ISSUE 1

hive

October - December 2015

ISSUE 1

The Birth of

MOD CULTURE

A fashion explosion.

INTERVIEW with

Mich Dulce & Adam Green

Celebrating 30 years of POP with

Deborah Azzopardi

INTRODUCING:

Australia’s hottest new band:

Little May CULTURE - FASHION - ART - MUSIC

www.davroe.com

INFO Editor-in-Chief Lee Dick Savage editor@hivemagazine.org Creative Director Vanessa Burton creative@hivemagazine.org Writers LDS, Mark Steffan, Madelaine De Leon, Jason Fassbender, Chris Stenta, Grant Stuart, Eddie Ivermee, Kane Richards, Marcia Meara Photographers Meka, Michael Sanville, Josh Geelen, Vanessa Burton, Indrek Gelatin, Mark Steffan, Ewan Waddell Illustration Raquel Zorraquin Advertising To obtain our media pack or for any advertising queries please contact marketing@hivemagazine.org Readers Write hive welcomes your written story submissions, artistic offerings and photographic editorials for consideration. Send them through to Vanessa at creative@hivemagazine.org Our submissions guidelines are available on our website.

ISSUE 1 Oct-Dec 15 On the cover

Continued Page 72

/styleforoldsouls 2

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PHOTOGRAPHER Meka STYLIST SteSy LAB BODYPAINTER Lela Perez MAKE UP Paola Rinaldi HAIR STYLE Gianmario Viganò DIGITAL ASSISTANT Jacopo Contarini PHOTOGRAPHER ASSISTANT Elizabeth Von Bismarck STUDIO Diggy Style Studios MODEL Maisie AGENCY Joy Models

@hive_magazine

@thevintagecut

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MEET THE MAKERS

EDITOR-IN-CHIEF Lee Dick Savage

Lee Dick Savage is a writer, musician and artist. He was born in Brighton, England and spent his earlier years moving around the UK playing in bands and drinking copious amounts of tea. At the age of 24 he departed on a 12 month trip never to return and now calls Australia home.

CREATIVE DIRECTOR Vanessa Burton

Vanessa Burton was born in Wellington, New Zealand. She too departed for Australia where she ran a vintage clothing boutique. She is an established fashion photographer, a stylist and Creative Director.

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hive Oct - Dec 2015

CONTENTS

82

Culture Features 12

10 Years without HST

38

A Modern World -

The birth of the Mod

Subculture

Regulars 34

Film & Cinema Review

52 Wordsmith 62

38

‘The Ultra Ego’ with Maxi

More

Fashion Editorials 72

Noisy Pop

88

Nowhere Man

122

Lead Me Astray

140

The Great Escape

Regulars

132

72

82

Spotlight: Kym Ellery

116

The Mich & Adam

Interview 132

Introducing Liana Paberza

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140

hive Oct - Dec 2015

CONTENTS

Art Features 164

30 Years of Deborah

Azzopardi

188

178

Big Eyes.Big Heart.

Introducing Jodee Knowls

188

Joel Penkman

Regulars

164

172

Digital Stained Glass

174

Hang 5 with...

Music Features 194

Green Man Festival 2015

208

Little May Interview

Regulars 212

Album Reviews

216 Introducing 218

194

Gig Reviews

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MEET THE

FASHION WRITER

STYLIST

Mark Steffan

Sylvia Stesy Stefanini

Mark Steffan Is an artist, stylist and photographer based outside New York City. Originally from Omaha Nebraska, Mark has worked closely with musicians from Saddle Creek Records. His body of work ranges from oil painting, video direction to art installation.

Stesy is an Italian fashion stylist and editor, working for brands like La Perla, Nikon, Samsung, Larusmiani and as fashion editor for magazines like Stylepapers, Vogue Gioiello (jewelry) and Alize. Her latest work can be found on the cover of Hive’s very first issue and throughout the colourful editorial ‘Noisy Pop’.

ILLUSTRATOR

PHOTOGRAPHER

Raquel Zorraquin is a Spanish Illustrator and Fashion Designer. At the age of 21 she started growing her own brand RZC Design which mixes both Art and Fashion. The brand is growing successfully in Spain and poised now for France and the UK. You’ll see all her work on www. raquelzorraquin.com

Born in Manhattan and raised in New Jersey, Michael currently divides his time between LA and NYC, taking time out to surf in Maui or ride horses in the hills of California. Michael’s work has been published in Allure, Glamour, InStyle, Elle and countless others as well as appearing on television for CNN, Entertainment Tonight, The Oprah Winfrey Show and many more. He has photographed the likes of Jeremy Renner, Maria Bello, Brad Pitt, Jennifer Aniston, Slash, Steve Jones and Dierks Bentley to name a few.

Raquel Zorraquin

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Michael Sanville

CONTRIBUTORS

STYLIST

INTERN/WRITER

Sharmonie spent last summer studying fashion in Italy, which inspired her to come home to Adelaide and start a street magazine called feud magazine, and begin styling.

Madelaine De Leon is a hoarder of clothes and obsessor of indie rock music. She is currently a Music/Arts student at the University of New South Wales in Australia. Please mind her obsessive use of idioms, that’s just her style.

INTERIOR STYLIST

FASHION WRITER

Sharmonie Cockayne

Rachel Leppinus

Rachel Leppinus completed an associate degree in Furniture Design at RMIT in 2013. Since then she has worked on various projects from styling properties for sale to set design and designing furniture for leading furniture retailers.

Madelaine De Leon

Jason Fassbender

Jason is a freelance stylist, creative director and fashion writer based in Adelaide, Australia. His deep seeded love of fashion fuels his well researched, written pieces and his signature juxtaposition of print, texture and proportion has seen him style images for the likes of CULTURE magazine through to SONY Records album covers.

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EDITORS DISCLAIMER

Style for Old Souls

I

t’s no particular event that highlights the passing of time but over-hearing a young and perplexed model panic when told she could only pay for services by cheque or money order really brought it home. Provided with instructions there was no issue but this failure was really on the business ignorant in moving with the times and assuming everything.

It’s in this vein that we realised just how much learning you tend to take for granted over the years without even being conscious of it and what makes it even more exciting is that we’re all on a different journey and have so much knowledge to share. hive Magazine was born out of a love affair for the origins of style but we’re not on a one-way street, we’re here to cross-pollenate and grow a rich community of open-minded, and creatively inclined superhumans like yourself.

Stick the kettle on, leave enough water for me and dig in. We hope you enjoy our first issue.

Keep the Faith....

LDS x

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INFO COFFEE-BASED

SKINCARE

Punch it in.

“ Smooth skin is only a n emoji (or two) away.

”

CULTURE

10 Years Wit

HST: Rediscovering the li

Written By LDS Dr. Hunter S. Thompson (1937-2005)

I

must admit, I hadn’t heard of Hunter S Thompson until about 2000; the night my mind was temporarily extracted from it’s body during a late night screening of ‘Fear & Loathing in Las Vegas’. I left that movie feeling cultivated, the rebellious side of me duly inspired, though in the best possible sense I was anxious and came away some-

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what mentally exhausted. It was as if I had lost my virginity all over again, the only difference being that the chair which was pushed tightly against the door was suddenly breached flooding the room with all matter of chaos.

Over-night my intrigue with the movie’s creator caught me off-guard. I was surprised and excited with this film, it was wild in a way I had never experiend before. Here was a man, a personaility littered with lunacy that I somehow deeply admired and the more research I did the more interesing he became.

It’s sadly been 10 years since his passing to a higher plain but we intend to step back and paint a picture of his life, with his magic still reigning supreme in the strong written legacy left behind.

With life getting the better of me I found myself quite unintentionally on a HST sabbatical and admit it was only last year in 2014 that I realised something had been missing in my life; I struggled to truly put my finger on it until casually passing a pop-up bookshop one afternoon. I soon realised that the

BIO

thout Hunter

iterary genius of our time depth and colour so many of the more recent authors I was reading attempted to create, just failed to fulfil my needs. There was a recent lack of excitement, a break at the synapses and a growing number of failings on the bedside. Going through the motions, I scanned the meagre shelves of opportunity, flicking through one well-thumbed classic after the next with nothing biting until eye-balling a name that jolted me from my literary coma. Hidden in the top corner, the furthest nook of the shelves, a small but mint condition bun-

dle of Hunter S. Thompson works were placed almost entirely from view as if perhaps these were not for public consumption, a controlled substance kept safe from just any passing punter.

Noting the anxiety in the book-keepers eye and with a sense of guilt (but internal overwhelming pleasure) I took the lot, lock stock and barrel for these were not just copies of some of my past favourites ‘Fear & Loathing in Las Vegas’ or ‘Kingdom of Fear’ but lesser known and available copies of some of the Doctor’s Gonzo publishings

that I hadn’t even know about..

I had a very good feeling and a burning excitement inside as this was my time to rediscover the literary genius of our time.

S

o who is HST? What is Gonzo Journalism and why would any human-being with an ounce of reasonable doubt on modern-day society enjoy poking their head inside his world?

Hunter S Thompson (AKA Raoul Duke), in many people’s opinion was one of the most talented writers of the modern era.

He was an outlaw, a revolution-

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ary, a sociopath, an all-round loose character who was said to be permanently intoxicated, though he was also a classic story teller, a humanist and famed as the original ‘Gonzo’ journalist.

Many people have tried to describe the meaning of ‘Gonzo’ which at the time came completely from left-field. For me it is best described as a highly subjective flair of reporting in which the journalist is fundamentally enmeshed within the action (rather than being a passive observer). HST thus instead of reporting unbiased, was narrating his own twisted tale, the whole journey, via alias names and sometimes via more than one character to expand the possibility of dialogue.

His youth was spent in decades of extreme cultural shift and rev-

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olution; particularly uncertain times in American history. In his novels HST pulls on the drama of the Sixties and Seventies and documents each story with such colour and vivid imagination.

With such intelligence and detail you struggle to believe any of it could possibly be exaggerated though physically you canot help but contemplate how he ever made it past the age of 40?!

“…That he is still alive, and at large, defies medical and legal beliefs…”

Andy Kershaw (1990) HST was born in the USA in 1937 and in his own head a distinguished writer by the age of 10 pushing out sports reports.

His first professional gig came

during the 1950’s on his National Service stint in the USAF as sports editor for the base paper (this was of-course a jail vs National Service ultimatum that lead our young protagonist to uniform).

Upon honourable discharge he took several gigs for local papers along the East coast to which in ‘Songs of The Doomed‘ (1990) he reflects on as: “…stupid dailies with big white margins, tiny type and no pictures…” and also notes through his early passion for pushing a new format and perfectionism in journalism “… That’s how I got into taking pictures, I was so dissatisfied with the photographs that I was getting … that I began to take them myself …”

However with ideas beyond his years of experience these old school editors wouldn’t allow Hunter exposure to the ‘real’ stories, ultimately holding back his potential and stirring an early resentment on the mechanics of society.

Through a number of head clashes and comic misfortunes HST virtually quit writing on a payroll and went entirely freelance landing a gig south of the border. Hunter spent around 5 years between the Caribbean and South America (enter the ‘Rum Diaries’ a one-off novel which until recently went unpublished for some 35 years). Here he was knee-deep in a combination of revolution, anxiety and humidity.

“It was the kind of town that made you feel like Humphrey Bogart: you came in on a bumpy little plane, and, for some mysterious reason, got a private room with balcony overlooking the town and the harbor; then you sat there and drank until something happened.”

HST - The Rum Diaries

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CULTURE

Soon though came the tipping point….. Eventually HST was commissioned to write an article on the emergent biker community in the USA which was so eye-opening that he went on to secure a book contract; writing ‘Hells Angels’ (1966). In studying for the book HST like any good method actor moved back to the States, to California, to immerse himself in this unknown and seedy community of which had been getting quite a bad reputation in the media.

The book was a success and finally with some recognition for his writing prowess his social network expanded ten-fold and the next chapter for Hunter was to be had in San Francisco during the early rise of psychedelics and with all the rumblings that followed the Free Speech Movement.

In San Fran Hunter became close friends with Ken Kesey another writer (‘One Flew Over the Cuckoo’s Nest’) but better known as the LSD king of Califor-

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nia. He also fell in with a number of other influential people including bands and singers (Jefferson Airplane, Joan Baez etc), beat poets (Allen Ginsberg), hippies and of course his previous subject; the Hells Angels.

In strange times HST was the perfect conduit at the crossroads of society and was heavily involved in a counter-culture movement during the increasing pressure of cold war politics.

In 1967 he purchased and moved to a 100 acre ranch in Woody Creek (Aspen), Colorado which would become his lifelong home. Becoming increasingly interested in politics and to make a stand against the state of things at the time, HST convinced a local drunk to run against the unopposed candidate for Mayor of Aspen just to stir things up. It was a successful campaign effort and despite having the bodies to win this campaign on the day, they lost by 6 votes largely due to the apolitical vibe of

Aspen didn’t

where people just register to vote:

“…a town full of refugees from California and real drop outs from everything…”

HST on Aspen in the late 60’s.

He saw that this had to change and put ink to paper writing “The Battle of Aspen” to specifically target and catch the interest of the growing number of hippies via their choice journal; Rolling Stone Magazine. They liked it and it was printed. Unsurprisingly the Aspen vote tripled in a year following the publication and this became the starting point in HST’s long career with Rolling Stone where he held the position of National Affairs Editor until 1999. In 1970 and in similar fashion Thompson went as far as running for Sheriff of Pitkin County, Colorado (the ‘Freak Power’ campaign) which considering his influence and followership naturally scared

BIO a good deal of ordinary folk.

I

t was though in the same year, on what was meant to be a report on the annual ‘Mint 400’ desert race being held in Las Vegas for Sports Illustrated, doubled with the National District Attorneys Association’s Conference on Narcotics and Dangerous Drugs report for Rolling Stone Magazine became neither. HST instead framed himself as the main character giving a personal account of a twisted, drug fuelled adventure through America’s playground, calling it ‘Fear & Loathing in Las Vegas’ (1971). This is HST’s seminal piece, an ode to the Sixties spoken in part fact, part fiction and part fantasy form; the book opening with: ...“We were somewhere around Barstow on the edge of the desert when the drugs began to take hold. I remember saying something like “I feel a bit lightheaded; maybe you should drive. ...” And suddenly there was a terrible roar all around us and the sky was full of what looked like huge bats, all swooping and screeching and diving around the car, which was going about 100 miles an hour with the top down to Las Vegas. And a voice was screaming: “Holy Jesus! What are these goddamn animals?

Then it was quiet again. My attorney had taken his shirt off and was pouring beer on his chest, to facilitate the tanning process. “What the hell are you yelling about?” he muttered, staring up at the sun with his eyes closed and covered with wraparound Spanish sunglasses. “Never mind,” I said. “It’s your turn to drive.” I hit the brakes and aimed the Great Red

Shark toward the shoulder of the highway. No point mentioning those bats, I thought. The poor bastard will see them soon enough...”

HST - Opening to Fear & Loathing In Las Vegas The story instead of being a report on current affairs became a feverish insight into the dark soul of American society at the end of (and summarising) a WHOLE decade. It spills Hunter’s soul, his thoughts cascading at a rate of knots in a mixed but strangely empathising merit and dimension:

“…We are all wired into a survival trip now. No more of the speed that fuelled the 60’s. That was the fatal flaw in Tim Leary’s trip. He crashed around America selling “consciousness expansion” without ever giving a thought to the grim meat-hook realities that were lying in wait for all the people who took him seriously…”.

HST - Fear & Loathing in Las Vegas Originally (and quite bravely) printed as a two part in Rolling Stone Magazine, it was a hit and like ‘Hells Angels’ was shortly after published into a full-length book.

His writing pulls you through the adventure like a fly on the wall, jerking you to laugh-outloud like a loon but it also carries a sobering realisation that a whole generation had officially been played out, the freedom and spirit of the Sixties succumbing to a new era of anxiety and uncertainty; the ‘Death of the American Dream’.…. and the need to escape it at all costs!

The surrealist graphic illus-

tration provided by Ralph Steadman helps set the tone of the ‘trip’ portraying the anxious and mutated faces of ‘Raoul Duke’ and his Attorney driving in a Cadillac at speeds befitting the escape of a colony of frenzied bats (of course imaginary). “…I learned at the Kentucky Derby that it was extremely useful to have a straight man with me, someone to bounce reactions off of. I was fascinated

by Ralph Steadman because he was so horrified by most of what he saw in this country. Ugly cops and cowboys and things he’d never seen in England…”.

HST Interview with Douglas Brinkley Regardless of your political stance, religious views or stance on narcotics; switch your mind blank and digest the prose and tempo of ‘Fear & Loathing in Las Vegas‘ and Im certain that you’ll agree that it is quite rightly regarded as literal work of art.

F

ollowing the success of F&L and Hunter’s growing interest in politics, he embarked on his next project ‘Fear & Loathing on the Campaign Trail’ (1972). Here your larger than life and Counter-Culture protagonist from F&L is sent to sit in as a reporter on the 1972 presidential election campaign - the least likely person any potential presidential candidate would want anywhere near them!

The contest was at the time current President Nixon (Republican) vs underdog and rank outsider George McGovern (Democrats). McGovern ran an anti-war campaign but was handicapped by his outsider status, limited support from his own party and the perception of being a

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CULTURE left-wing extremist. Naturally HST knew where he would set up camp and a strange but respectful relationship grew between the pair. Hunter arrived looking like no other journalist in shorts and tennis shoes, a drink almost surgically appended to one hand, pen in the other and a smoke hanging elegantly from its holder. Annie Liebovitz also working at the time for Rolling Stone Magazine was sent to photograph Hunter on this tour and her photos are woth a look to put it into context. “…the least factual, most accurate account of the election...”

McGovern’s campaign manager Frank Mankiewicz, on the book.

The book despite it’s overshadowing by the earlier works has been acclaimed as Hunter’s most intellectual writing.

Following the defeat of McGovern and Hunter still brimming with political fire in his belly, he embarked for Saigon, Vietnam for one month to provide copy on the war. “...the war had been part of my life for so long. For more than ten years I’d been beaten and gassed. I wanted to see the end of it. In a way I felt I was paying off a debt…”.

HST Interview with Douglas Brinkley

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This period further steeled Hunter’s character as combat journalist friends were killed in action and he gained first hand exposure to the huge opium smoking culture amongst the US and Viet-Cong troops. HST famously wrote to the leader of the Viet-Cong requesting that he ride atop a tank on its way into the fallen city of Saigon but sadly had his request denied.

In future years HST was known to drive editors out of the business altogether with his wild ways and poor judgement in completing a story by the necessary deadlines.

It is said that quite often a collection of hand-written notes on various medium were collected from around him, made sense of and written up back in the office via phone hook up with Hunter a couple of hours prior to print.

