of me/ I’m right here, I’m ready,” he emotionally declares on “I’m Ready”. Notably absent is Lewis’ guitar, perhaps in an effort to let his words do the talking, or maybe to more directly align with the clubdriven sound of tracks like “Old Love/New Love”. It’s also a glossier album than its predecessors, which many credit to Lewis’ recent surprise move to Warner Bros. from indie label 4AD. But Lewis is quick to note that Eclipse was written and recorded long before the switch – in fact, album promotions were already underway, along with a tour that was booked and subsequently cancelled while Lewis took time to reflect. Talking about the change, Lewis says, “It was a very difficult decision for me. But it was something that in my heart I wanted. I was at a point where I wasn’t sure that people were really ready to go to bat for me. And I found
that at Warner, so I’m excited about my new relationship.” He also speaks amicably about 4AD: “I had an amazing relationship with people at 4AD – and they still sell my records – so I hope that relationship continues.” Given Lewis’ state of flux in recent years, the name Eclipse is fraught with symbolism. Describing the thought-process behind the name, he says, “I like the word ‘eclipse’ because it implies a kind of epic event or a spectacle. This very simple thing happens – the moon blocking the sun – and for this brief moment things align and you have this spectacle.” For Lewis, this process of alignment occurred as he became more self-aware and began to re-establish loving relationships, all the while regaining the inner positivity he had lost. The name is also represented in the album’s artwork, with a cover that features an image of Lewis quite literally eclipsed in the shadows. The visual identity signifies a new creative approach for Lewis: “This is the first record where I actually started working on the artwork for the album before the music was even finished. I wanted it to come together as a kind of package, like the artwork was going to dictate as much to the music as the music was to the artwork.” He elaborates: “We talked a lot about how the sound of this record was a little more black and white than some of the previous records which were very, very colourful.
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I think the practice of playing music is really important and really healthy. I wish I could do it every day – and in a way I do.
just get to perform music, which is such a healing and beautiful thing.” The idea of healing is one that strikes a chord for Lewis, particularly as it relates to his relationship with his father – who has bipolar disorder. “It’s taken me my whole lifetime to really understand it. It’s a very hard thing to deal with, but I think the more you know about it the more you can deal with it in a way that is productive and positive.” He talks about the stigma associated with mental illness, reflecting: “It’s so easy to write someone off as crazy. The more I think about the word ‘crazy’ the And we wanted to express that through images.”
more I think about it as this really negative thing that
In contrast to the video for “Turn Me Up”, which is black and white and heavy with shadows, Lewis’ soon-to-bereleased video was shot in the daylight – another nod to the album’s interplay between light and dark. “We decided that we should only shoot with full sun instead of total darkness, but we’re still playing with shadows. We’re kind of limiting ourselves in a way so we can do as much as we can with very little.” It’s been a year of reinvention and one of many trials and tribulations, but for Lewis music has remained a steadfast saving grace. He explains: “I think the practice of playing music is really important and really healthy. I wish I could do it every day – and in a way I do. That’s what I love about touring – nearly every single night you have this hour and a half where you
boxes people up inside of one category.” It’s an apt way of looking at things for someone who has openly expressed his disdain for fitting into a certain genre. “To me, music is about being able to let go of everything and letting go of what people expect from you in all types of situations – creatively, personally, emotionally. That is what making music is about. That’s why I do it.” Lewis’ new sound may have him treading a fine line between indie and mainstream appeal, but this ambiguity doesn’t matter – certainly not to him, anyway. There is one thing that’s clear, however. And it’s that even in the shadows, Lewis’ potential shines brighter than ever before.
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HAIR + MUA
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Vanessa Furino
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GEORGIE
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UZO ADUBA INTERVIEW PHOTO
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Arguably one of the biggest breakout stars of the hugely popular Netflix original series, Orange is the New Black, Emmy award-winning Uzo Aduba has become a favourite among fans and critics alike for her portrayal as Suzanne, a.k.a. “Crazy Eyes”. Georgie had the pleasure of speaking with Aduba about the lessons she’s learned from being on the show and the freedom that comes with playing Suzanne. G—Season Three of Orange is the New Black is starting soon [June 21, 2015]. How are you feeling?
Amanda Purdie Nino Muñoz
UA—[In Season Two] you get to see this balance of two stories playing out in her head, where Piper [Taylor Schilling] physically resembles her [adoptive] mother – but when we see the back-story episode for Suzanne, the Vee character more resembles the mother that she could have had. And she attaches herself. She has some mommy issues! [Laughs] And she’s so desperate. She wants to receive and give love, and I think she saw someone paying her attention who was seemingly open to giving her love, and she dove right in.
Uzo Aduba—I always get nervous. I’m that actor. And I can’t ever not be nervous. I get nervous no matter what, whether I have a play or a show to premiere. My castmates will tell you that I’m definitely not the one you want to talk to before a release. [Laughs]
G—It’s interesting that you use the word “desperate”. When I think about what emotion characterizes Suzanne, desperation definitely comes to mind, but also frustration – she often seems frustrated with herself and with others. What other emotions do you feel come through in Suzanne?
G—In one of the previews for Season Three, Suzanne is shown having a meltdown over Vee. What does Vee represent to Suzanne?
