GLAMCULT / 2018 / ISSUE 2 / #127

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LUKA SABBAT JULIANA HUXTABLE ICEAGE JUNGLEPUSSY FASHION—ART—MUSIC

Luka Sabbat photographed by Florian Joahn EU€10 UK£10 glamcult.com

Glamcult WORLDWIDE UNDERGROUND

The Pleasure Issue

PLATFORM 1 VISUAL ESSAY 1 PROFILE: ART PLATFORM 2 VISUAL ESSAY 2 PROFILE: MUSIC GENERATION GLAMCULT

VISUAL ESSAY 3 PROFILE: MUSIC PLATFORM 3 20

TABLE OF CONTENTS

WILSON ORYEMA

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MAKE YOUR TRANSITION

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JULIANA HUXTABLE RUBEN BAART FOLLOW 4 FOLLOW JUNGLEPUSSY PAIN PLEASURE

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Gösta von Platen Heather Agyepong Caleb Femi Indiana Roma Voss Simon Lextrait Mercedes Azpilicueta Xiuhtezcatl Martinez Margo Ovcharenko Drknghts Collective Zanillya Rimon

YOU’LL KILL ME...

ICEAGE MICHAEL THE III GLAMCULT #127

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Top Craig Green, jewellery Ambush

Jacket stylist’s own, trousers Botter, boots James Vincent

FOLLOW

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Photography by Valentin Herfray Styling by Laetitia Gimenez

FOLLOW

ThaĂŻs: dress, pullover and shoes Chanel, tights Falke, bag Abby Union

Zanillya Cathartic songwriter As the arts begin to drive mental illness out of the shadows and into the light, rapper/singer-songwriter/producer Zanillya is leading the charge with her latest single, C.R.S.H.D. “The more we talk about it, the more we realize everyone has their demons,” she says. The daughter of disco legend Bobby Farrell (aka Boney M), the reality of the music industry was imprinted on Zanillya from an early age, who witnessed first-hand “the beauty and excitement, but also the dark side of it all”. Her new EP is both an ode to those who deal with darkness and a celebration of finding release, a “pain necessary to understand moments of pleasure”. Channelling heavy energy into something beautiful, C.R.S.H.D is an exercise in cathartic writing, flowers blooming from a ground of pain.

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“Reinvent yourself as many times as you can until you discover what it is you want to leave behind.” @zanillya 88

GENERATION GLAMCULT

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Rimon Blooming songsmith Swirling, glittery and channelling Soul Train, Rimon is a ray of sunshine bursting from the Amsterdam music scene. Having fled Eritrea with her mother as a toddler, the young artist has a depth of both character and music that belies her tender years. Following her recently released debut single and accompanying video, Rimon emphasizes the continuing importance of Grace in the modern world: a form of “feminine energy” that effervesces from every line and should be grasped with both hands. But it’s not all swirling flowers and glitter. Believing that it’s truly down to the individual to create their own reality, Rimon has forged her own success, dropping out of school at 17 to travel and create music in collaboration with producer Samuel Kareem. It’s a partnership that continues to thrive, giving Rimon the “space and time to create without any pressure [...] without any boundaries”. Emphasizing how important it is for young black girls to have “strong ladies to look up to”—think: Nina Simone and Erykah Badu—Rimon is steadily becoming a positive representation of outspoken, strong and creative women herself.

“Whether it’s walking in nature with the sun out and some good music or having an orgasm, I can’t really describe pleasure… it’s something you just feel.” Photo: Michelle Helena Janssen @ri.mon PAIN PLEASURE

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ICEAGE WORDS BY LAURA BONNE PHOTOGRAPHY BY STEVE GULLICK 102

GLAMCULT PROFILE

A tête-à-tête with the (in)famous Elias Bender Rønnenfelt and Johan Suurballe Wieth of Danish punk band Iceage feels, to say the least, intimidating. After a four-year absence— starting riots? Overthrowing governments? Watching buildings burn?—they’re back this summer with a new album. On Beyondless—and its throbbing lead single Pain Killer with Sky Ferreira guesting on vocals in particular— the foursome sounds as strong, spacious and grave as ever, cementing their reputation as some of the most sincere names of the contemporary punk scene.