In 2005 after a series of health problems HST was found dead in his kitchen at Owl Farm, Woody Creek where he had lived since the Sixties. He was found with a gun shot wound to the head sparking a natural conspiracy, considering the number of people he had rubbed up the wrong way along the journey, though son Juan states ...“I never had any doubt that at some point he was going to commit suicide”...

Sadly Hunter’s mind out-lived the harsh realities of age and a lifetime of action. As quirky as

his life works, HST once mentioned to a reporter that he saw his funeral being rounded off with his ashes being shot over the valley in a giant cannon.

In 2005, 6 months after his passing, close friend Johnny Depp paid for the cannon and in-front of a large number of doting fans his ashes were blown into the sky of Aspen, Colorado as they exploded over the valley.

FOREVER.... WEIRD.

Refences: Fear & Loathing In Las Vegas – HST / Songs of the Doomed – HST / Kingdom of Fear – HST / The Proud Highway (Saga of a Desperate Southern Gentleman 1955-1967) – Douglas Brinkley

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PHOTO ESSAY

AMERICAN

TOURISTER

BY MARK STEFFAN

PHOTOGRAPHY Mark Steffan CREATIVE DIRECTOR/STYLIST Mark Steffan MAKEUP ARTIST Angela Sarracino HAIR STYLISTS Joey Koneko & Maria Adames MODEL Kolby Giddings MODEL Alessandra Canario SPECIAL THANKS Italian’s Do It Better, Echo Park Records, Vintage Ally (Verona, NJ)

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CULTURE The Great Seventies: The world as it was and as I saw it

By Grant Stuart

A

product of the 50’s and molded by the 60’s, I embraced a short-lived career as a school teacher, before becoming enticed with three others, to purchase an aged 36 foot Piver trimaran to circumnavigate planet earth for the princely sum of around $1200 each….. ah, dreams. This was a large craft, totally bereft of anything remotely electronic, wooden masts (it was a ketch) and a hand cranked stubborn motor.

Fortunately common sense prevailed (perhaps the breaking of the main mast on the Waitemata Harbour assisted) which led to the making of a paltry investment to become a participant in a 4 – 6 month overland bus journey from Sydney to London, The year was 1976 and the company was Hughes Overland (known also for some reason as Treasure Tours…?) This was the great OE (Overseas Experience), riddled with Quirky Moments.

So, how was this possible? Well for starters, back then Australia welcomed boat people – no passport even for Kiwi bludgers. The Americans had just stepped aside from warring with black pyjamed Viet Cong so SE Asia was pumping. India and Pakistan were ‘friends’, the Russians hadn’t discovered Afghanistan (nor had the Taliban) and the Shah was still (just) in power in Iran. Turkey was just Turkey, bandits and all. Europe was made of different countries – no Euro-zone. The Greeks were happy.

So my first solo adventure overseas began with a UTA flight (what on earth happened to UTA?) from Auckland to Sydney. The flight began with a 20 minute wait on the tarmac before then being ‘off-loaded!!’ Technical hitch…

An hour later they had a second go, which was a little more successful. Welcome to the world of travel.

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The big adventure began a day or so later joining my new best friends - a dozen or so strangers on a little bus heading south from Sydney. Homage to Canberra and brief visit to Melbourne – memorable only due to a $20 purchase of a guitar to liven up the thousands of kilometres awaiting us aboard the bus. It survives today, covered in stickers from each country we encountered. We dropped in to Adelaide and checked the newly opened Festival Centre – no acknowledgement of Barossa’s wines... who drank the stuff back then? Excitement across the Nullarbor – the grand opening of the newly sealed road was about to happen – we beat them to it, and cut a ceremonial toilet roll ribbon to boot. Places with strange names such as Eucla, Norsemen, Esperance before we launched from Perth to the great unknown of Asia and beyond.

So we prepared for our advertised cruise from Perth to Singapore… Oh no, cancelled due to the fear of pirates through various Indonesian Islands – I think the same guys are now running one-way trips to Australia. “Stop the Boats!!” Hello British Airways and a brand spanking new Boeing 747 – they had only been around 5 years. As I have said, these were different times. A couple of us were chatting to the Chief Steward (Hello chaps!) and found ourselves not only being escorted up to first class and then the lounge upstairs, but a knock on the cockpit door and a look into the flight deck….. something tells me that might not happen today. Sadly we were then returned to our seats in cattle class. Singapore awaits beginning with my mistaken welcome as a celebrity…

TRAVEL JOURNAL

The ‘Golden Tours’ bus boarding in Sydney

An inconvenient tree

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CULTURE Food for Thought All Fingers And Thumbs

By Nicola Thomas

W

hilst fumbling around in that drawer in the kitchen, you’ll hardly ever hear anyone yell out in frustration, “I bought a whole pack of pens the other week, where the hell have they all gone?” anymore. That drawer, you know the one; with bike pump fittings, spare paper clips (if there was ever such a thing) and weird shaped novelty erasers which you daren’t throw out. Now we have electronic gadgetry to jot down our lists and memos. I mean, we even have postit notes on our computers!

But what about that frustratingly difficult skill our parents would squeal in excitement at when we

could pull it off as kids? A skill we take for granted every day. Something that we could, if we continue in our scrolling/swiping mentality, lose the ability to do altogether. What the hell am I talking about?

Writing, that’s what.

And not just writing in a poetic use of grammar sort of way. I mean that ability to hold those darn pens that used to be so elusive in that junkfilled kitchen drawer.

Hours are spent teaching kids the correct tripod grip. It’s an extremely difficult fine motor skill to learn.

And once mastered, wow, there’s

no stopping them. Walls, important documents, faces, parts of the body; nowhere is safe from a hastily drawn scribble.

But is holding a simple biro a skill we will lose over time now that we favour the QWERTY keyboard and mouse? Will our hands evolve with new indentations and altered symmetry so we can better hold our devices and type at speed? Those romantics with their ink blotters, wax seals and the can-you-takethis-note-to-Mr-Darcy? types, will become relics lost in history along with the miner’s canary and crop rotation.

Make Me: A Jack Reacher Novel Lee Child

Random House Books

Review by Marcia Meara Reacher is BACK! Okay, he never left.

But the last three or four books have been a bit slower than the earlier ones (not surprising after TWENTY books), and while I still enjoyed them, I wasn’t quite as excited about them as I wanted to be. However, with Make Me, Lee Child is definitely back on his game, 100%.

There is no real way to summarize a Jack Reacher story, without giving away far too much of the mystery involved, so I’m not going to try. What I am going to say is that no matter how many times I thought I knew what was really happening in the tiny little town of Mother’s Rest, I found out I was wrong. WAY wrong.

All Reacher really wants to know is how the town got its name, but no

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one will tell him. They’re too busy trying to make him go away. Permanently, if need be. But Reacher’s general rule of thumb is, if you want me to leave before I’m ready, you’ll have to make me…an imposing task, at the very least.

Reacher doesn’t always get involved in a romance on his travels, but when he does, it’s usually pretty interesting. This one was my favorite to date, and part of me wishes he’d stay in touch with Michelle Chang for future books. But the rest of me knows that putting Reacher in a committed relationship changes all the rules. He’s been there, done that, and isn’t likely to try again.

If you are already familiar with Jack Reacher–the 6’5”, ex-MP, with hands the size of “dinner plates,” and a

brain that never stops computing– you’ve probably been eagerly waiting for this one. And those of you who have never read one of these superbly done action/mysteries… well, what are you waiting for? Start at the beginning and read the whole delicious pile of them, one after the other. Reacher overload. Possibly fatal, but a good way to go!

Maria Meara’s new book ‘Finding Hunter’ is out now via Amazon!

FILM The Walk (2015)

Director – Robert Zemeckis (Back to the Future, Forrest Gump, Cast Away)

Review by Kane Richards Cast – Joseph Gordon-Levitt, Charlotte Le Bon, Ben Kingsley, James Badge Dales, Ben Schwartz On August 7 1974, Frenchman Phillipe Petit performed a ludicrously death-defying stunt which grabbed the attention of the world: he walked a tight-rope between the Twin Towers of the World Trade Centre.

Since early on you’re told what’s coming, the 90 minutes before the climax could have been a frustrating experience and easily could have dragged.

Robert Zemeckis, being the master director that he is, keeps you invested in the story before the grand stunt and when it finally arrives you’re wholly satisfied with what’s gone on previously but anticipate the wire walk immensely.

That scene is marvellous as you feel like you’re up there with Phillipe which is terrifying and exhilarating. It’s a jaw-dropping spectacle worth the price of admission alone as the nerve-wrecking anxious experience is equally thrilling and riveting.

Credit must be given to the special effects team who recreate the titanic Twin Towers in all their magnificent glory.

As well as being powered by some awe-inspiring visuals of New York, The Walk is also fuelled by Gordon-Levitt’s brilliant performance. His Phillipe is arrogant but he’s played with a charm that makes him likeable. The eccentric Frenchman’s burning desire to perform his daredevil stunt is clearly displayed as is his ambition to become an “anarchic artist”. You’ll admire his fearlessness but still think he’s an absolute madman.

While The Walk has many strengths, there’s a couple of weaknesses which stop it reaching its full potential. You don’t really care about some of the supporting characters who are given little screen time and therefore lack personality.

The only one you do care about is Papa Rudy, who is so expertly played by the majestic Sir Ben Kingsley that you wish he appeared a lot more as the mentor/student dynamic is the strongest of all

Phillipe’s relationships. Phillipe and girlfriend Annie’s arc could have been developed more as their bond felt undercooked. There’s a scene where Phillipe’s mission seems to be causing trouble for their relationship but that dramatic conflict isn’t milked enough throughout the film.

On the whole, The Walk is an uplifting and inspirational film which delivers the message that dreams should be chased no matter what. It also serves as a subtle touching tribute to the Twin Towers which were of course tragically toppled on September 11.

If you can, go see it in 3-D or IMAX as it is definitely a film which is deserving of those sometimes unnecessary gimmicks.

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Kurt Cobain: Montage of Heck (2015) Director – Brett Morgen (Chicago 10)

Review by Eddie

jordanandeddie.wordpress.com/ Cast – Kurt Cobain, Courtney Love, Dave Grohl, Krist Novoselic Plot – An intimate look at the life and times of Nirvana front man and grunge rock music legend Kurt Cobain told via archival footage, talking heads, animation and Kurt’s own diary entries.

“...I wanted to be a vandal and hold everyone hostage...”

As polarizing and up and down as it’s subject, Brett Morgen’s unique and labour intensive documentary about Nirvana front-man Kurt Cobain is an experience that will offer highs and lows but is nonetheless a must watch for any long term fan of the musician as documentaries don’t get much more intimate than this.

Not professing to know much if anything about the life and times of Cobain and his incredible rise to fame, riches and eventual demise,

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Montage of Heck will not exactly allow the uninitiated to get an exact feel for what drove Cobain and made him tick but it gives us a look into his life like never before with Morgen’s access to home video footage, diary entries and archival footage, allowing an impressively vast array of elements that combine together to try and pinpoint Cobain’s thoughts and mental processes.

Taking inspiration from the man himself, Morgen infuses his HBO backed documentary with an at times off-putting erratic nature, the film flirting between visually strong animation, nightmare like diary writings and drawings flashing and coming to life in a psychedelic manner.

Coupled with the use of intimate and previously private home video recordings and photos, the feature offers the most telling insights into who exactly Cobain was and what he was like at his most uninhabited, which is nice as Cobain’s notoriously cold and uninterested persona in the public makes it very easy for one to not feel care towards a man that

seemed intent on walking a path of self-destruction.

Cobain’s unhelpful habits and characteristics are what holds Montage of Heck back (and a lack of affiliation of how Nirvana came together) and while we can all feel for someone suffering from inward personal issues, nothing is ever made overly apparent as to why Cobain set about a life that could but only lead to a lonely end, even after becoming a father and vowing to walk the line of sobriety and be the parent he so longed for when he was growing up.

A tormented and deep thinking soul no doubt, but if there was ever a portrayal that showed Cobain up as not an overly affable human being, it’s Montage of Heck.

Cobain and Nirvana’s influence on pop-culture and music still lives large today and for die hard long term fans and those with keen interest in the life and times of musical superstars, Montage of Heck will be a must watch. For the rest of us more casual music listeners and movie fans however, Morgen’s effort is more a curiosity than and out and out must see due to its uneasy tone and tricky central figure.

3 uninterested interviews out of 5

FILM Pan (2015)

Director – Joe Wright (Pride &Prejudice, Atonement, Hanna)

From the Vault

Review by Kane Richards

The Outsiders (1983) Director - Francis Ford Coppola

Cast – Hugh Jackman, Levi Miller, Garrett Hedlund, Rooney Mara, Cara Delevingne

And it stayed Golden

Everybody knows the tale of Peter Pan – the legend of the boy who never grows up has stood the test of time ever since it was first told in J.M Barrie’s 1911 novel. After many adaptations, the well-known story is reimagined once again – this time as the prequel Pan. 10 years in we meet the mischievous but good-hearted Peter (Levi Miller) who lives under the care of cruel nuns. Peter notices that some of the boys have gone missing from the orphanage and assumes they’ve been evacuated. In actual fact, they’ve been kidnapped by pirates who swoop down from the ceiling and snatch the unsuspecting youngsters.

It’s not long before Peter’s taken and thrown on to a flying pirate ship where he’s whisked away to a very strange, out of this world place.

Director Joe Wright intended to take the audience on a fun-filled fantasy adventure designed to dazzle. Unfortunately despite the immense amount of imagination, Pan fails to deliver on a memorable ride.

There are great visuals on show in some thrilling scenes –a frantic battle between the flying pirate ship and a group of military planes will impress. On a voyage to Neverland, a pirate ship passes some awe-inspiring sights which feel like a fun acid trip - which of course I’ve never been on! The climax in a vast crystallised cavern is certainly the highlight as it’s an adrenaline-fuelled sequence enhanced by the stunning scenery.

The cast all contribute some decent performances. Levi Miller is solid and handles his comedic and emotional requirements well. Garrett Hedlund (Tron Legacy) is sound as the wisecracking two-handed Hook who in a in a twist in tradition is Peter’s friend rather than

Review by Madelaine De Leon Cast - C. Thomas Howell, Matt Dillon, Ralph Macchio, Patrick Swayze, Rob Lowe, Emilio Estevez, Tom Cruise & Diane Lane

foe. If Hedlund’s Hook wasn’t modelled after Harrison Ford than I’ll be damned as he has a Han Solo vibe and dresses exactly like Indiana Jones. Rooney Mara’s Tiger Lily is also a fine addition as she’s quite the kick-ass chick. It’s Hugh Jackman who steals the show as the dreaded Blackbeard. His larger than life performance provides an entertaining villain.

While the cast try their best, they’re let down by writer Jason Fuchs who delivers a disappointing script containing clichéd dialogue and predictable plotting. At times it has the attention span of a 2 year old as it briefly introduces some intriguing concepts and then suddenly forgets about them. Many of the film’s fantastical and magical concepts aren’t explained, so while things look good you never understand why they appear. There’s a huge splattering of CGI which is frustratingly inconsistent – sometimes it’s amazing and sometimes it’s obviously fake which immediately disconnects you.

Assumedly this origin story aimed to set up a franchise but its lacklustre execution may stop the studio’s plans. There’s fun to be had with Pan, just not very much. For a worthy Peter Pan experience, you’re best off going to see a pantomime version.

Ever felt like you were on the wrong side of the tracks? (For me, that would be arriving at the wrong platform at the train station.) Or at least, have you ever had the hunger, the desire for rebellion and the sweet taste of liberty? Well for the huge following of the film ‘The Outsiders’, this was it; the movie understood exactly what it felt like to be young and to find your identity under a camouflage of blonde hair.

When I first laid eyes on the film, I saw a lot of big names on the screen.

Patrick Swayze, Ralph Macchio, Tom Cruise and not to mention a C. Thomas Howell looking like a young Harry Styles. The cast was divided into two rivaling gangs called ‘The Greasers’ and ‘The Socs’, respectively representing the poor and privileged classes in town. As one of the Greasers finds themselves in trouble, murdering a member of their enemy clan, they run away from home in safety. They learn the important lesson that trying to escape the problem doesn’t solve it.

Coppola does a great job in covering the gritty teenage themes of bullying, anxiety and violence. For its age this Coppola classic still stands the test of time, highlighting the important of living in the moment in a way that you yourself would want to be alive, looking for the better things in life and to stay forever Golden.

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MODERN WORLD Part 1: The birth of Mod Subculture

Without the Modernist subculture and the spark it generated, Britain’s soul would today remain a conservative grey; sterile in expression, decisively bland in flavour, humbled by a collapsed Empire. The curious and hungry spirit for something new amongst the earliest Mods eventually presented Britain’s stiff upper lip a new bosom to caress.

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FEATURE

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M

odernism has no birthday - a statement that if I made a quid every time I heard it, I’d be sat here; the Ace Face and my tailor well, he would be sipping cocktails in Bemuda.

It is however quite true. There is no one event that symbolises the start of ‘Mod’, no awakening of the messiah, no parting of the English Channel to witness Peter Meaden riding a Vespa GS scooter onto Margate sands.

Everyone’s heard of Mods and Rockers though the back-story to how the Mod subculture grew is far lesser known yet such an integral part of the story that lead to the ‘Swinging Sixties’. Through a series of events and factors coming together, the UK was introduced to something fresh, something revolutionary and quite simply in it’s greatest hour of need. What is a Mod? We’ll get to that; but first a brief history lesson.

The birth of the first generation Mods (or Gen-1 Mods as we’ll refer to them hereafter) is a heavily debated subject with many claiming that the earliest emerged in the late and roaring Forties. What is fact though is that Britain following the Second World War was a bleak place, a once Super-Power nation that became bankrupt by the price of protecting a huge Empire under threat. Here was a new younger generation so deprived and down-beaten by the war years that they craved some excitement in their lives with the conservatism all around them just plain depressing.

The melting pot of international allied forces stationed in Britain during the war planted deep cultural seeds and left a

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remarkable impression on the younger generations via the clothes and music they brought with them. Reasonably unaffected (economically) by this War, American lifestyle was on the up and their growing jazz and soon rock’n’roll culture became a real focal point in the years that followed the conflict.

America’s new wave revolutionised the traditional British outlook and sparked an underground youth movement, a movement that would gain the momentum of an obsession.

The Jazz Years

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usic was the backbone, the biggest contributing factor to shake things up.

Some growing Jazz musicians of the US were breaking the boundaries of traditional style with an alternative form known as ‘Bebop’ and were creating a whole cultural movement of their own.

The GI’s had brought records across with them and told stories of this new after-dark and underground scene back in the US. The bands were publicly known for their drug fuelled sessions, they would play this new free-form style all night, looking sharp in their Zoot suits and cravats. The scene differed so greatly from the Big-Band music and Traditional Jazz style popular in Britain at the time and simply oozed cool.