UA—One emotion she is often confronted with is confusion. She doesn’t understand why someone wouldn’t want what she’s offering, which is love. And
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The show takes the focus away from the crime. For a lot of the characters, you don’t even know how they landed in prison.
that confusion can be misconstrued at times as crazy. From her vantage point, there’s a generosity of spirit being offered, and she doesn’t understand why that would ever be looked at as being crazy. G—A big part of what makes her character so interesting is her physicality – the eyes, obviously, but also the way she moves and even the way she hits herself when she’s upset. Was that always the intention for her character, or was it something that you brought to the role? UA—I consider myself a very physical actor, either practicing stillness or practicing a lot of movement. And for Suzanne, it felt like she should have a lot of movement. There’s something frenetic inside of her that comes out in that way. I wanted her to occupy a lot of space because when I thought about her as childlike, I thought, that’s what a child does – they never sit still. Even if you’re in a nice restaurant, they’re going to be up and about doing their thing. So I wanted her to have the freedom to occupy a lot of space. G—You didn’t initially audition for the role of Suzanne [Aduba auditioned for the part of Janae]. Do you feel it was a positive twist of fate that it ended up this way? UA—I’m very happy to play her. I love her so much. She has given me permission as an actor to really know that there’s never a wrong choice. When I realized that she is innocent like a child, I had to give myself permission to know there’s nothing “wrong” you can do as an actor – because children have no agenda. They’re not thinking about what they’re doing, they’re
just doing it – and that’s how this woman operates. That was incredibly freeing in a new way. G—The show succeeds in bringing a human element to people who are often thought of as villains. Has being on the show made you think differently about humanity? Has it made you less judgmental, for instance? UA—Absolutely. The show takes the focus away from the crime. For a lot of the characters, you don’t even know how they landed in prison.You realize it’s not about the number on their chest or the jumpsuit that they’re in. These are people – mothers, daughters, neighbours, granddaughters, employees, and employers – and it humanizes them in a different way. The greatest thing I’ve learned is that good people can make mistakes. G—I think it’s taught many of the viewers that same lesson. UA—Yeah. And Jenji [Kohan, the creator] was smart in choosing Piper Kerman’s story – the real-life Piper. There’s something about having this story be set in a minimum-security prison rather than a maximumsecurity prison. When you’re watching the stories – or reading, in our case – you realize you’re not so distant from these people. A lot of times it’s an infraction that got them imprisoned. It’s like slipping on a banana peel that landed you in this circumstance – we’re all one step away from that. So it kind of levels things out and, if nothing else, it makes you more empathetic – not always sympathetic, but empathetic.
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MEMBERS ONLY PHOTOGRAPHY STYLING
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Sean Trayner
Malorie Urbanovitch
Mikayla - turtleneck - KIT AND ACE sweater vest - MALORIE URBANOVITCH jean skirt - LOVE MOSCHINO (Simons) Lorree - turtleneck - KIT AND ACE denim dress - LOVE MOSCHINO (Simons) MALORIE URBANOVITCH
Boy Left - mesh tshirt - COMME DES GARCONS (Simons) trousers - PAUL SMITH (Simons) Steph - dress - MM6 (Simons) Ava - dress DENIS GAGNON (Simons) Boy Right - vest - DENIS GAGNON (Simons) - jeans - ACNE (Simons) Una- dress - DENIS GAGNON (Simons)
Steph - trenchcoat - CARVEN (Simons) bag DKNY Boy - coat - WANDA NYLON (Simons) Anika - coat - WANDA NYLON (Simons)
Boy left - vest - AMI (the Helm) cardigan - RALPH LAUREN (the Helm) jeans - DRIES VAN NOTEN (Simons) shoes - WOOLRICH JOHN RICH & BROS Max - shirt - DRIES VAN NOTEN (Simons) jeans - VERSACE (Simons) shoes - DOC MARTENS (gravitypope) Boy right - jacket - BALMAIN (Simons) turtleneck - JIL SANDER (Simons) JEANS - AMI (the Helm) shoes - HUGO BOSS (the Helm)
Emily - gown - MISSONI (Simons) Loree - top - BARBARA BUI (Simons) shorts - LOVE MOSCHINO (Simons) Mikayla - top - JEAN PAUL GAULTIER skirt - MALORIE URBANOVITCH Kendall - dress - CHRISTOPHER KANE (Simons) Anika - denim dress - VERSACE (Simons) turtleneck - KIT AND ACE
Emily - jeans - ACNE (Simons) shoes - DOC MARTENS (gravitypope) top VERSACE (Simons) Una - leather coat - ACNE (Simons) pleated skirt - MALORIE URBANOVITCH shoes - DOC MARTENS (gravitypope) Boy - suit - COMME DES GARCONS (Simons) tshirt - ACNE (Simons) shoes - HUGO BOSS (gravitypope) Kendall - top - A.L.C (Simons) shorts - 3.1 PHILLIP LIM (Simons) shoes - GRAVITPOPE BRAND (gravitypope)
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The glasses make him see things differently. They make her see him differently. Featuring distinct, heritageinspired designs with timeless, modern appeal, Thom Browne eyewear will change the way you look at the world.
E Y E W E A R Thom Browne (available at The Observatory)
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M O D E L S Lowell Tautchin (Mode Models), Dallas Hernandez (Ford Models)
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P H O T O G R A P H E R Aaron Pedersen H A I R Lauren Hughes M A K E U P Nickol Walkemeyer
GEORGIE
ISSUE 4 - S15