Gc Your last two albums sound a lot more

‘spacious’ than the first two. How has your sound evolved?

EBR When we were recording our very first album, we went

into the studio without knowing anything about anything, to be honest. We didn’t have any expertise and were just trying things. From there, we kept on trying until we got to where we are now.

JSW Our sound has evolved, but it’s also still evolving. We’ve progressed. The songwriting was really phonetic and dense in the beginning. But we leave more space in it now.

EBR At the same time, we don’t want to think too much about those things. Being a band is an ongoing learning process. We never sit down and talk about where we want to go stylistically. When we write music, it takes whatever shape it needs… [Pauses to think] But what I can say about this album, is that it stands in its own right. It’s very much an album. I don’t know how to explain the details of it, but the main thing is that we always try to push our own boundaries.

We seek out territories that we haven’t entered before, take chances and see where they lead us. We push the boundaries of our idea of what the band is or has been.

Gc Speaking of pushing boundaries, we heard you

deliberately booked a short amount of studio time when recording the previous albums?

JSW We did the same thing for Beyondless. It saves us from

overanalysing things and creates immediacy at the same time, which results in us having to make choices very fast. It appears to be the best way to work for us. Although we have to admit that the time span has become longer and longer for each record so far, because the music has required more and more time—but still not enough.

EBR The writing itself can take a long time, but when it comes to actually conveying a song, we don’t want to overthink anything because it’s all about getting a burst of something down on tape. If you exhaust yourself, maybe some sort of fatigue will enter the way the recordings come out. And you don’t want that, of course.

Gc Is there still room for improvisation when you

go into the studio?

and rehearsing to see. Especially when a record is dubbed, it opens up a lot.

EBR The freedom you have in the studio is mostly about what sort of feeling you want to get into it. Sometimes you find some strange instrument that sounds perfect in there, but that you had no idea you would encounter. Afterwards, you can’t imagine it not being there. Sometimes you have to be aware of your own mistakes as well because they can become what you love about a particular take. We talked about that earlier on: when we have to pick a take, it’s often not so much about choosing the one that doesn’t have mistakes but about the one that has the best mistakes.

Gc Do you play all the instruments yourselves, then?

EBR Yes. I played some piano and organ, Johan and the bass

player played violin. And we use whatever strange gear we can find in the studio.

Gc But on stage, you’re playing with two new

musicians.

EBR Indeed. There’s a sax player and a musician who plays

piano and violin. The instrumentation plays a really big part on this record, so for the first time it made sense to invite some other musicians and give it a bigger picture.

Gc Being a band of four members, how do you all

stay on the same artistic level?

JSW We’ve known each other for a very long time, and we’ve

made music together for a very long time. We were friends before and the base of that friendship is the common interest. As we started making music together and grew together, we were kind of coherent and evolved alongside each other.

EBR We started listening to music together and shared our discoveries with each other way before we did anything musically. We still do that, and going on tour with the four of us is always very interesting. We all have that gene that causes us to start digging for obscure things we haven’t heard before. We’ve always been and are still growing as music fans together.

Gc What are you listening to right now?

EBR This morning at the hotel I found a classical radio

channel on the TV. I put it on pretty loud. I have no idea what it was, but it was great.

JSW I listened to classical music this morning as well, actually!

EBR Lately, I’ve gone on some sort of spree where I found all these ’70s church bands that incorporated funk music.

It was mad stuff I haven’t heard before. But don’t ask me names. [Laughs]

JSW The raw song material is more or less done, but there’s

an amount of improvisation in the way that songs often reveal things that you didn’t have the space during writing

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