At this time, 1947, bop was going like mad all over America. The fellows at the Loop blew, but with a tired air, because bop was somewhere between its Charlie Parker Ornithology period and another period that began with

Miles Davis.

And as I sat there listening to that sound of the light which bop has come to represent for all of us, I thought of all my friends from one end of the country to the other and how they were really all in the same vast backyard doing something so frantic and rushing-about.

(Jack Kerouac, ‘On the Road’ – 1957) From this new wave of music the British scene started to develop with bands forming and emulating their American idols.

This was the birth of ‘Skiffle’, an inventive and purely British form of music similar to Bebop but with instruments (due to their price) often home-made! By the mid to late-Fifties there were thousands of skiffle bands including ‘The Quarrymen’ (featuring John Lennon) but to our earliest Mods skiffle despite it being the start of something on home soil was all wrong.

Skiffle was the cornerstone for many of the successful bands of the Sixties. Sadly though the most original music was being syphoned rather than exposed in what was still at this time a race-separated industry. The London Decca label had a deal in America for one reason only; to poach songs off of the blacks without crediting the original artist. Mods however started to distinguish themselves at this time as they were true to the origins, disregarded this racial stigma and sourcing original records via there GI friends and any other means possible seeking out with extreme difficulty but building record collections of the real

www.ruzi.ca

CULTURE deal; black jazz often put out on ‘Blue Note Records’.

“… black records just weren’t played on the BBC, I can assure you of that. Occasionally you’d hear something on Radio Luxembourg or the pirate radio stations when they started up. Black hits were covered by British white bands. There was never such a thing as English Rock’n’Roll…”

(Drummer Tony Meehan reflects in ALO’’s ‘Stoned‘) Regardless this was the scene in the Fifties and the British bebop (skiffle) outfits needed venues to play. Upon the import of the Gaggia espresso machine from Italy, coffee shops and small bars started springing up all over London’s West End and in particular a little known district called Soho exploded as the playground. Places like ‘The French’, ‘Sam Widges’, ‘The Bastille’, ‘Act I/Scene I’ and perhaps most famously the ‘2I’s’ coffee bar became a home from home for the bands (who were mostly under the legal drinking age) and likewise became institutions for the young followers of cool.

Producer Micky Most reflects “… the 2I’s was a trip from about ’56 to ’59…” The club was open all day and you could just get up and have a jam with the hope of being noticed. The place breathed music and over its short 10 year existence the likes of Peter Grant (Led Zeppelin manager) could be found as the bouncer, Hank Marvin (The Shadows) could be found serving coffees and sweeping floors and Andrew Loog Oldham (Rolling Stones manager) was a regular. The coffee bar itself was

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small, catering for only 20 people upstairs and not many more downstairs in the basement where the bands would perform.

Regardless of size this was the place to be seen, dressed to the nines, sipping an espresso and mingling with like-minded sorts.

A real vibe was born in Soho, it was the birthplace of Mods as we recognise them today. Naturally they were already two-steps ahead of this new Bebop scene accepting no imitation, an attitude synonymous with the true Gen-1s.

Why Mods?

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ack in the Forties now and from Bebop came Modern Jazz (otherwise known as ‘Hard-Bop‘), a refined and seriously cool rhythm and blues variation for the really serious musical ear which as Graham Lentz notes in ‘The Influential Factor’ “…separated the Mods from the bandwagon Hipsters by the mid-Fifties…”. It is infact from Modern Jazz that the term ‘Modernists’ (Mods) was born…”

In 1948 ‘Club Eleven’ opened its doors at 41 Great Windmill Street, Soho catering specifically to the Modern Jazz crowd. In-fact this was a club that was owned by 10 jazz musicians, out of the need for somewhere to play! One of the house bands was even led by legendary sax player Ronnie Scott. Sadly the club was closed in 1950 when the Drugs Squad raided it. Six of the musicians were charged with possession of cannabis. Ronnie Scott recalled that when they appeared the next day at Marlborough St. Magistrates Court, ‘a police Chief Inspector informed the bench that the Club was a bebop club.

“...What,” asked the magistrate solemnly, “...is bebop?”... ‘A queer form of modern dancing – a Negro jive” the policeman answered with brisk authority.

In 1959 Ronnie Scott opened his own club (‘Ronnie Scott’s’, still going strong today) with another successful jazz musician, Pete King. At Ronnie’s they managed to get around strong union rulings to have American artists perform who up until that time were not allowed to play in England. To get a drinks license the venue had to serve food, a minor detail once a relationship was made with an Indian restaurant across the road.

Pete King recalls that the club originally opened so that Ronnie and he could study their bebop heroes and learn how to adapt their own playing into this new style. What they had created however was a venue of cult status with young Mods at the time. So slick was the club that Andrew Loog Oldham (working at the time for Mary Quant) took an evening job to wait tables just to get deep inside the scene.

Early Adaptation

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azz was just the beginning.

It paved the way with its style, though music was ever evolving and soon true R&B unlocked a much larger door.

The early Faces were yet to fully establish themselves but they already had a fire in their belly hungry for influencing what was to come next.

“Little masterpieces, that’s what they were. The jewels of the cities and the high streets.

Dressed with a stunning pre-

FEATURE

“In Newcastle-upon-Tyne, I knew a boy called Thomas Baines, who refused to have sex at parties unless there was a shoe-tree available and a press for his trousers” (Nik Cohn in ‘Mods‘) cision that spelt obsessive, a minefield of detail from head to toe, a work of art encased in mohair and existing for clothes, music and kicks, Mods listened to the best music, danced the best dances and helped transform British cultural life”.

(Paulo Hewitt on the Gen-1 Mods in ‘A Mod Anthology’, 1999) London soon became the global epicentre of youth rebellion.

We’re now in the early Sixties and change is vogue with major

developments just around the corner. The social demographic has shifted to a more youthful Britain following the baby-boom of the Second World War (By the mid-1960’s around 40% of the population were under the age of 25!) and following the Anglo-American Loan vast improvements in the social-economic state of the UK were now evident meaning that the kids of the lower ranks of society had it far better than any generation before them had ever known!

“He was fifteen and he was the best-dressed man in the whole big building. He spent more money on clothes in a week than they spent in a month – despite the disparity between their expense account padded salaries and the handful of peanuts in his wage packet…. What was the point of wearing a suit if you looked like a sack of potatoes in it?”

(Tony Parsons in ‘Limelight Blues’)

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CULTURE This decade changed everything and believe it or not some of the changes and innovations of the Sixties still to this date dictate our hunger for style. Before dancing, scooters and pills it was ALL clothes for Mods.

Clothes dictated the Subculture and naturally there were those who lead and those who followed. The leaders as such were so ahead of the game, the few that would daringly break the code of social norm and bring a real extravagance to their appearance. These leaders were known as the ‘Faces’. The Faces were looked up to, respected by their local peers over whom they exerted huge style influence.

They would always appear in new styles ahead of anyone else, they created new dances, they were tapped deep into the local scene, to the point that they WERE the local scene. They were often so in love with their own image that they appeared completely asexual, thwarting the attention of a vast number of female admirers to remain intact, focused solely on looking the business.

One of the more publicly known Faces of the time was Mark Feld (better known today as Marc Bolan of T-Rex). In 1962 the 15 year old Mark was picked up by ‘Town Magazine’ in an article on new found youth fashion and about what it is to be ‘a Face’. This was the first media release on Modernists and from here everything that was happening in their own regional pockets started coming together to form a Popular Subculture.

“It was now important to walk properly, hold a cigarette the correct way and know the right way even to stand. Correct stance was important because a

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lot of the time was spent hanging around posing and talking and showing oneself off.”

(Richard Barnes in ‘Mods’) What is apparent is that when the Modernist subculture took off, it all happened so fast. Mod’s were cool, impeccably presented and now exposed in the media.

Like anything that gains enough exposure it gained popularity and so came the skiffle ‘hipster’ crowd slowly converting themselves, and inevitably treading on toes. Carefully guarding themselves from this very possibility the Gen-1 Mods turned up the dial to separate themselves from the bandwagon dandies or “tickets”. Mods had also created a fair bit of their own lingo too.

A “ticket” (or “third class ticket” in full) was borrowed from the British rail system (you could travel 1st, 2nd or 3rd class back then) and used to describe those who attempted to mirror the Mod styling though went about it completely half-cocked.

Desperate to remain unique and not get swallowed up by the masses a fair amount of additional investment was required.

In effect this saw the fashion evolve very quickly and left many struggling to keep up. Mark Feld was known to drive his local shoe shop in Stoke Newington barmy by asking that they made him a new pair of shoes every other day at one point.

“See, us Mods, we were the only ones that really cared about how we looked. And judging by the speed of the fashion, it soon became apparent that the only way any Mod worth his salt could keep abreast of things was to have a job.

We were the only youth cul-

ture that honestly believed in work. Teds and beatniks didn’t.

We had to earn the money to buy the clothes. I mean, I was a bleedin’ filing clerk with the L.E.B. and my friend was a meat pie packer – and we were just as Mod as each other. That was the thing about this big army of Mods; we could be working at anything really and still dress smart and be Mod.” (Irish Jack in ‘History’) We have to remember that Modernist Britain was a social movement as much as it was a fashion movement. The age old class system of Britain lost its edge following a World War that saw upper and lower classes fighting together side by side. Despite difference in wage packets, the improvement in disposable income by the Sixties was inspiring.

Business opportunities grew and with it an evolution in advertising with campaigns vastly more comprehensive than anything seen before. In short, a materialistic economy had developed in parallel that would see the Modernist Subculture explode!

Fashion Revolution

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he British fashion industry’s journey into the Sixties was colourful to say the least with styles borrowed predominantly from America, France and Italy. The clothes worn by the earliest Mods were as foreign inspired as the music they had taken to, but certainly more integral in defining the Subculture. Initially Mods reached out to the American jazz style once more with Co-Manager of The Who, Chris Stamp once going on record to say that a

FEATURE Jean Shrimpton;

by David Bailey (1964)

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Hair | Shaving | Body | B

Beard | Skin | Fragrances www.thecenturyman.com.au

CULTURE good portion of the Gen-1 Mods weren’t even all that into the jazz music, but more the clothes that they wore. “…Subconsciously we knew that the blacks had no real power in the States any more than we did, but their clothes made them look in control, on top, not to be messed with. That attitude was why clothes were part of the triad with music and pills for Mods…”

(Chris Stamp) The French New Wave cinema gained momentum in the late Fifties and Mods would often go to watch these films in back-alley London without a care for the dialogue. Italian styles were imported and films like ‘Roman Holiday’ caught the eye of many.

The younger working classes were desperate to mirror these glamorous heroes of film and as a result soon apeared better dressed than their bosses (which even today is something of a Mod commandment).

For women (shy of the new androgenous look) it all started in 1955 when Alexander Plunkett Green and Archie McNair opened a boutique on the Kings Road, Chelsea called ‘Bazaar‘ which hosted designs by dress-maker Mary Quant. Quant later became an equal partner in Bazaar and married APG. Her major achievement in womens fashion was to celebrate the female form, disregarding the conservative rules of the time. Famously Quant designed the mini-skirt/dress which in its own right revolutionised British female fashion design. To go a step further she produced this expensive sexiness at an affordable price tag and with it quashed the socio-economic

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hurdle associated with looking good.

“There was a time when clothes were a sign of a woman’s social position and income group. Not now. Snobbery has gone out of fashion, and in our shops you will find duchesses jostling with typists to buy the same dress.”

(Mary Quant in ‘Quant by Quant’) By 1956, the ‘Italian Look’ was ready to take off. Brioni of Rome were the lead stylists of Italy, their new lightweight tailor-made suits with a narrow leg and squared boxlike jacket were getting some recognition and worn by travelling movie stars like Carey Grant. On a holiday to Italy in 1956 Cecil Gee discovered this new tailoring and returned to England not with a prototype, but with an Italian tailor to really push this continental style in his shop on London’s Charing-Cross Road. The result in the UK was a suit that became known as the ‘Bum-Freezer’ and very popular with the few Mods of this time.

Meanwhile down the road on Old Compton Street, Soho (infact next-door to famous 2I’s cafe), a man by the name of John Michael Ingram opened ‘Sportique’, a reaction to ‘Cecil Gee’ which for all of it’s new styling he thought was still too rigid and formal. John Michael stocked all the imported Mod staples of herringbone, vented jackets, gingham, flannel and hounds-tooth. He had no plan to cater to this Subculture, just simply shared a love for good fabric and tailoring. To own a John Michael Suit was every Mod’s dream. The popularity of Sportique led to the opening of ‘John Michael’ on King’s Road, Chelsea.

In 1957 John Stephen acknowledging the gentle shift that was developing in British male fashion seized the opportunity (in a more holistic sense) and as a young man believed he knew exactly what other young men of his generation were searching for. It didn’t take long for him to open his first mens clothing store called ‘His Clothes’ which was reopened at number 5 of (at the time) a little known thorough-fare called Carnaby Street.

Stephen brought new energy to the whole shopping experience; painting the building’s façade a bright canary yellow, dressing it with large kaleidoscopic window displays and allowing ‘pop’ music to spill quite freely into the street. ‘His Clothes’ quickly attracted the masses and became the place to be seen.

FEATURE “…My ambition in life is to see a young man walk down the street in a pink shirt and not be called gay…”

(John Stephen) Through its success Stephen opened around 15 other mens boutiques along Carnaby Street of various names including ‘Mod Male’ and was later dubbed the ‘King of Carnby Street’ and the ‘Million Pound Mod’.

In a similar period women’s fashion was about to receive another A-grade boutique. Born from the early pattern-making and vision of Barbara Hulanicki, ‘Biba’ opened on Church Street, Kensington in 1964. It stocked everything vogue for the Modernist woman and similar to the successful Quant model it too catered a small budget becoming popular to the extent of around 3000 customers per week. Movie stars Brigitte Bardot and Mia Farrow were even claimed to be regulars in it’s expansion.

“Biba’s customers are virtually all working girls on slender £1015 weekly incomes. Miss Hulanicki calculates that the average Biba shopper spends about £7 a week on clothes and accessories. The high expenditure rate never ebbs since after a month’s wear a new dress is an antique.”

(Jonathan Aitken summarises the importance of style and quick fashion turnover of this period in his book ‘The Young Meteors’) Tailors played a pivotal role to the Mod Subculture and a good suit was probably the most important item of clothing to any

self-respecting Mod. Good tailoring cost serious money and many Mods saved 3 months wages or more for a new one. Other than the pre-mentioned John Michael, a very well established tailor Sonny Bilgorri catered to all of the detailing that came with designing a unique number. ‘Bilgorri’s of Bishopsgate’ featured in the Mark Feld Town Magazine article in 1962 and became synonymous with Mods thereafter.

Personalities were defined by the suit you wore. The details were countless but also dictated the rules of engagement, and fashionable suit styles changed every 3 months!

Typical suit details would include placement and length of jacket vents (side vents were most popular), number and angle of jacket pockets, length and width of lapels (skinny and short were preferred), jacket corners, stitching, lining, buttons (covered buttons was a preference), trouser cut (hipster was fashionable for some time), width of trouser bottoms, acid cut detailing at the hems etc etc.

“If I was going to be in hairdressing, I wanted to change things. I wanted to eliminate the superfluous and get down to the basic angles of cut and shape.”

(Vidal Sassoon)

Shoe makers likewise boomed and like anything with Mods, if it was ‘off the peg’ it wasn’t worth a second look, the two most famous for shoes were ‘Anello & Davide’ of Covent Garden and ‘Stan’s of Battersea’ where you’d be made to measure. The latter designed probably the most iconic shoe of the Sixties; this was the ‘Winklepicker’ named so as the toe was so long and pointy you could virtually shell your seafood with them. But other popular shoes included the now known ‘Beatle-boot’, ‘Brogue’, ‘Cuban Heel’ or more casual ‘Desert Boot’ all still today timeless classics.

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..As I say Modism, Mod is a euphemism for clean living, under difficult circumstances…”

Peter Meaden interviewed with Steve Turner of the NME, 1975

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FEATURE Hair was the other final touch and although men’s hairstyles varied, they did have one constant; no lacquer. From the ‘crew-cut’ to the ‘French-crop’ (or ‘college boy’) to the ‘Ivy League’ (short back and sides), hairstyles were generally short but sometimes with small details like a slightly longer feathered front.

Women’s hairstyles were completely redefined in this period by Vidal Sassoon. Sassoon opened his first salon in 1954 and from the outset challenged himself in re-inventing hair-styles. His back to first principles approach resulted in big geometric designs which were both elegant but low maintenance. His most notable work was a fashion-forward take on the ‘bob’ cut. Teaming up with Mary Quant, the pair collaborated on some extraordinary editorials on their vision of London.

The final fashion detail for our Mods was perhaps the most important as the coffee bars were open late, well into the small hours and in the early 1960s public transport would wrap up far short of this. For the youth of London, transport without the buget for a car was obvious. If it was good enough for Gregory Peck and Audrey Hepburn in Roman Holiday, it was good enough for our Mods and before long Vespa and Lambretta scooters were the go.

The scooter was cheap, stylish and could be modified into a statement of lights and mirrors.

It got you around town without losing a drop sweat and to keep the cold weather and British skies off of your Sunday best the Mods once more looked West for inspiration and forever juxtaposed the Italian scooter with the green M51 Fishtail Parka, designed by the American Military for their troops.

Dedicated Followers of Fashion

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ods were so competitive, always trying to keep ahead of their peers and no more so than now. Styles evolved so quickly that they were only fashionable for a number of weeks before something else came in. As a result Mods became monster consumers and financed the growth of the high street, strengthening the postwar economy. “…It was incredible to me that the fashions were constantly changing and the frequency with which they did. I wondered who thought them up. I was convinced that there was an inner clique of policy making Mods who dictated fashion. I wondered whether they had a secret bunker beneath the ‘Scene Club’ and whether Peter Meaden wasn’t one of them…”

(Richard Barnes in ‘Mods‘) The cost of keeping up meant that for many of the Mods they would simply gaze the latest wares along the Kings Road or Carnaby Street and then head to cheaper but established outfitters such as Burtons Menswear to have the clothes made at a far lower price. “…my masterpieces were made in Burton’s tailoring chain in the West End… I drove them berserk by taking them up on their tailoring invitation in which you picked the details. I had a dovegrey mohair suit with nipped waist, covered buttons, inverted pleat in the back of the jacket, draped trousers, slanted pockets and a paisley lining…”

(Andrew Loog Oldham reflects in ‘Stoned‘) Andrew Loog Oldham further admits in his book ‘Stoned’ going as far as starving himself for a short period to buy a superlative skinny wool-knit tie and gingham tab-collared shirt from the Kings Road as was the importance in keeping on point.

The First Youth Culture

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he Mod style came completely out of left-field, taking the previous generation by complete surprise. It evolved into the peacock generation with men attentively looking after themselves as much, if not more than, their female counterpart. Women likewise broke down many conservative boundaries and pushed a new freedom of expression. The Mod Subculture re-defined style and many parts continue to be the backbone of our fashion today.

We’ve explored the roots, the early rumblings and rise of the high-street but only hinted to the fallout that followed.

In the next part to this feature on the Mod Subculture we’ll dive in a little deeper and draw further parallels on contemporary society, detailing the movements of the first youth culture the world had seen, and through music, clubs, amphetamines and gradual reinvention we’ll put you in the thick of it.

References: Paulo Hewitt – A Mod Anthology (1999) / Andrew Loog Oldham – Stoned (2000) / Richard Barnes – Mods (1979) / Tony Parsons – Limelight Blues (1987) /Mary Quant – Quant by Quant (1966) / Jonathan Aitken – The Young Meteors (1967) / Nik Cohn – Mods essay (1989)

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DEMOCRACY IS DEAD

By Katie Little

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lot of books I’m reading at the moment are converging on the same theme - they’re discussing a revolution in the way we run our planet, calling us to rethink how we govern society, and asking us to look at the true value and impact that our monetary systems and laws regarding corporations are having on the world.

There’s a feeling that things are going to be shaken up a bit, that climate change, species extinction and the skyrocketing world population are putting the squeeze on us, and an upgrade to our system is essential if we want to survive.

It’s the same revolution they were singing and protesting about in the 60s, but this time we can’t weasel our way out of it. There’s only one way forward, or as Jim Morrison would say, it’s time to ‘Break on through to the other side’, the small folk are getting ready to topple the establishment in an evolution that feels a bit David & Goliath.

My poem ‘Democracy Is Dead’ is about the frustration I feel for the planet, forced to it’s knees by people who say they represent my best interests, and the constant struggle within myself to remain true to what I believe - trying to sit with patience and remember that the best things in life, the simplest things, are always free. If we can just take the time to connect with them, the revolution will transpire.

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WORDSMITH

I’m sorry, for all the things my race has done.

Taking every resource, Leaving none.

Destruction.

As the mess hits critical, apocalyptical conclusions, I’m forced to listen to hypocritical political delusions, who smile, or nod in earnestness.

I don’t believe you.

Politicians > magicians!

Is that what you think you are?

Can’t you see, (blind fools!) that death is never very far away?

When you take your last breath, who will listen to what you have to say?

The grief, I have to live with the grief, of your decisions.

The rampage of economies untamed, while you stock-pile provisions, For what?

What future do you foresee, beyond your short political shelf-life?

Democracy is dead, the genie released from the bottle holds the knife.

Philosophers, they tell me ‘The kingdom of heaven lies within’, If I can just quiet my mind, shut off my ego and shut out the din.

The key to salvation of all, is in the heart of one.

Please, tell me the time has come.

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A P H O T O E S S AY BY

Ewan Waddell

Words by Ewan Waddell & Elliot Gordon When I worked on a cattle farm in New South Wales, Australia, I was never far from a photo opportunity. Never have I been so far from a city, but never have I been so close to life. There were so few people around you’d think it would be unsettling, but it wasn’t. In its place was a sense of peace, and undisturbed calm, reflective of the way the landscape had been largely unchanged for what was likely centuries.

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Even the soil beneath your feet is home to all sorts of life. Humbly going about their way, they weave amongst the dense grass, but if you look up into the distance you see miles of soft and quiet rolling hills.

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PHOTO ESSAY

A juxtaposition of two examples of quiet; the loneliness we manufacture for ourselves inside, against the natural stillness of the outdoors. The only disturbances in the peace are the contented murmurs of cows and kangaroos. Even the hawks and eagles dip down out of the sky only briefly, seemingly as respectful of the tranquil scene as I am.

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Human imposition is fairly minimal in the landscape. Apart from the occasional barbed wire fence scarring the land, the hillside here remains largely unbroken and untamed, much like the wild horses that call it home.

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PHOTO ESSAY

Skilled farmers are the wardens of these parts, and for their body’s toils in the day, their eyes reap the rewards at night.

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It’s almost rhythmic the way relentless labour can co-exist with tranquil relaxation in a way such that the former makes the latter all the more satisfying.

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PHOTO ESSAY

The presence of mankind in such a place is conflicting. There are few places on Earth I’d rather be, but it’s one of the few places I feel we shouldn’t be. We, as people, are loud and presumptuous.

Our ‘perseverance’ a blatant insult to Mother Nature’s hospitality. We ‘pioneer’ and conquer lands already teeming with life, lands that do not want us, but more than that, do not need us.

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Photographer Indrek Galetin Model Maxi More Makeup & Hair Maxi More Model's Assistant Hazel Tyler

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n this photo-story performance artist and drag queen Maxi More and photographer Indrek Galetin explore the Ultra-Ego.

Taken over the space of one afternoon the pair had no goal but to capture images of Maxi's gradual transformation. Gathering together varying materials and make-ups to use, they avoided setting limits or parameters on what they wanted to see in the lens. The focus was the process, not the outcome.

Turning away from the notion of drag as creating an(other) persona to live through (alter-ego), Maxi believes the recreation of drag empowers a larger, more genuine self, a self that is ever-present, to break free from the usual physical and social limitations contemporary life sets on his identity.

Not focused on a static icon to form imagery with, instead the artist and photographer embarked on a journey, and the images that document this journey show an evolution of the self, from internal and intimate to outward facing, ready to surge forth. It is in the transitionary space we see glimpses of a powerful creature, who sees no distinction between opulence and trash, glamour and grunge. To Maxi, all is loaded with potential and through interrogations and exploring ways of interfacing with cosmetics, clothes, fabrics and fibers, we see the building blocks of an ever increasing complexity of character, the shadows that lurk inside Pandora’s box, the ‘Ultra-Ego’.

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THE U LT R A EGO

"...When I was little I loved dressing up, I loved painting and playing. I understood that playing and make believe sat next to the real world and I had no delusions of actually being a princess, a robot or a monkey. But the self-consciousness that grew alongside my prepubescent body told me to put these recreations away, look like a boy, get that GCSE and don't stand out! It wasn't until, in adult life, I was pushed to the brink by mental stress, financial struggle and trauma that I called once again on the power of playing.

I now spend my life balancing between what the world expects of me and what I fantasize to expect in my world. I embrace beauty, and take on challenges with full belief in the power creativity has to transform. Now the lines blur more than ever between what is reality and what is make-up...”

Maxi More

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EDITORIAL

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REGULARS

Rachel Leppinus

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NOISY POP PHOTOGRAPHER Meka STYLIST SteSy LAB BODYPAINTER Lela Perez MAKE UP Paola Rinaldi per New Total Look HAIR STYLIST Gianmario Viganò per New Total Look DIGITAL ASSISTANT Jacopo Contarini PHOTOGRAPHER ASSISTANT Elizabeth Von Bismarck STUDIO Diggy Style Studios MODEL Maisie AGENCY Joy Models

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TOP Popcorn Jeans SLIP La Perla

JACKET Frostie PANTS Philipp Plein SHOES Louboutin

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DRESS Johnson & Johnson BRACELET Ritratti EARINGS Breil

JACKET Luini 35 PANTS Philipp Plein EARINGS Dior

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PANTS & TOP Gianfranco Ferre’ Jeans SHOES Louboutin

PANTS & TOP Gianfranco Ferre’ Vintage

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DRESS Johnson & Johnson EARINGS Dior

www.casperandpearl.com

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BIO

Kym Ellery “ I felt like there was a small gap in the market for well made, fashion forward clothing. Clothing that came out of a label that created its own trends yet refreshed its image each season – as we see in many of the i n t e r n a t i o n a l d e s i g n h o u s e s .”

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ym Ellery is the genius mastermind behind her eponymous label ELLERY. The Ellery brand is contemporary, a fashion-forward journey with flares exploding from the knee in luxurious fabrics.

It’s a high quality almost avant-gard look boasting great lines and a geometric flow.

Ellery has that regal elegance that stands proud on an International level.

This is a label that was born from a life-long love of fashion though possible only through an early drive to succeed

which is a lesson to any aspiring fashion designer. Originally from Perth, Australia, a young Kym Ellery completed a certificate in Fashion Design before making the next bold move, a move to the Australian fashion capital of Sydney at just age 20. From here she headed to the UK to complete a summer-school course in Fashion Illustration at St. Martins College, London which was cut short when a job offer came in to work at Australian magazine, RUSSH where she worked in a tightly knit team growing the now prestigious fashion magazine for

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W2-iW CONTEMPORARY RTW LOCAL & INTERNATIONAL LABELS LAUNCHING SPRING 2015 INSTAGRAM: @W2IW WEBSITE: WWW.W2IW.COM THE MILL 154 ANGAS STREET ADELAIDE, SA 5000

BIO

ELLERY Resort 16 Collection

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FASHION 4 years. Here she worked around the clock and in her spare time developed the momentum in her own fashion brand identity.

And so by 2007 ELLERY the label was born and from very early on the brand caught the attention of many high profile publications, starting when Trevor Stones, a stylist at Vogue, used a pair of ELLERY glitter pants in an editorial; thankyou Trevor!

Amongst the more notable names dressed

by ELLERY you will find Madonna, Georgia May Jagger, Eva Mendes, Natalie Imbruglia, Abbey Lee Kershaw and Jennifer Hawkins to mention only a few. It was infact after Madonna’s stylist pulled from ELLERY for a music video that US Vogue came knocking on the door once more.

The Resort ’16 collection is so true to the ELLERY aesthetic of sophisticated modern reinvention. Much like the cutting edge layered shape that flowed through the previous A/W 15 collection, the new Resort collection follows similar basic structure-principles. It has however evolved past the classic A-frame adding a playful ruffled theme with the usual nonchalant fluidity.

This latest collection is predominantly a classic blanc et noir with a smattering of colour injected in the new full-length and 3/4 length flared pant. Also of note is the beautiful oversized fur coat which with the flare pays homage to a Seventies rock and roll era passed.

Here are our favourites from the ELLERY Resort ‘16 Collection. Lets face it this collection is to die for!

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BIO

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nowher Photography Josh Geelen Creative director Vanessa Burton Styling Sharmonie Cockayne Grooming Kelly Schwartz Models James FTM Model Management & Ollie English Intern Lauren Alyce Park All clothing is vintage from www.swop.net.au Accesories from www.missgladyssymchoon.com.au Watch Daniel Wellington Bag Rains Black sunglasses Ksubi Mirror Sunglasses UNITY 88 hive

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His Fathers Son.

By Jason Fassbender Casely-Hayford is a house built on the juxtaposition of English Sartorialism and British Anarchy, two strong counter points of English style idealised by two generations of Englishmen.

Joe Casely-Hayford (OBE), a British fashion mainstay since the 80’s, cut his teeth at the Tailor & Cutter Academy in London in the mid 70’s before spending time in the workrooms of celebrated Mount St tailor Douglas Hayward on his way to Saint Martin’s School of Art in 1978. The mid 80’s saw the inception of his debut labels for both men and women leading the house to show in Paris, London and Tokyo. Casely-Hayford quickly became the go to designer for musicians such as The Clash, Lou Reed, Jarvis Cocker and later U2, during what is arguably the bands high point from 1991 to 1993, where Casely-Hayform designed the wardrobe for their world tours of albums Achtung Baby and Zooropa. The labels success saw Joe nominated for British Womenswear Designer of the Year in ‘89 and Innovative Designer of the Year in ’91 which led to stints as a freelance creative director in Italy as well as landing big gigs with major fashion publications The Face, i-D, Arena Homme Plus, The Independent and Senken Shimbun in Japan. With an eye for creating original but wearable style the Casely-Hayford brand was now being stocked across 150 stores globally. Fast forward to 2009 and enter the second part of the equation, Charlie Casely-Hayford, Joe’s son.

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REGULARS

London Mens Fashion week: Charlie’s Premier - Fall 2014 season. Photos by Style.com After leaving London’s Harrow School, Charlie followed his fathers footsteps and went on the study at Central Saint Martins College of Art and Design where he began contributing to international styling publications GQ Style and i-D as well as styling musicians such as Hip-Hop royalty Nas and UK band The XX. At the tender age of 22 he started luxury menswear brand Casely-Hayford alongside his longtime mentor and father.

2009 saw the debut of the label and their first appearance at London Mens Fashion week was the Fall 2014 season.

The collection was critically well received and the inevitable mash up of two generations was warmly embraced by the fash pack, musicians and the public alike. The moments the collection embraced both sides of the equation where the high points, a perfect symmetry of old world English tailoring coupled with the ease and comfort of modern sportswear. The red plaid that punctuated the collection added an element of punkish rebellion to beautifully tailored trousers and blazers and worked especially well when styled with a wood grain printed blazer over a black double breasted dinner jacket.

Charlie’s eye for styling was defiantly on show here and his play on proportion throughout the showing gave the garments a modern and very wearable appearance that excited fashion fans with the possibility of what is possible with well executed menswear.

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Spring/Summer 15 (left) and Fall 15 (right) season. Photos by Style.com The houses’ sophomore collection for Spring Summer 2015 followed a similar formula that was now clearly becoming the signature of the label, high quality tailoring with a relaxed, wearable sportswear edge. The palate was largely monochrome with accents of blue and gold. The beauty of this outing was the way the duo reimagined typically ‘winter’ looking fabrics with a lightness of touch for the warmer months. Heavy chalk stripe fabrics where actually 100% light weight linen and shirts and t-shirts were finished off with trims lifted from suiting. All these little elements coupled with Charlie’s play on proportion made for a very interesting and thought provoking show.

By Fall 2015 the codes of the house where firmly established, impeccably constructed outerwear and jackets with pants perfectly cut to just above the ankle and layered styling in spades. The Casey-Harford man appreciated quality but has a fashion forward eye for style and isn’t afraid to stand out with a subtle play on proportion. The classic monochrome palate was this time lifted with punches of electric orange and pink. Plaid was also back for winter, this time fashioned from mohair and used on everything from suiting to oversized hooded parkas. Knitwear was a new addition to the collection and the elongated, oversized cardigans where amongst the best pieces of the line up.

Spring Summer 2016 has showcased, by far, the most refined vision of the CH man yet. It’s felt like a retrospective of the labels short history. Various rifs on the houses’ signature looks and colour choices all mashed into a melting pot of ideas, the result being surprisingly enticing. The

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REGULARS only downfall for me, two oversized moto inspired jackets that just didn’t seem to fit with the eclectic mix of pieces.

Needless to say but the suiting was exceptional and the way it was intermixed with sport luxe separates like bomber jackets and jersey joggers was genius. The lengthened silhouette of button down dress shirt lent themselves perfectly to the layer look that has become something the boys are renown for, and once again, they where finished with fabrics typically found in suiting.

The digital Navaho print applied to both pants and shirting just highlighted the couples ability to take the unexpected and make it feel just right.

Joe and Charlie have mastered the laid back ease, but just so polished, the look makes up the DNA of the brand and this has defiantly not gone unnoticed. With an enviable list of celebrity fans that run the gamut from musical super stars such as Tinie Tempah, Sam Smith, Disclosure, Jamie XX, Drake and Chris Brown to movie stars Michael Fassbender and Dan Stevens all opting for Casey-Hayford looks for events both on and off of the red carpet.

In an age where almost everything is disposable I believe the strength in a label such as Casey-Hayford is the emphasis on quality craftsmanship and timeless design. The way the clothes are presented season to season prove that this is a wardrobe that can really be built upon, mixed and matched, always stylish. When a man invests in clothing he wants it to stand the test of time and through their unwavering dedication to a modern take on this aesthetic the duo are building something truly classic.

Spring/Summer 16. Photos by Style.com

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Guys...

Sneak Denim into your Outfit

By Chris Stenta per ROAR Style www.roarstyle-fashion.com

Since the introduction of denim, a significant movement towards experimentation was instilled into the minds of us all. Denim shirts were reserved for unfashionable dads and half-brained cowboys… You know what I mean. A generation has passed, and the world has finally smartened up to the comfort and versatility of this wardrobe essential. The only problem is, trying to sneak this secret weapon, into your outfit arsenal.

The denim phenomenon has finally snuck its way into the wardrobe of fashionable men, and it is finally time to catch onto the trend. The denim shirt, offers a magical twist to every man’s outfit. Whether getting rugged and layering up for a cool winter breeze, or roll up your sleeves, and pair your light denim with a pair of rolled chino shorts. Unbutton the denim, to show off the white undershirt, that you have been hiding for far too long.

No matter the occasion, the denim shirt can be dressed both up and down, all year,

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round and round. Whether it’s an expression of pride in a casual denim shirt and chino shorts, or to emphasise your sophistication in well fit buttoned denim shirt, under a blazer jacket and textured necktie.

Style and fit is of the upmost importance, in order to sneak denim into your fashion assault. It is hard to get it wrong with such a versatile statement piece, however ill fitting denim can stick out like a sore

REGULARS

thumb. Opt for a slim style, which stretches across the breadth of your shoulders, with plenty of room on either side. Make sure the denim is lightweight, and follow a neutral colour scheme, with pale hues or dark washes.

Like its jean counterpart, the denim shirt transcends season and personal style, as it proves its versatility throughout each wardrobe. The 2016 Spring Fashion Week, featured denim, to contrast with deeper

tones of a navy blazer, or the soft pastels of cream chino. Simplicity is the key, in order to pull off such a textured material.

It is important to remember, that denim is not the miracle material. It cannot be worn on all occasions, although it can be snuck into a number of outfits, fitting seamlessly, and going almost unnoticed.

For those willing to take that bold step towards a fashionable style trend, the denim shirt is a definite go-to.

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Ikonostas I

konostas, from the Greek words Ikonostasi/eikonostasion (icon stand), is an Italian brand distinguished by an experimental approach to luxury lingerie and clothes.

Researching past and modern icons Ikonostas curator Daniela Corcio has applied her knowledge with a great deal of innovation to keep the sophistication of past decades yet push the boundaries of elegance and femininity. Combining the

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rules of couture and intimate apparel ensures the uniqueness of this brand.

Daniela unites sartorial Identity with irony, provocation and eroticism; to turn underwear into avant-garde lingerie and transforms intimate shapes in sensual clothing.

Ikonostas incorporates design with extreme care for details and finishing, focussed on the language of the body. The Collections are created through drapery and unusual materials.

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D

aniela Corcio was born close to Milan. At the age of six she moved to the south of Italy. During her youth Daniela has evolved a lot of dreams. She applied for the prestigious fashion school Polimoda, and after graduating the course ‘Product Unusual: from Subcultures to Haute Couture’ an internship was offered at a studio in Prato, Cataldi with a company who looked after the knitwear lines for Vivienne Westwood, Daniela’s muse. Whilst in employ the company received a call to take care of the Gold Label which was awarded on merit to a 23 year-old Daniela and she was flown to London to meet Madam Westwood in person. At this point she started working as the Head of Production and later became the Product Design Manager and Head of Atelier. Besides working for Westwood Daniela coordinated some capsule collections for brands such as Chloé, Proenza Schouler, Christian Lacroix and Comme des Garçons.

In the same period she became a costume designer for theatres, and worked as a visual concept creator in International art performances. It was during one of these performances, in Saint Petersburg, that she discovered the name that she later gave to her brand. Amazed by the world of Medieval Russian Icons Daniela read the book ‘Ikonostas’ by Pavel Florenskij describing the icons as the visible symbol of a spiritual world. Daniela sees her world, and the act of creating, as her invisible place where the final creation is the visible and tangible icon of her inner side. “...Wearing latex and rubber is a must...”

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uring one of her ritual dressing up nights (in 2004) she realized that she was without the right bag to fit her long evening rubber uniform. Our crazy girl doesn’t head for the shops but instead takes a broken tyre she has in her car and promptly destroys it to free the inner tube. From here she makes her first rubber bag. It was a hit, nobody had made this before and people wanted it.. Seeing the opportunity Daniela started to experiment with new shapes and created a collection of ‘Air-Bags’ which took off and went International.

BIO The Ikonostas woman is elegant and seductive, although sophisticated and ironic. She is a woman able to enjoy life and open to experience intimacy in a unique way.

For its ethical stance and popularity in the alternate scene Daniela started to use the same recycled material to make corsets too (being her major passion), starting as 100% recycled inner tubes and finishing with a mix of silks.

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he debut of Daniela Corcio as a lingerie designer started in 2008. The prestigious Magazine Linea Intima was notified by the Minister of Fashion, Elisabetta Cianfanelli, about her corsets. Daniela was invited by the International Network Dessous to participate in a fashion show at Palazzo Strozzi in Florence, promoting the top new talented lingerie designers of Europe. Daniela represented the creativity of Florence. She had never had such experience with lingerie before, and so knowing knitwear and rubber took the catwalk with a mix of both.

From her subculture background combined with her eye for details and her work experience in pret Ă porter and haute couture, Daniela created a new way to dress, a couture for pleasure. Her brand: irriverent and provocative. You can certainly perceive a bondage and

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fetish reference in many styles but it is always in a sophisticated, hidden way. For example the woolen ropes embroidered on the bodysuit – the Kimono straps that can be molded around the body in a different way.

The event was a success for Ikonostas, the designs highly appreciated and capturing the attention of the Press and American buyers.

For Daniela this was the conformation she had been looking for, to continue her experiment in the field of lingerie. Collection after collection she discovered a new world that is now a big part of her life.

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ore recently, theatre forms a fundamental part of Daniela’s creative background. She gets her inspiration from all sorts of things like books, ballet, traveling, or museums; though it is especially music that helps her in the development of new ideas “...it’s a way to enter my spiritual world, my intimate atmosphere...”. Surrounded by her fabrics, mannequins, paper, pencils and

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her music she starts to turn those invisible thoughts into something visible and touchable. She never stops.. experimenting is her natural condition. Her love for music and a certain romantic (or perhaps decadent) introspection keeps her following the alternative music scenes that were omnipresent from the age of 16 years old. From 18 Daniela embraced the goth scene and would be seen walking along the streets of Florence and London dressed in her own strange crations. Design is in her blood.

With 15 years of experience in Haute Couture and Prèt-à-Porter, Daniela is capable of creating something innovative in the world of lingerie. Her different point of view and unusual approach, allows her to create a different kind of product. Her greatest pleasure is to discover the emotions that her clients show, when they see, touch, or try her creations.

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Photo by Jo Ann Bitagcol

FEATURE

Dream Team An Interview with Mich Dulce and Adam Green

By Mark Steffan

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met Mich Dulce on the streets of New York a few years ago. We’ve created a bond that I hold very dear. Born in the Philippines, Mich is a milliner and corsetiere. She currently left a major fashion house in pursuit of creative freedom, including developing her line of one-of-a-kind hats.

Adam Green is a musician based in New York. He gained major attention and recognition with his band The Moldy Peaches along with his solo works. He is also an established painter and indie filmmaker.

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FASHION I got the chance to call up Mich and Adam while they were at The Deep End Club to discuss their recent hat collaboration.

And that’s how we met.”

How did this collaboration come together?

[Mich] “And so I was like, ‘oh my God! You need to make me a laptop.’ And I was leaving New York in four days. So, the next day Adam sent me an e-mail and asked ‘do you want that laptop’ and I was like ‘yeah’. So basically, that’s how we met.”

[Adam] “Well, Mich and I met each other in the East Village at the store The Deep End Club.”

[Mich] “We didn’t meet yet!”

[Adam] “Okay, well we met because of that though.”

[Mich] “Basically, I came to The Deep End Club because of Tennessee (Thomas), my friend and she had this paper mache laptop, which I thought was the coolest thing on Earth. And so I got there, and I was going around asking ‘Who made this! Who made this!’ And then basically, that night, I went to this party and my friend Daniel introduced me to Adam. So I was like ‘Are you the same Adam who made the laptop?’’

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[Adam] “Yeah.”

[Adam] “Oh yeah! She commissioned me to make her a pink laptop computer out of paper mache.”

[Mich] “And then, when that happened, I was like ‘Oh! I’m going to make you a hat!’. The next time we saw each other, it was here in the shop, right? Like, we saw each other at a party in the shop. And I was like ‘Hey! I still owe you a hat!’.

Adam has all these great ideas for hats. And I was like, ‘Oh my God! This guy knows so much about hats.’ So I ask ‘Why just make one? We should make like, a range of hats and make it

FEATURE a collaboration?’ So our plan was very organic.

[I was] at his house and was like ‘This is great!’

All the ideas you are talking about were things I would have never thought of [and] I really like his work, as a milliner, I thought ‘Wow. This is really really cool!’ and I thought it would make a really good thing.”

[Adam] “Yeah. I wear hats, you know, most days. I’ve been collecting hats for a really long time and I had a really big hat collection. Mich came over and looked at my hats, and she used my own hat collection as inspiration for the different shapes of our collection. I was really impressed by Mich’s stuff. When she showed me her work I was like ‘This is incredible’, because I think that she makes these really crazy hats that people would actually wear. And I think that’s a unique thing, because you know, to find a way to actually birth things that look quite strange is really impressive, and I relate to that in my own personal style.”

Yeah, totally. Do you mind going into details about the fabrics you guys used for the collection?”

[Mich] “Basically, I use a favorite fabric of mine, which is banana. Which is hand woven by a tribe in the Philippines. My business is kind of, I don’t know if people know the backstory, but the reason why I began to make hats is because I found out most of the materials used to make hats come from the Philippines. And there is no Filipino milliner. I make hats, but I used to be a clothing designer. And I made hats so I could have them in my shows. I kind of decided to focus on hats. So it’s a big part of my business that everything is made with Filipino materials, the main one is always this fabric called T’nalak that is woven by these tribes.”

[Adam] “Which is made out of banana.”

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FASHION [Mich] “Yeah, which is made out of banana fibre. Yeah, so it’s hand woven. And it’s the same tribe that made all the bead work.”

[Adam] “With the beads, I developed an alphabet of symbols. They are all these cubic symbols, these cubist reductions of cartoon characters facial features. For example, these little squares are Garfield’s cheeks, or like Big Bird’s eyes. But as reduced cubist forms. it’s almost like, when you reduce it that much, it’s like making crack out of a cartoon character.

Like, cartoon character crack. But yeah, Mich has this great idea to have the tribe make this colorful beadwork to look just like the symbols.”

[Mich] “We also use a mix of other materials.

We used some Rafael, some British Straw and Peachbloom Felt. It’s all really top quality materials, you know what I mean? So everything we made was meant to last long.”

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Besides this collaboration, what are the other works you are you both currently working on?

[Mich] “I have my main line of millinery, which is obviously a completely different look.”

[Adam] “Well, I have a baby daughter so that is probably the most difficult project I have going on right now (laughs). But yeah, I’m also making a movie, my own version of Aladdin. It’s more of a modern day story of Aladdin, where the lamp is a 3-D printer. And the whole entire movie is made out of paper mache. So, I’m almost finished with it. It’s a feature film. It should be coming out sometime soon. Also, there is an album soundtrack that I recorded accompanying the movie as the score. So I’ll be releasing and touring the soundtrack at the same time as the film.”

[Mich] “So basically, the hats were timed to lead up and coincide with the film. When we started this collaboration about two years ago, when

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we started talking about it, mainly we were inspired by Adam’s hat collection, and it was also directly inspired by the film.”

[Adam] “Yeah, because people wear these types of hats in the film.”

Do you guys collect anything?

[Adam] “Yeah, we both collect hats. Yeah, I don’t know. I collect art books and drawings and art from people that I know.”

[Mich] “Yeah, I’m definitely the same way. I mean, my thing is like, I like to buy paintings for my house. If I have money, I spend it on art.

I like to collect things from people that I believe in, which is how I met Adam. I travel so much, so my thing is I buy something for my house every place I go to, like a doll head. You know? Not souvenirs, but more like art pieces,

but strange ones. Either like, weird vintage doll heads, or I’ll find obscure artists.”

When you’re both not working, what do you like to do in your spare time?

[Adam] “I like to go to the MET. I went to the MET every Sunday this summer.”

[Mich] “Shut up! I’ve never been.”

[Adam] “It’s fun! I also like to read in my spare time.”

[Mich] “I want to save the world. That’s what I want to do in my spare time. But I don’t really have any spare time!”

For more on Mich go to michdulce.com

A Special Thank You to: Mich Dulce // Adam Green // Tennessee Thomas // Angela Sarracino

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LEAD ME ASTRAY PHOTOGRAPHY Michael Sanville STYLIST Reichelle Palo MODEL Meaghan Lee MODEL Ksenia M. AGENCY Hollywood Model Management HAIR STYLIST Britney Bello MAKEUP ARTIST Tanya Brown

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SHIRT Single PANTS Single BLOUSE Pret a Porter PANTS Single

RED DRESS Opening Ceremony BLACK DRESS Michael Kors GOLD CUFFS Nissa Jewelry, Danielle Stevens

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BLACK JUMPSUIT Pia Gladys Perey BLACK PLEATED MAXI-DRESS Single BLACK SHOES Carmen Steffens CUFFS & RINGS Nissa Jewelry

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WHITE SHIRT Double Zero WHITE SHORT JUMPSUIT Double Zero

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BLACK SHEER SHIRT Pret a Porter

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DRESS Rag & Bone

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BLACK PANTS Natori BLACK PANTS Ralph Lauren Black Label BLACK HEELS Carmen Steffens BLACK FLATS Coye Noke SILVER RINGS/NECKLACES Nissa Jewelry

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BLACK JUMPSUITS Halston Heritage GOLD/SILVER CHOKER Nissa Jewelry

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It’s in the details...

Lemuel MC is a new London-based fashion start-up specialising in luxury pocket squares.

Their mission – to “bring colour to your London life” and fight against fast fashion.

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pecialising in distinctive and colourful silks, their fusion of Anglo-Italian fabrics and top quality designs has sent this small studio worldwide.

The pocket squares themselves are individually hand-made to order from the extensive range of limited edition patterns, which is regularly updated to keep the collection fresh and exclusive. The colour and variety is immediately striking and it is clear that these squares will make you stand out with elegance, class and panache.

Asked why they were such supporters of the pocket square Lemuel MC Head Designer and founder Marta Cernovskaja says “The best way to add colour to your outfit is through well-chosen accessories and Lemuel MC believes a pocket square is precisely that. It’s a subtle way to bring colour and individuality to formal or casual jackets. They do not however carry the same purpose of a handkerchief!

The pocket squares are shipped worldwide and can be ordered on the Lemuel MC website: www.lemuelmc.com.

Lemuel MC of London Luxury Pocket Squares

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PROFILE

Liana Paberza Liana Paberza is a 23 year-old designer and fashion illustrator born in Riga, Latvia. She has spent her life adjacent the Baltic sea and initially pursued the direction of her parents by studying architecture. Having however realising that her passion lay elsewhere, Liana recently moved to Copenhagen in the interest of further developing her vision in the fashion field and is now enroled on the Sustainable Fashion Design course where we are sure she has been welcomed with open arms!

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aking a moment between unpacking boxes Liana caught up with our Creative Director, Vanessa Burton to share her story so far...

When did you first start drawing in this style?

I started to draw since early childhood and I remember going to art classes instead of dancing or sports (thank God, I’m not fat!), so it was always there, and Im constantly devel-

oping my skills. But my actual style developed only a few months ago when I was applying for the schools in Denmark. It was not really an intention to build up an Instagram account with the focus of fashion illustration, but people noticed my work and I could feel that I am getting better day by day. When you find something like that it is the most important thing to keep on working, draw every single day without worrying about what others will think.

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Do you draw much outside of fashion inspired illustration?

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Before I realised the fashion-passion, I went through tons of academic studies in different art studios and learned everything from the simplest perspective to figure drawing. I fell in love with the human body, muscles and every single bone.

Portrait drawing has always been a favourite for me, I guess I have a great appreciatian for human figure and the personality behind it. Fashion is just the added value, personality comes first.

What really motivates you?

I think it is the feeling that you are doing something for yourself that makes you happy in the simplest manner , but at the same time you can delight other people and that is just fantastic! Feedback is always important, the

Internet is a harsh place nowadays and it won’t hesitate to show you the things in real colours.

I also looove watching documentaries on artists, designers or other creatives as it’s always good to learn from the great masters.

Who are your top 5 fave fashion designers?

It’s hard to make a list, but if I have to name them it would definitely be Maison Martin Margiela (more of a fan before the return of Galiano), Proenza Schouler (I just love the duo and the pronunciation is priceless!), Acne Studios (Scandinavian design at it’s best), my other favourites are J.W.Anderson and Jacquemus with his whimsical and fun approach.

From Latvian designers I have to mention the label I had an internship with, MAREUNROL’S. They are definitely one of the best, their artisic sense and the stories they’re telling through fashion is just out of this world!

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How is your business on etsy going ? what country do you sell the most to?

The business I started recently was a little experiment to see if people were interested in buying prints as well. Actually it’s kinda funny, because I’m writing this in July and by the time you will be reading this I will probably be in Copenhagen, so the future is quite unclear.

I am still in the beginning of my journey, so time will tell.

You’re stuck on a desert island but you’re granted 5 things to take with you - What couldn’t you live without?

What is a typical outfit for you?

It is always changing for me, I remember in elementary school I was never really the “cool” one, I did not follow all of the classical periods everyone was going through – from emo to hiphop, I just didn’t feel like following the masses and I think I had more of my own style in a way. In high school I just wanted to look a little more grown-up (I have the height of Kylie Minogue). Then came the years when Nasty Gal was the real deal, they are still great, but now I feel like I am more laid-back and prefer simple, minimalistic things. A good, functional wardrobe is nothing without the basics and classics. Multiple white shirts, a long jacket/coat and a good pair of jeans is now the the key pieces in my closet. Of course I like to experiment and sometimes fall into the craving of buying trends that will probably last only for a season. Guilty!

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My boyfriend! Can he be a thing? No, but I would definitely have to think about the survival stuff, so he would be a perfect “thing” to bring with me, because he’s always talking about this stuff and would probably know what to do in a situation like that... theoretically. But still I would need someone to talk with, my cute little toy dog or a Wilson volleyball could work just fine. Paper and pen would also be a must, so that I could draw everyday and write down my miserable thoughts, haha.

And a bottle of rum, so that I could have a party. with the dolphins!

What is your favourite period for style?

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In my teenager years I was a little obsessed with the 50s, 60s pin-up style, but of course I got over it. Speaking of fashion perspective I think the 60’s and 70’s were the turning point when the designers began to ditch the old-school world of couture. So, yeah, I am always for the change. Classics are good, but there comes a time when they need to be twisted in a different form. I love also the years when Rei Kawakubo and Yohji Yamamoto shocked the world with someting that was not 80’s at all, but they were so ahead of their time and it is just amazing!

If you could live in any decade what would it be?

This won’t be something very unique and new, but for me the ultimate peak of creativity in arts was the Warhol Factory years in New York. People were so sick of the conser-

vative post-war period that the artistic creation just exploded. Now to shock the world or come up with something unseen is nearly impossible, I think this is one of the reasons why we can’t have such impact these days, everything is just too accesible, but people, on the other hand, aren’t as free as they used to be, I don’t know, it is hard to explain. But I am not a fan of this digital era, I think it lacks genuinity. That is what I love about the art documentaries, they show the world as it used to be – rough and real, but full of inovations.

Sometimes I feel more like an “old” soul that is a little bored from the borders this world has built around us. But you know what they say, the grass is always greener on the other side!

Liana’s hand drawn illustrations can be easily distributed as high quality prints via her ETSY store. www.etsy.com/people/leeannliu Or her website: leeannliu.weebly.com

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The Great Escape

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PHOTOGRAPHY Vanessa Burton Photography STYLIST Jordan Bishop per Closet Mod STYLIST ASSISTANT Sharmonie Cockayne MAKEUP ARTIST Bec Buratto HAIR STYLIST Janelle Zara per Davroe SET STYLIST Rachel Leppinus MODEL Shayela MODEL Logan AGENCY Azalea Models Australia LOCATION Princes Lodge Motel, North Adelaide SPECIAL THANKS TO: Laura from shake & Style & Craig Davis Motors

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HOLTER-NECK TOP Closet Mod JEANS Dotti DENIM JUMPSUIT Stylists Own SHIRT Bobby Dazzler Vintage SUNGLASSES Stylists Own

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WHITE DRESS Closet Mod SHOES Stylists Own SHIRT Bobby Dazzler Vintage WHITE PANTS Closet Mod SHOES Stylists Own

STRIPED DRESS Vintage Fox SOCKS Sportsgirl JUMPER Vintage Fox SOCKS Stylists Own SHOES Stylists Own

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The LOEWE factor.

By Jason Fassbender

T made.

he appointment of a young designer to invigorate a somewhat stale label isn’t exactly a ground breaking idea, but LVMH’s decision to hand J.W. Anderson creative control of Spanish luxury leather goods house LOEWE may just be one of the best moves the company has

With a history that stretches back to 1846, LOEWE is one of the oldest luxury goods houses in existence. With a firm reputation as one of the worlds leaders in luxury leather goods, the 70’s saw the inception of the first women’s ready to wear collection. Before their meteoric rise to designer king pin status, Karl Lagerfeld and Giorgio Armani both freelanced for the brand lending their talents to the womenswear line.

It wasn’t though until 1996 when Narciso Rodríguez was appointed creative director for womenswear that LOEWE appeared on the Paris runway for the first time. Rodríguez exploited LOEWE’s masterful skill with leather to produce quiet, understated luxury season after season but the collections where never at the forefront of cutting edge innovation. After a lengthy tenure at the helm, Fall 2001 marked Rodríguez’ final outing for the house with a concise showing that juxtaposed masculine and feminine elements in a palate of black, white and silver with plenty of the trademark leather that the house is known for.

After skipping the Spring 2002 round of shows, Spaniard José Enrique Oña Selfa took the reigns of the Spanish house and Fall 2002 saw him present his freshman show for the label. The showing was not a highlight for the house, Oña Selfa appeared to follow trends but could he create them?

An extended leave of absence followed and Spring 2007 saw LOEWE return to the runway under José’s direction. Fall 2007 marked the timely exit of the designer from the house, ironically with his strongest collection to date.

After packing up shop in London, former Mulberry accessory designer Stuart Vevers moved to Spain and was appointed creative director in July of 2007, reintroducing us to the world of LOEWE with his Resort 2009 presentation.

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FASHION While at Mulberry, Vevers escalated the company to cult status with a string of must have bags and was awarded Accessory Designer Of The Year in 2006 by the British Fashion Council. This appointment seemed a very smart move by LVMH considering the history of LOEWE and leather but ready to wear was where the house was always lacking the ability to make headway. Style wise, the aforementioned Resort 2009 presentation was a clear departure from the labels former guise but still maintained the impeccable craftsmanship the brand is renowned for. The next few seasons saw solid collections of quality staples for the woman looking to build her wardrobe over time. Groundbreaking? No. Classics? Yes. That was until Spring 2010 and then suddenly the LOEWE woman was a forward thinking fashion girl!

The next three years saw Vevers go from strength to strength and his voice as a ready to wear designer was starting to become apparent. Interesting fabrication technique and the continued experimentation with pelts and hide gave the classic silhouettes the updated tweak they so desperately needed. The use of print was becoming a signature and off-set the rigidity of leather beautifully. Fall 2013 marked the final showing for Vevers and also saw the introduction of 5 mens looks on the runway for the first time.

October 2013 saw 29 year old Anderson take his place as creative director for the house of LOEWE. The first glimpse of what he had in store for the brand was delivered via the Spring 2015 Menswear season with J.W choosing to return to the original format of presentation over a fully fledged runway show.

Linen, silk, denim and of course, leather made up the tools Anderson used to deliver his message. The Meccano motif represents J.W’s ‘naive approach to rebuilding a brand’ and are embla-

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JW Anderson

REGULARS zoned on t-shirts and sweaters. Standout pieces where those sensational Japanese denim jeans with the oversized turn-up, elongated silk tunics in black or khaki and the striped shirt that was fashioned from two silk scarves. The accessories were spot on and had that Anderson quirk that any of his fans have come to love. The lust inducing Anton backpack, chunky polished lace up bluchers and oversized knitted blanket scarves all make a great excuse to start saving!

Fast forward three months as Julia Nobis opens Anderson’s debut womenswear show for the label in a Flintstonesque ‘oro’ suede dress and block heeled black mules. Exit after exit the message was clear, now, thanks to J.W, LOEWE was THE label to watch.

On first inspection one could be forgiven for mistaking the collection as the work of Phoebe Philo at Céline, sophisticated, understated luxury clothing that women want to wear. Judo belted pants in a rainbow of colour where the high point when it came to the leather work and, surprisingly, didn’t look out of place amongst the natural tones of linen and the expertly crafted macrame style knits in wheat tones.

In an outing that was just as much about the accessories as it was the garments an instant classic was born in the form of the Puzzle bag. Weather it be in a bright pop of colour, black edged suede or luxe croc skin, Anderson will no doubt have serious bagaholics lining up round the block to get their hands on one. If something a little less bold is your thing the croc envelope clutch will make a long lasting addition to your collection. Jewellery was non existent apart from a couple of pairs of brass toned sculptural earrings and those mules are sure to satisfy those on the hunt for an escape from the Birkinstock but don’t want to be teetering around an 8inch heel.

With critical acclaim from fashion insiders under his belt after Spring 2015, Anderson pushed a little harder with his Fall 2015 Menswear presentation. With a starting point of ‘the clothes in your closet that make you wonder why you bought them’, J.W took us on a trip that was like Noel Gallagher circa 1994 dressed in 70’s

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FASHION disco garb wearing Kurt Cobain’s sunglasses. White wide leg pants teamed with an oversized flight bomber jacket, blanket scarf and bug eyed sunglasses or a zip up Harrington all has Anderson’s tounge in cheek appeal but without any of the gimmick. These are clothes designed to be worn.

For ready to wear we were given a healthy dose of the 80’s in the best way possible. The genius that is J.W. Anderson lies within his ability to take something so clearly referential and make it look like something you’ve never seen before. Glossed patent leather, pleated lamé, wide leg herringbone pants and cropped leather bombers all conjure up images of 1984 but when delivered the Anderson way it has a futuristic aesthetic. It may have been the gradient oversized sunglasses that finished off every look but there was most defiantly a fashion cyborg undertone to the show.

The puzzle bag was back in a whole new gamut of colours and there where a couple of new offerings in the form of a cute little bucket bag and a flap closure mini with a chain handle.

I think it’s safe to assume that LOEWE is now well and truly on track to becoming a driving force in both ready to wear and menswear thanks to Anderson’s vision and knack for creating pieces that challenge your perception of what fashion should be and make you dream of what it could be. With an ability to infuse his slightly twisted sensibility into a house with such a strong tradition steeped in history, Anderson is leading LOEWE toward the seldom realised situation where art and commerce reside side by side, and in a future so bright that you’ve gotta wear shades, I know where i’ll be getting mine!

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THE CENTURY MAN A one-stop shop for the modern man.

We love the concept of the ‘grab and go’ box to the door service from The Century Man. You are spared the flitting between high-street shops and back-alley boutiques for all those necessities that keep you looking at the top of your game. Your time now better served, allowing you to focus on the next big project.

CM allow a one-off purchase ideal for a gift or trial experience, though their unique selling point is the subscription service that is offered whereby you arrange a monthly or lesser intermittent delivery to your door; a bounty of everyday consumables and edgy accessories from a growing International range of suppliers. What’s more is that by taking a subscription there is a very valid reduction in price, FREE delivery, a rewards system and even small gra-

tuities on a long-term arrangement, making CM one of a kind.

There are currently differing Box Plans available in Australia with a choice of 50+ products from New York, New Jersey, Miami, California, Canada, Europe and Scandinavia.

America, watch this space as CM are coming soon to New York in 2016.

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For the love of POP! Deborah Azzopardi on 30 Years in Acrylic Written by LDS In her Thirtieth year and still going strong, hive caught up with highly established UK artist Deborah Azzopardi whose work has become synonymous within the pop-art community and more recently something of a household name.

You are drawn into Deborah’s work by her predominant use of vibrant, primary colours, then the playfully seductive nature of the subject reaches something inside you whereby you can’t help but work out the context of the piece.

Upon reflection on the long-spanning career Deborah exclaimed that it was only

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Photo by Cristina Schek

“...after a short illness [painting] was all I wanted to do. It was a ‘Do or Die’ feeling so the only thing was to Do!...”. Consequently when asked if there was anything that she would have changed during this time she declined replying that “everything happened at the right moment....” though “...on a personal note, the benefit of online food shopping would have greatly helped with feeding a large young family at the time!...” As a result Deborah since found her work displayed at galleries internationally and is also printed under licence.

“When I’m working figuratively, I use real people; some I know and some I don’t. though none are professional models.... I am [also] a keen radio listener while painting and I eat far too much chocolate which I try to walk off the following day before painting again....”

To view her wider collection or obtain an original piece please visit www.deborahazzopardi. co.uk for more details.

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SASSY

“...You must have fun in life, that’s why we’re here!...”

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“... Anything by Marvin Gaye,

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SMOOTH OPERATOR

repeated over and over again!...”

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MONDAY MORNING

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EVERLASTING

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PTSD

Words By Ruby Ewens

When I saw your face, thinking the deployment had ripened you, it was within the frame of airport wood, lit up in a backdrop of honey light and my misgivings, roaring like the jet engines, packed their bags, waved goodbye and jumped on the next flight. Sand still in your pores, you were pickled raw. The anxiety shook out of you, I saw you cower in the corners of our house like you could now camouflage to the cream walls but I saw you, I saw you, I saw you there. I pinned you to the bed, begged sweetness from your flesh but you could no longer lead the party out, you could no longer recover your breath. You limped, went limp. I wiped away the tears, scratching your cheek against the jag of my diamond. The empty house crusted around me, hostile. You came back without bunting and wreaths. Your frustration mounted to the climax of a shattered glass in your hand, your vacant eyes trailing the slap of blood. I held you to stem the flow as you looked out the window, nursing the brevity of the failure, geometric shapes of shade on your face. It is fuzzy, the memory of walking those linoleum squares to the admittance desk, your invisible cuts outstretched.

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Digital Stained Glass Retro Designs from Italian duo Van Orton Design

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an Orton Design is the cover name of two talented twin brothers out of Turin, Italy. The pair have been slowly gaining recognition in the last few years for their graphic interpretations of pop culture stills of the 80’s and 90’s.

Their work is vibrant to say the least, symmetrical

to the edge of mathematics.

It is now starting to rack up the airmiles too with pieces exhibited worldwide; most recently in Los Angeles for a Marvel art exhibition through Hero Complex Galleries and picked up via commission for Jack White drummer Daru Jones for the artwork on his new solo album.

Every piece produced by the team commonly transposes a bright hyperbole of colour and a fun and interesting geometry that will forever keep you amused.

Despite their relatively underground persona with little communicated about their true identity, you soon develop an understanding of their

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[Above] Movie Poster Adaptation: Wil Anderson’s The Grand Budapest Hotel

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[Right] Directors: Stanley Kubrick & Woody Allen

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personality through their broad yet defined subject matter. The diversity appeals to a wide audience, from classic retro themes in gaming and movie posters through to sneakers and sports illustrations.

We suggest you check them out but ensure you clear some wall space before clicking onto their website.

Check out their full works at:

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Hang 5 w/

Fernando Chamarelli www.chamarelli.com.br

We grab our favourite Brazilian artist with a black-belt in tripped out visual art, Fernando Chamarelli and hang 5.

Fernando tell us what you have been working on recently?

I’m more relaxed this month. I did a solo exhibition at Thinkspace Gallery in August in California which was a lot of work! Currently I’m just doing some drawings for murals that I will paint in Rio de Janeiro and Los Angeles. I’m also talking about many projects in Russia.

Where did your inspiration originally come from for your style of art?

My early artistic interests started with drawing cartoons, caricatures, and realistic portraits. Later, my interests expanded to street art and tattoo. By merging these different disciplines I developed my signature style. However my universe of fantasies and sensorial stimulation revolves around ten pillars: spirituality - mysticism - history - symbolism - mythology - philosophy - astrology - occultism - anthropology - geometry

Beautifully restructured photo-realism meets high-end fashion illustration.

With great pleasure we caught up for coffee with one of Australia’s most prominent emerging artists Lisa King to talk over her journey to date, her major influences, music and our shared passion for Port Adelaide.

THE ART OF LISA KING www.artoflisaking.com

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Starting out in the field of design Lisa opened up an Adelaide based Studio in 2008 named ‘Paperhorse’. Through inspiration that came primarily from the China Heights gallery in Sydney’s Surry Hills; she split the space forming a creative hive of like-minded artists and designers under a single roof.

Moving through the realms of graphic design Lisa finally landed quite comfortably in the world of paint and raw aesthetics and for us it’s her high-end fashion edge that elevates her work from those around her.

In 2014 Lisa was picked up by the team at ‘Urban Walkabout’ to commission the cover of a number of Australian City Guides.

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SERES METAMORFICOS (METAMORPHIC BEINGS) 120x85cm, acrylic on canvas- 2015

In more recent times Lisa is now realising her dream of taking her art-form to the streets and at dizzy new heights, producing large murals all across the city of Adelaide.

Asked about her influences we stumbled across a common appreciation of Polish street artists Etam Cru and likewise acknowledged just what a huge feat it was for Port Adelaide’s regeneration as an artistic village to now boast a mural by these guys.

Other influences for Lisa were street artist Vans the Omega, hyper-photo-realist artist Robin Eley and painter Anna Platten (of ‘The Devil is in the Detail’). Lisa is now working full-time as an artist out of her studio apartment and as a result experimenting much deeper than she previously had time for.

Lisa paints a mural on Jive Nightclub, Adelaide, Australia.

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Big Eyes. Big Heart.

Jodee Knowles W

e have entered the strange and beautiful world of Jodee Knowles, an intellect and acclaimed Australian artist whose twisted female caricatures portray a depth and darkness of our very human condition.

Having now been a practicing artist for 10 years, Jodee has exhibited both Nationally in her native Australia and also Internationally around Japan, in Paris, London and LA though it seems that the story is about to explore some exciting new ground.

Her macarbe, dark undertones and thoughts are shared with the likes of Tim Burton though with a flutter of kookiness not dissimilar to British artist Ralph Steadman. Jodee’s work does however display definate focus through wide swollen eyes, and through this organ - the true gateway to the soul she best portrays her message.

Most recently Jodee has started collaboratating with renowned photographer Vara Bartoz, who has shot the liesk of some of Australia’s most amazing music and art talent including Flume, Anthony Lister, Matt Corby and more.

The duo will attempt to document the entire creative process which will allow the observor of future exhibitions an insight on the evolu-

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tion of the works from embryo to final stages.

Talking to Jodee she also notes “.. I recently had the pleasure of working with the amazing Penny Lane who shot a concept collection, where she saw me paint the models and turn them into my characters...”

After her successful art residency in the UK with Roger Odonnell keyboardist for The Cure, Jodee Knowles has returned to Sydney for her much anticipated show ‘PROCESS’ which will be hosted at Goodspace Gallery in October.

The show will see Knowles curate her own

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works and collaborations in the form of a process series through multi-media.

Alongside the beautiful and haunting black and white imagery and Jodee’s signature styled artworks there will also feature a 3 piece video installation and a visual poem in collaboration with musician and fellow artist Stackhat.

The show concept is confronting and is based on converse opposites, the feeling of heavy and light, love and hate, life and death and how we can not have one without the other. This is not your average Jodee Knowles

FEATURE “...My work, now that I have developed my style, is more about a concept and process rather than the end result. My characters tell a story of love and loss, heartbreak and death. They reveal our darkest emotions that we sometimes would rather not discuss...�

Photo by Penny Lane

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Photo by Penny Lane

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exhibition, it is an experience and an insight into the artists troubled mind and the climb of he

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Joël Penkman “... I paint mainly still-life, depicting everyday objects in an intimate, isolated and sometimes photographic way. The objects, which range from shoe polish to polos and pork pies, are set against neutral backgrounds, and with no context given, the interpretation of the works remains open.

Subjective readings are unavoidable. I enjoy small, often unobserved details and imperfections; spills, stains, or a scrape on the edge of a shoe polish tin. I paint primarily in egg tempera and enjoy the technical control this allows me while preparing my own paints and grounds ...”

Written by LDS

W

e caught up with the lovely Joël Penkman, a New Zealand–British painter who now lives and works in a small village outside of Liverpool in the UK. She shares with us her story from its humble beginnings, her early ambition, and her drive to succeed in making her passion the daily gig.

Joël was born in Timaru, New Zealand in 1979.

Having always been an artist, growing up she realised the need to commercialize her work in order to earn a living, so following school she studied graphic design at Canterbury University in New Zealand. She went on to obtain an honours degree in Fine Art from this same university in 2002.

Soon after she moved to the United Kingdom and worked for 6 years as a graphic designer whilst cultivating her artform after-hours. With this cul-

tural transition her private subject matter widened enormously and quickly incorporated some fond and familiar aspects of British life.

During this time, she entered one of her paintings into a local art show and was offered an exhibition at a local gallery. Taking the leap and having a few months off work to get some paintings together she successfully exhibited, and with this first put her work online. Likewise the response from a far wider community was positive and people from all over the world began inquiring about originals and prints.

Joel’s method of painting is somewhat out-of-favour though incredibly effective. She paints mostly in egg tempera, which is a very old method that faded away during the 15th century when oil paint was invented.

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“...I wanted to try it ever since I saw the paintings by New Zealander Grahame Sydney and American Andrew Wyeth, so I hunted around for books on the technique and taught myself from them. Egg tempera has a beautiful satin finish with a luminous quality, but the process requires a lot of work: I grind all my paints from powdered pigments and store them as wet pastes until I’m ready to use them, then I take a little of the colored pigment paste and mix it with egg yolk and deionized water. You can’t blend egg tempera like you can with acrylic or oil paint; you must wait for each area to dry before you paint over it, otherwise the brush lifts the previous layers of paint from the board. Egg tempera also requires a rigid and absorbent surface, so I use traditional gesso, which I also prepare by hand...”

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Although Joël doesn’t exclusively paint food, it is the familiarity of this subject that she feels best connects with people. “...Food is a fun, playful subject that makes people smile. It’s something everyone can relate to: it can hold memories, tell stories, explore national and local identity – and make us hungry...”

Joël has exhibited her work in solo shows and numerous group shows, including the Summer Exhibition at the Royal Academy of Arts, London 2012.

She was also recently Commissioned in the book ‘The Taste of America’ published by Phaidon 2013.

Understanding that an original painting is an investment that not everyone can make, Joël also produces giclée prints of her paintings which can be found on Etsy. “...To get the best possible image, I scan my original paintings and use a heavy matte paper for the prints, which gives a very similar finish to the painted originals...”

You can find more of her work on her website or at her online store: www.etsy.com/shop/JoelPenkman

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2015 Green M Festival 194

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MUSIC A music festival in the Welsh countryside may put you dangerously at the brunt of a barrage of sheep jokes and of course at the mercy of the unpredictable British weather at its best, though Green Man Festival is beginning to attract a crowd that doths it’s fedora in the fond memory of Glastonbury 10-15 years ago.

Green Man Festival, Wales, UK - August 2015 Written by LDS

L

ocated deep in the beautiful hills of the Brecon Beacon National Park is the village of Crickhowell, where the population once again spiked from it’s usual 3,000 to 23,000 over the duration of a single weekend and we’re not talking about the farmers market, for this was the 10th anniversary of the festival in Crickhowell since its move. here and the 12th annual Green Man Festival.

Now it’s fair to say that predicting the weather in Wales has never been an exact science and the weather report will look confusing at best with the busiest icon on the map.

It will likely show a black cloud with the sun poking its head through and for good measure there will be a lightning bolt directly beneath

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it, as if an insurance policy for the Met Office.

It is due to this that the contents of your bag must be carefully considered and also why buying shares in Dunlop could be considered a worthy investment.

Arriving by train to the quaint town of Abergavanny I shared a taxi to the festival site in the company of a kids theatre performer (I believe his specific role was that of “a pirate”) and from what I could tell, a band WAG. The taxi was priceless, a British racing green Range-Rover Discovery and a Welsh cab-driver so upbeat and quick-witted that he reduced the unlikely three to tears. It was all such stereotypical local hospitality.

We’ve mentioned the Brecon Beacons forming the perimeter of the site but the site itself is as spectacular, the River Usk flowing past one side, an old small stone bridge and castle-like gate-house great you if arriving by coach. Great Oak trees providing refuge from the rain throughout.

Green Man’s popularity is partly due to its brilliant juxtaposition of family and adult

FEATURE entertainment. The headlining bands take the stage from 11/12pm and after-parties keep the night going under big-tops with bonfires burning adjacent til the small hours. There is about an hour’s gap between these arenas closing and the children’s activities coming to life. To break up the music the festival also contains a Cinema tent for 2000, comedians/ intellects shootng the shit in their very own tent, a science garden, a beer festival boasting over 100 local beers and ciders oh and if that wasn’t enough... hot tubs where swimwear was frowned upon.

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icking off on the Thursday, GM offered a small number of performances to get proceedings underway and none better to do so than UK electronic dance legends Leftfield who certainly got the long grass under-control beneath the bigtop of the Far-Out Stage.

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riday morning and at 11am the Druids of Stonehenge undertake ritual endeavours to bless the festival ahead of the first day proper, with many heading over to the giant Green Man to write a wish and attach it ahead of the ceremonial burning on the Sunday night. The day’s forecast - drizzle, a fine intermittent rain that seems to find its way through every seam.

Former headliners Calexico provided good entertainment during the evening on the Mountain Stage ahead of a special performance from touring supergroup Atomic Bomb! The Music of William Onyeabor featuring Alexis Taylor (Hot Chip), Pat Mahoney (LCD Soundsystem), Money Mark (Beastie Boys) Lekan Babalola and Jas Walton (Antibalas) who like their name were explosive, shaking some encouragement back into tired bones.

Following Atomic Bomb, headliners Hot Chip delivered what was probably the best dance party performance of the festival, bringing in the weekend. Their set was solid, bolstered quite unexpectedly with a cover of Bruce Springsteen’s ‘Dancing in the Dark’ and LCD Soundsystem’s ‘All my Friends’ as giant lit-up balls were simultaneously jetisoned into the crowd.

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MUSIC SATURDAY - Secret Guests, Sexwitch

SUNDAY - Aurora

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NICHOLAS ALLBROOK DROPS SINGLE ‘BLANKET 3072’ + ANNOUNCES ‘WALRUS’ EP OUT OCTOBER 16TH “Allbrook throws all your conventional psych bits and pieces into the pot and stirs to create an album that ripples and blurs, that’s at once enigmatic and defined.”

– THE MUSIC “Allbrook’s a dexterous and crafty musician” – THE BRAG “He has forged a means for more personal expression through his unique and sophisticated songwriting.”

– HAPPY

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aturday morning and the campsite comes alive to heavenly blue skies and strangley a barrage of inquisitive wasps who seemed to attach a number of performers as much as they did the crowd. The first afternoon act of note was to be part of an epic undertaking as from 2pm at the Cinedrome, Green Man was graced with the presence of some awe-inspired video courtesy of Casey & Ewan’s Crystal Massage, a team who have worked with the likes of Leftfield, DJ Shadow and Cate Le Bon. The boys brought with them 5 bands to accompany their tripped out visual journey including stand-out GULP, a new Guto Pryce (Super Furry Animals) project with Lindsey Leven on vocals proving a blissfully cool and quite psychedelic spectacle. A little after 5pm we head over to Jane Weaver at the Walled Garden stage who sadly brought the rain back with her set though cowering under a tapoulin we witnessed a wild grooviness that teaters on the boundaries of space. ‘Don’t Take My Soul’ a colourful footstomper.

7pm promised a Special Guest at the Far

Out stage and with a few whisperings around the campsite we headed up the hill to see who would burst onto stage. A new project coming out of Brighton, England; Sexwitch made their debut appearance, a group comprised of members of TOY and energetic Bats For Lashes singer Natasha Khan who subsequently didn’t stay still for a single moment, spending a good portion writhing around the stage on her back.

Musically not really my bag, but an entertaining showing and promise of something to come. It was now early evening and there was a strong trending of gum boots from those smart enough to include them in their summer festival kit-bag and the rain continued to fall intermittently. Sadly it was to be in for the night and my choice of double-denim was erm… soggy to say the least. However come 8pm soul revivalist Charles Bradley took the Mountain Stage and was announced so enthusiastically by his MC that it was like we were stood before the late and great James Brown.

Rain or not I was going nowhere. The power in his voice was unrivalled and so well preserved for a man now closer to 70 than he is 60.

SATURDAY - Television

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FEATURE Trumpet blasts were rhythmic like the patter of machine gun fire; bass-lines left you shaking everything; this really was James Brown vs James Taylor Quartet in its funk soulfulness, a real soundtrack to the Sixties/Seventies and pure ecstacy for the ears. Singing from his winged shirt and black sequined cape “…

If you ain’t gunna do me right, I might just do you in…” you got a taste of the harder times in his life but his set also set a deeper heartfelt tone to which there was a scattering of couples slow dancing in the mud. The humble Charles Bradley was reflective and passionate throughout, speaking between songs “…Never give up on your dreams, because your dreams are in you! Thanks for making something of me, for getting me off of the streets…” A highlight, a real gentleman and terrific artist to warm the crowd.

Saturday’s choices became increasingly difficult and in sacrificing The Fall and Slowdive I stood my ground at the Mountain Stage to witness another particular highlight of the festival in Television who promised a live performance of the 1977 post punk classic album

SUNDAY - Rachael Dadd

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SUNDAY - Father John Misty ‘Marquee Moon’, an album that has never been far from my turntable. Opening with ‘I See No Evil’ and ‘Elevation’ they delivered an incredibly punchy set with every off-beat on the money. The crowd were unified in a gentle march to each track, with screams of “we love you” between most songs showing just how much they have been missed. So in tune with their sound they called out to the desk for 50% more kick-drum which added to the incredible thumping drums. Guitar solos sent shivers and when you didn’t think the sound could be any more absolute they closed their set with note perfect ‘Marquee Moon’ which took them to a completely new level.

Following and headlining the night were local boys Super Furry Animals and never certain in quoting my top five artists of all time, SFA have always secured a spot where others slip in and out of contention. Fair to say I was dancing more than I was taking notes on this set, SFA essentially performed a greatest hits across all 9 albums having just come back to the touring circuit since 2009. 2015 marks the 20th year for the band since their earliest gigs. The excitement of the crowd alone left you high with anticipation and then emerged 4 men in white boiler suits apparently ready to perform electronic audio surgery. Donning his infamous red power-ranger helmet singer Gryff Rhys wasn’t far behind, emerging to an electronic intro to ‘Hello Sunshine’, an ironic opener as the rain came down once more.

There was no discouragement though, even

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for a man in double-denim. The white boiler suits gave contrast to the colourful and deeply visual artwork screened behind them and moving into ‘Slow Life’ the buzz of the bass, synth and guitars shook the Mountain Stage as if it were to erupt and spill its insides and just as impressively unleashing a laser show onto the crowd.

Quite aptly the band came out to encore with softer track ‘Mountain People’ before disappearing again and re-emerging in full yeti costumes for an explosive ‘The Man Don’t Give a Fuck’ in which a physical alignment with the universe was apparent; every chorus driving the rain down harder, and harder still, in complete synchronicity.

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unday morning and the heavens opened as the thunder echoed all around the natural basin of Glanusk Park, literally shaking the ground beneath the tents; roaring in 5.1 Dolby Surround. Encouragement for actually getting out of the sleeping bag was limited though a break in the torrential downpour that ensued allowed hasty passage to the Chai Wallah tent.

Sunday mornings require something for the soul, something to ease the weariness that resides from a Saturday night at Green Man. Heaven sent was the set by the wonderful Rachael Dadd whose gentle spirit and performance transported around 600 onlookers to a bygone decade of Janis Joplin and Jefferson Airplane. At full-strength her band numbered

FEATURE 7 with banjo, guitars, drums, steel drums/percussion, clarinet, backing vocals and a flutist that had only joined the group that morning! From start to finish you were transfixed though to name a particular highlight, a track called ‘Bounce the Ball’ particularly emphasized their prowess in vocal harmony, wind and percussion. Simply beautiful, earthy and deserved of your undivided attention.

The well-polished Ultimate Painting took the stage and used the weather to their favour as a packed Far-Out tent provided refuge from the weather and an opportunity to soak up a nice throwback to the nineties with their rhythmic and moody indie rock. Meanwhile in the Walled Garden young Norweigian band Aurora performed with a gracefully energetic presence entertaining with the well received single ‘Running with the Wolves’ which is dangerously catchy!

Finally at 4pm the rain gave in and the clouds made way for a few hours of soothing Welsh sunshine and later a rich night sky.

Bringing the sunshine back out on the Mountain Stage was Matthew E White playing some fun and bouncy folk-rock. His set introduced

SUNDAY - St Vincent

SUNDAY - St Vincent

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Summoning the inner child

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MUSIC Hackney based all-girl vocal unit Deep Throat Choir who flooded the stage providing great backing vocals. With a rapteous response and sing-along they closed their set with ‘Everybody Likes to Talk (shit)’.

As the stage is prepared for the next act, the Mountain Stage arena is suddenly engulfed by a parade of pirates, clowns, giant sea-creatures and hundreds of children let loose from the nearby ‘Little Folk’ family zone.

Come 7.30pm we witness one of the best performances by far and certainly the most entertaining in the Far-Out tent. The mysterious and quite brilliant Public Service Broadcasting filled the big-top leaving a circumference 15 deep around its periphery for a set that was so well planned; its execution was immaculate and hilarious. Even though the band doesn’t physically speak to the crowd, the boys communicate better than most via a series of pre-recorded voice samples in a computerized voice. They anticipated the messages and responses well ahead of the performance and more to the point like any good comedian time their delivery with the right amount of cheek. Via these samples they coordinate the crowd to cheer at a given point in The Other Side. Stood suited, bow tied and in matching glasses, PSB shone cool and musically they were atmospheric to the point of hard dance albeit with intermitent banjo riffs and live disco beat percussion. Looping samples rather than singing, some few hundred on-lookers experience the intensity of the epic NASA space missions through live rendition of the The Race For Space Album featuring original Apollo 8 moon-landing communication between NASA mission control and the crew as their shuttle heads in and out of the dark side of the moon. Intense.

Not long after over on the Mountain Stage, American indie-folk star Father John Misty would warm the crowd for the penultimate show. Opening with his album’s namesake ‘I Love You Honeybear’ Josh Tillman rushes around the stage using every square inch of it and passionately throwing his acoustic guitar around his body. His persona is bold and his attitude is intensely nonchalant. Singing Strange Encounter in a much higher key Josh Tillman dives down on his knees on the edge

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of the stage exclaiming ...“this is me as I am” taking the intensity up a notch.

Between songs Josh takes plenty of time for banter with the crowd and putting his hand in his mouth says “I have someone’s hair in my throat”.... I think its laced with LSD”. With plenty of shout outs and heckles from the audience Josh eventually opens it up declaring an inpromptu Q&A Session which was brilliant. Asked his favourite colour he declares ...”A capitalist shade of green”... faced with further probing questions and with the laughter on-going Josh turns around to say ...Oh [yes] I can see I’m with MY people [Crowd cheers] ... Now shut up!...” reminding us who is in charge here and launching into single Bored in the USA where in good voice the crowd partake covering the song’s canned laughter. Running down to the crowd he grabs a phone from the front row and proceeds to finish the song singing into it which Im sure a good view of his tonsils would be available on Youtube somewhere by now.

Introducing the band Josh also includes Heather the girl ever present and charged with keeping his 100m long microphone lead in order and instantly she’s a hit withthe crowd calling her name between songs.

More highlights included the 12-string solo on Chateau Lobby and ever energetic Josh’s running and general covorting during Ideal Husband really engaging with the performance.

The final throw and headlining the Sunday night on the Mountain Stage was St Vincent and with FJM’s performance beforehand there was a lot to live up to. Gracing the stage in a tight pimpled black latex onesie and bright green guitar, Annie Clark sent jaws agape before putting everyone out of their misery by drowning us all in a sea of heavy electronica. Ahead of single Cheerleader Annie states “...it takes so much more courage to say you love something than to say you hate it...” quite profound really.

The correography of this performance between Annie and bass/keyboard player Toko Yasuda was as strong as the music, shuffling robotically back and forward, passing each other in a straight line as if on alternating

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conveyor belts. Between songs the pair would literally freeze as if their batteries had been removed and suddenly springing back to life.

Tribute was paid to Depeche Mode as the Personal Jesus lyrics were sang in verses As her set drew to a close Annie jumped onto the back of a security guard and moved along the fence to get amongst the crowd offering her guitar up to some random and enthusiastic strums. A truly great way to close this stage

for another year.

As is traditonal on the last night and on the stroke of Midnight, the Green Man was liberated; torched to the ground and a fireworks display marked the conclusion. As the wooden guardian turned to cinders and ash families went to bed while the younger crowd headed over to a top notch DJ set from Erol Alkan’s project, Beyond the Wizard’s Sleeve.

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Little May Moody, melodic and borderline haunting; Australian band Little May have risen up as ones to watch heading into the close of 2015.

Following some successful earlier EPs, the band have now completed and currently tour their debut album ‘For The Company’ which is set for release on October 9th via Dew Process/Universal Music Australia. Succeeding the powerfully grasping last single ‘Home’, new single ‘Seven Hours’ demostates a similar intensity that presents real promise for this record.

Being picked up by BBC Radio 1, Radio 2, 6Music, Triple

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J and a string of other notable radio stations, the band are starting to enjoy regular air-play and sell-out European shows with both the Reading and Leeds Music Festivals added to their most recent bill this year. Playing alongside the likes of Mumford & Sons, The Flaming Lips and The Vaccines in the US has also enriched a growing support now as deep and plentiful as the band’s heart-felt vocal harmonies.

Ahead of their latest 25-date tour of the US, UK and Europe, Little May vocalist Hannah Field spared some time for hive so that we could get to know the band a little better.

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Left to Right: Liz Drummond, Annie Hamilton, Mark Harding (back) and Hannah Field

We love the latest single ‘Home’ and look forward to the release of ‘For the Company’ on 9th Oct. How would you describe the sound?

You’re currently between tours. Which has been the most memorable gig that you’ve played away from home so far?

Ah thank you, glad you like it! The album has a much more mature sound in comparison to our EP. There are a few tracks in there I would describe as meditative, a couple with an obvious pop vibe but nothing really too traditional when it comes to structure. We’ve realised after creating this album we love a slow burner, a build and then a good old climax at the end. The collection of songs still sounds very Little May though.

There have been so many, but one of my favourite moments from the last tour was our show at the Lexington in London. Somehow it sold out and throughout our whole set it was just dead silent. It was a really emotional, special show for a number of reasons but to feel such a strong connection to each other and the audience for that 50 minutes was a feeling I will never forget. I think of it often.

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What have been the biggest and most hectic tour/festival’s played to date?

We toured for a month (UK/US/EU) recently which included festivals, support shows and headline shows all rolled into one. It was our first big overseas tour and we’d also just finished recording our album over the previous two months. It was the most incredible experience and definitely the most hectic.

Massive highs mixed with some pretty low points but such is, right? Wouldn’t have changed it for the world.

Ok so if you could travel back in time...which year would you set the clock to and why?

Tough one. Probably 1996. I had heaps of pets, a bowl cut and was real giggly and small. Being 6 is just the bomb in general.

Ok, a toughie for you...Desert Island Discs Which 3 albums would you each have with you if you were to trade places with Tom Hanks in ‘Cast Away’?

Has Sydney always been home for the members of ‘Little May’?

Yes, pretty much. Annie and Liz were both born in Sydney. I was born in Brissy [Brisbane] but moved to Sydney when I was 3 years old as Dad took up a job opportunity here.

At this present moment in time I am pretty obsessed with Heigh Ho - Blake Mills, Damn The Torpedoes - Tom Petty and the Heartbreakers and I can’t go past Farewell to the World (seems appropriate) - Crowded House. So let’s go with those gems!

We’re feeling your style at hive, what are your biggest style influences and who is your style idol?

We all have very different styles. Annie is kind of quirky, Liz always looks like a badass, I like really simplistic, neutral and tailored look when I’m on stage but I live in t-shirt’s, jeans and ROC boots . I really like Zoe Kravitz’s style and Nina Nesbit is a boss when it comes to well...looking like a boss. Personally i’m really clueless when it comes to trends etc..I just know what I like, what makes me feel confident and I go with that.

What’s been the best moment of banter between the band on the road? Is there a particular joker amongst you?

Mark. He’s probably one of the most entertaining people in my life, for sure. We let him take over Instagram for 24 hours when we were in Ireland. Some of the more popular post’s included a couple of video clips he made for some songs he wrote on our tour bus.

Namely ‘Sleeping Girls’ and ‘Let’s be Friends’. I think you can still find them on YouTube if you want to have a squiz.

If the band had a spirit animal what would it be?

All of the puppies.

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“...We let him [Mark] take over Instagram for 24 hours when we were in Ireland. Some of the more popular post’s included a couple of video clips he made for some songs he wrote on our tour bus.

Namely ‘Sleeping Girls’ and ‘Let’s be Friends’. I think you can still find them on YouTube...”

Pre-order For The Company and find further info on the band at:

Littlemaymusic.com

HAND MADE IN AUSTRALIA

www.closetmod.com

MUSIC

Southern Heart The self-proclaimed Reverend of folk, Joshua Tillman is back with a heart felt and thought provoking classic. fillers, a story of happiness found in a time of doubt. It salutes the past but ultimately embraces the raw emotion and vulnerability of the present, underlining the personal evolution of the artist.

Father John Misty - I Love You Honeybear Review by LDS Plucking up the courage to approach a girl in a supermarket carpark who later went on to become his wife, Joshua Tillman AKA Father John Misty is back with an epic album release that tells the tale of happiness through a back story of self-loathing.‘I Love You Honey Bear’ (2015) is an album without

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Whilst staying true to his folk roots throughout; the album does cross several genres including a more futuristic lo-fi dance number with ‘True Affection’ and a modern country vibe in ‘Strange Encounter’ a real heart-drawn hand-clapper destined for repeat. Tillman is poetic in delivery blending both romance with an ironic decaying outlook on society. The album could translate as love found in an apocalypse. It has a profound fuck you attitude to any perceived threat on his happiness, delivered no more obvious than in ‘Nothing Good Ever Happens at the Goddam Thirsty Crow’.

A collection of southern ballads summarising the beautiful ironies of life, so sweet and sour, bitter yet optimistic, clutching at his female equivalent. By no means perfect he spills his guts on all of his less proud moments in ‘The Ideal Husband’. However, Tillman is clearly dedicated in his cause and remains quite realistic of a happy-ever-after in a less than perfect world.

The Final Word: The depth of this record is indisputable, a joy to listen to over and over and you’ll still continue to pick up on small details and messages with each listen. It’s soothing yet stimulating so dim the lights, pour yourself (and your mates) a drink and settle in. This album is as reliable as your old dear’s cooking.

ALBUM REVIEWS BJORK - Vulnicura One Little Indian (UK), Megaforce (US), Sony Music (Indonesia)

Review by LDS ‘Vulnicura’ is the eighth studio album from Bjork and for it’s unique offering, it delivers as expected to be powerful, sensative and well, just plain beautiful.

If it’s pop songs you’re after look elsewhere.

This is nothing short of an orchestrated minefield of emotions following recent heartache, which is made very clear in ‘History of Touches’ and ‘Black Lake’.

Most of the tracks on ‘Vulnicura’ push beyond 6 minutes, layered with harrowing strings, electronic beats and that eirie voice that we know and love. Teaming up with UK outfit ‘The Haxan Cloak’ who feature throughout, this is an album thats raw in projection yet so polished. Worth a listen.

EASY RIDER So you have a multi-million dollar record contract huh?

Mariah Carey Visiting London one Christmas it was claimed that this pop diva requested this slender rider, I mean this is all quite normal right?

1 Rolls-Royce, 1 pink carpet, 1 pink podium, a magnitude of butterfly shaped confetti, 80 security guards, a15-person entourage, 100 white doves and 20 white kittens!

YEARS & YEARS - Communion Polydor Records Review by Madelaine De Leon Communion, the title of Years & Years debut album, I guarantee will bring people to fall in love with music again. Olly Alexander, the lead singer, who (funnily enough) got accepted into the band just by an ‘audition’ in the shower, really resurrects the soul into the new age of electronic music with his extremely powerful voice.

The album begins, with a smearing electronic instrumental. As the song ‘Foundation’ continues, there’s an essence of RNB as Alexander sings, “All the things I want, I shouldn’t get”. The album continues to get upbeat, with music that you would definitely get down with, whether or not the clubbing type. Their song ‘Take Shelter’ which at first I disliked, with patience, I found a special gem in its orchestration.

As the album drifts, you get that heightened feeling when you’re driving through the night, living in the moment and heading towards a place better than you’ve ever dreamed of.

With ‘Eyes Shut’ the album takes a somber tone, where there’s honesty in the lyric, “All I really want is you to understand that I’m a mess”. Out of all the favourites on this album, I really love ‘Desire’. The song is quite catchy, but also speaks of a concept quite relatable.

The album itself has incredible production that is well beyond its years. There is repetitiveness within the atmosphere of the music, however its lyrics sustain the beauty of the album. This album takes you places. 4*

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MUSIC Isle of wight festival, 1970 26-31 August

From the great beyond

Attendance 600,000 - 700,000 The largest festival recorded at that time and 5 times the size of today’s Glastonbury festival.

Jimi Hendrix Chicago - The Doors - The Moody Blues - The Who - Miles Davis - Joan Baez - Joni Mitchell - Jethro Tull - Sly and the Family Stone - Emerson, Lake & Palmer - Free - Procal Harum - Richie Havens - Leonard Cohen.

SZYMON - Tigersapp Universal Music NZ, Eloper Music, EMI AU The Story: Anticipated as a 50,000 person event, the third and (for 32 years) final IOW Festival came up against a number of political and commercial failings which eventually saw it announced as a FREE event - and as all you had to do was simply get there it wasn’t long before a logistical nightmare ensued as ferries desperately tried to transport some 600,000 people onto an island with a population of fewer than 100,000.

Locals were met by wave after wave of passionate and outspoken kids from all over Europe and they spread from the campsite to the beach forming a temporary nudist colony to the great pleasure of the local Council.

Amongst others the strong Who performance was recorded and remains a popular live set, Arthur Brown set himself alight for his performance of ‘Fire’ and it was to be Jimi Hendrix’s last live performance as 18 days later he would be found dead.

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Review by LDS The world lost an incredible artist when Szymon Borzestowski tragically lost his battle with depression at age 23, though through his family and some inspired industry folk, we can now hear an LP that was destined for the stars.

Tigersapp is a beautiful slice of of art pop and described quite properly as being steeped heavily in haunting folktronica. Throughout it’s beautifully layered vocal parts transport you to your minds happiest place.

Opening with Golden, the second single, the album sets the bar early on which let me tell you is pretty high. This track alone reached over 120,000 Soundcloud listens shortly after its release.

Track 3 Medusa (and the third single) will have you bouncing down the street desperately trying to match Szymon’s high vocal range.

His musical agility is also celebrated with the somewhat different yet equally catchy and appropriately named Katyusha, which was the first single from the LP. This track has a cold and haunting Soviet Russian feel if ever a sound could conjur that sentiment in a man who was only 7 years old when the Berlin wall fell (thats me incase you were wondering).

Listen to this album, I urge you and do me this one favour when you have done so. Just take a moment to consider that this album was put together in the bedroom of an 18 year old and you will understand just why it left me spinning. 4.5* Tigersapp is available on i-tunes.

ALBUM REVIEWS WILCO - Star Wars dBpm

Review by Madelaine De Leon In true fashion, a band known for it’s experimental rock has extended beyond their limits to something quite extraordinary.

Star Wars.

They’ve been on hiatus since their last album, The Whole Love (2011) as well as Jeff Tweedy’s duo project with his son funnily enough entitled, Tweedy. Coming back with just a pinch of nostalgia, Wilco randomly dropped a new album to all of our surprises. But I just have to say, I’m glad they’re back.

The album had a rocky start, with an instrumental that struck me with the feeling of confusion.

But then again, that’s what they do best. By their second track, “More…” I finally found my way back to their Wilcoesque aesthetic, reminiscent of their old works from Yankee Hotel Foxtrot (2002). The fourth track, “The Joke Explained”, brought alive their hybrid style of folk-rock which was intriguing, however I felt the song was rushed.

My favourite of the album was “You Satellite”, in which there was a constant build up of the backing guitar, carrying intensity throughout the song. “Cold Slope” put me into a journey and a deep sleep. By the end of the album, I was hazed by the magic that Wilco had last given me 4 years ago. “Magnetized” was definitely a great way to end the album, giving a calm and futuristic vibe, constantly wavering, like life itself.

The album and it’s production was overall quite abrupt. Yet for the most part the album was satisfying, picking up right where they left off. And as Tweedy sings in the album, “From where we end, to where do I begin?”

For a limited time, you can download their album for free via their website: http://wilcoworld.net

NOEL GALLACHER’S HIGH FLYING BIRDS Chasing Yesterday Sour Mash Review by LDS Noel has preserved all of the originality of the Oasis sound whilst the remaining members who formed Beady Eye continue to come under criticism. ‘Chasing Yesterday’ is a strong offering and even features ex-Smiths and Modest Mouse guitarist Johnny Marr on ‘Ballad of the Mighty I’.

The album thunders open with third single ‘Riverman’ gripping you by the scruff of the neck with squealing blues guitar and layers of horns over a powerful backbone melody. The following number and initial single ‘In the Heat of the Moment’ does however slightly disappoint for me. It’s a punchy [‘NahNah, Nah-Nah-Nah’] kind of tune but sounds alot like a Kasabian B-Side. It’s by fourth track ‘Lock All the Doors’ that you appreciate the band’s versatility and that this album is perhaps dothing the cap to a Britpop of years past. ‘Lock All the Doors’ in particular is nineties Oasis, raw and punchy. Though the standout (Amorphous Androgynous produced) ‘The Right Stuff’, is a great, groovy (borderline psychadelic) beat with tremendous bass lick ala Massive Attack/Chemical Brothers with slow building accentuating horns, keys and female vocal harmonies.

The underlying tone of the album seems to be reflecting and retrospective, an acknowledgement of the journey and growing maturity. Track 5 ‘The Dying of the Light’ is humbling “...I tried my best to get there, but I can’t afford the bus-fare and the storm is rolling over and it makes me wanna cry. I was told that the streets were paved with gold and there’s no time for getting old when we were young...”

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MUSIC Desert Island Discs With the Novatones

Paul Weller – Heavy Soul \\ Bob Dylan – The Times They Are A-Changin’ \\ Nick Drake – Family Tree \\ Nirvana – Nevermind \\ Limp Bizkit – Chocolate Starfish... \\ Arctic Monkeys – AM \\ Prodigy – Fat of the Land \\ Fleetwood Mac – Rumours \\ The Smurfs – Smurfs Go Pop! \\ José Gonzalez – In our Nature \\ Peace – In Love \\ Sixto Rodriguez – Cold Fact On-Stage, Isle of Wight Festival 2015 Anthony Pittman– guitar & lead vocals \\ Sean Swift – drums, percussion \\ Mackenzie Gordon-Smith – guitar, vocals \\ Toby Hornby-Patterson – bass

Interview by LDS The Novatones are a hot and highly regarded four-piece indie outfit from Southampton, England, who buzzing off of the back of some well received festival performances are widely tipped as one to watch for 2015! hive were lucky enough to get some time with the band to talk style, mischief and matters of surviving a tour.

So how did you all meet and how long have you been together as a band?

Sean: Me and Ant have been in the band for 5 years now. Two other members left a year ago and Mack and Toby came in and we’ve gone onto bigger and better things since!

Anthony: Yeah it was all by accident really. This was my first band and it will be my last!

We’re feeling your style, welldressed indeed. What are your biggest style influences and is their a style God to any of you?

Sean: “I’ve always thought Liam Gallagher looks smart, but think we all kind of just wear whatever really, a lot of people associate us with mods but we don’t really think we are in that genre though we might dress a little bit similar.

Mackenzie: There’s a few style icons

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for me, its quite a strange mix, Miles Kane, Bob Dylan, Pete Doherty… All guys who really know how to dress.

What’s been the best moment of banter between the band on the road?

interviews… I’m actually surprised I haven’t been told to shut up yet!

That being said, it might be driving to Scotland and asking Toby if he had his passport… That was brilliant. He didn’t believe us for a bit, we all just kind of went silent and he started panicking, hats off to Ant for keeping it together because I almost cracked.

Toby: I began looking for the quickest route home.

Sean: We played a gig in Honinton, Devon and it was the worst, best gig we’ve played. No one was there apart from a drunk girl who told us to stop playing because she hated us, so we went to drown our sorrows at the bar next door where a bloke threatened to kill me, and Ant tried to break it up so some massive geezer got him in a headlock haha…

Anthony: The West Country doesn’t like the Novatones! After the gig the other 2 went back to the hotel whilst Sean and I went for a few pints. I was getting served and then I notice this guy giving Sean shit. I go over to intervene and the next thing I know I’m being held in some sort of arm lock by this massive ugly bloke calling us ‘city boys’, whilst the bouncer was just watching. They told us to leave. It was like a scene from deliverance.

Mackenzie: It was probably at my expense… I have a talent of saying incredibly cringe-worthy things, which is why I don’t speak much in

‘Sunday Romance’ (2015) and earlier EPs are available for listen and purchase on Spotify, Amazon and itunes.

How do you feel about the public perception of the band linking you to the Mod Subculture?

Mackenzie: I honestly don’t like being pigeon holed at all, before this I was in a band that we did label “Mod revival” and it limits so much of what you can do, we’re just four lads who like playing music for drunk people, is there a name for that?

Sean: I think Brit-Pop or Indie Punk is more suited to us, I just think we’re a lot more fast and punky than most Mods like, we are happy to be called anything really as long as they enjoy it!

Anthony: We get told sometimes our image doesn’t suit our style, there’s no band shopping rules (apart from 1945 US air force jackets and bowling shoes!). What we wear on stage is what we wear when we nip down the shops for a pint of milk. Our style is based on the urge to look sharp, but not over the top.

INTRODUCING

JOY. 100% sure why, but I guess that’s just where I was at at the time.

I heard your covers of Bon Iver, Drake and Kylie Minogue. If you were to do Triple J’s Like a Version as JOY., what would you want to perform?

Interview by Madelaine De Leon JOY. is Olivia McCarthy, a 17-yearold singer/producer/multi-instrumentalist from Brisbane, Australia known for her work with Peking Duk and her performances at Australia’s Laneway festival earlier this year.

She has recently released her first E.P. entitled ‘Ode’ where song ‘Captured’ has literally captured wide attention. She is currently touring her native country off of the back of her 2nd North America tour. JOY. touched in with hive to chew the fat: You’ve recently produced your first E.P. Ode. What moods went into the process of making it?

I think I was just in a sassy headspace at the time, and sleep deprived. I explored a lot of dark, emotional almost cinematic sounds, and to be honest I’m not

I’m still trying to figure out what I would want to do, whether it be an Australian artist or flipping a giant pop-star’s tune into something laid back. I guess it depends what’s hot at the time.

You have such an incredible and distinctive voice. What would you say are your vocal influences?

At the moment I’m digging a lot of people like Jhene aiko and Bon Iver, and I’m really into the vocal production that Jarryd James is onto.

If you could combine any two foods to one dish, what would it be and what would you call it?

Doritos and ice cream and I would call it ‘creamtos’ Have you ever had an idea in your head that you would like to invent someday?

I never really have ideas like that, however I do randomly have ideas for music videos that never suit anything I make musically

How do you prepare a live show?

Do you have a pre-ritual tradition?

I don’t really have a ritual, I kind of just walk around with my headphones on and listen to tunes and concentrate, but I also just like hanging out with the crew before we play to chill out.

Who would you love to work with in the future, musically?

So so so many people, but I’d love to produce for Drake, or someone in that realm of hip hop.

JOY. is currently touring in Australia, if you around and have the chance it would be prudent to book some tickets!

AUSTRALIAN TOUR DATES: ADELAIDE MELBOURNE QLD PERTH SYDNEY

OCT 30TH, 2015 NOV 6TH, 2015 NOV 13TH, 2015 NOV 14TH, 2015 NOV 20TH, 2015

The ‘ODE’ EP – AVAILABLE NOW on ITUNES + SPOTIFY

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MUSIC

My Morning Jacket

The Ruebens

Review by LDS

Review by LDS

To say intimate is an understatement. Paradiso is an old square theatre which standing would hold 30 x 30 bodies with 2 tiers of seating overhead towards the domed roof. Behind the stage stand 3 giant stained glass windows and a small (and I note) virtually empty bar resides in the corner. As soon as you walk into the venue you get that strong familiar smell and realise just why its so easy to grab yourself a Heineken.

Opening the night beneath the Southern Hemispere’s largest disco ball were young but self-assured duo Winterbourne who charmed with their jangly pop folk ala stomp pedal summoning their biggest early-set crowd on the tour to date.

Following and supporting The Ruebens were Melbourne band Saskwatch who to be frank confused a few. The soulful vocals and engaging hippy groove of Nkechi Anele wore thin through a shyness to communicate and the remainder of the band went through the motions with little passion and faces looking as if they had just been delivered some bad news.. To add further confusion to this set the lifeless band in their final song went mad, the guitarist climbing the wall side of stage and bassist somewhat haphazardly ‘trashing the stage’ only to sheepishly reappear to turn the irritating buzzing amp off moments later.

A little after 10pm rock’n’rollers The Ruebens dim the lights and crank hip hop track Big Boi by General Patton as they appear on stage and like a swollen river, the young female contingent of the audience burst forward. Of note was the early blast of previous single ‘The Best We Got’ to get the crowd on their tip toes and ‘The Night is on My Side’ from new album ‘Hoops’ to keep us pepped. Casually oozing cool frontman Sam Margin is completely unphased and wearing a cream sequened shirt that at first looks like it came from the local charity shop, you soon notice the large cannabis leaf and 2 x AK47s stitched on the rear.

Slowing things down with ‘Elvis’ Sam calls for ‘his biggest Adelaide crowd’ to cram into the front as he hands the vocals over to us for ‘My Gun’. Trialling a new one we get an insight of a heavier Reubens sound in ‘The Fool’ with a Led Zepelin-esque drum and guitar riff sequence, the guitarist jumping up onto the bass drum. Jumping into the crowd Sam sings ‘Cut Me Loose’ before the set is finished with new single ‘Hoops’ which fed a great deal of building anticipation.

A strong encore followed with the delicate first single ‘Lay it Down’ and bouncy indie anthem ‘Hallelujah’. Top job.

Paradiso, Amsterdam, Netherlands (10/09/15)

Running onto the stage comes singer Jim James sporting a thin black, brightly patterned style gown/jacket masterpiece that looks vintage 80s, and dark, dark sunglasses which remain intact for the entire show.

Ironicaly the only eyes we can see are the giant eyeballs printed onto this crazy jacket.

They open what will be an epic 22 song set with ‘Heartbreakin Man’ and guitar prowess encapulates the audience. A few in classic rock number ‘Believe (Nobody knows)’ fires the crowd up to break into a steady bounce. Taking a moment mid song to towel off his hair and swap to acoustic Jim James takes it down a notch in a broken down version of ‘Get The Point’ “...I think you get the point, the love is gone and Im feeling sympathetic...”

Half way in we are dealt ‘Thin Line’ which was the standout track for me. A track so polished in the studio brought to life in all of it’s psychedelic technicolor.

Suddenly this intimate room was brought into a drifty trance-like groove leaving you feeling like an extra in a Bond movie. Truly spledid. Following this with the mellow love making sound of the Seventies in ‘Only Memories Remain’, MMJ crank the synthesizers with Bowie-esque guitar licks.

Despite absolutely no communication with the audience, the great moments of call and response from the guitars, cool drum breaks and then when you least expect it well placed saxophone speak volumes. Oh and the encore - a part Jamaican, part Nintendo disco belter. A long set of 2.5 hours but top drawer.

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HQ Complex, Adelaide, Australia (08/10/15)

GIG REVIEWS Soweto Kinch

Hoochie Coochie, Newcastle upon Tyne, UK (25/09/15) Review by Les Aitch

L

eading the way in the world of soul, funk and jazz in Newcastle upon Tyne is a venue which was only established in 2012. and in a period of only three years Hoochie Coochie in Pilgrim Street has become the place for the finest artists in my favourite genres to perform. Overseen by patron Warren Thomson, this club has attracted the very best from both Britain and abroad. We’ve had Candi Staton, The Fatback Band, Roy Ayers, Chaka Khan, James Taylor Quartet, Gregory Porter, Sugar Hill Gang, Brand New Heavies, and renowned DJ’s such as John Morales, Joey Negro and Dimitri from Paris. I could go on.

The latest to grace this stage was Soweto Kinch.

Now in case you’re not familiar with the work of Mr Kinch he is a multi award-winning saxophonist, MC, composer and spoken word performer. A list of his glittering prizes includes two MOBO awards, two Urban Music Awards, BBC Rising Star Award, BBC Best Jazz Instrumentalist, BBC Best Jazz Band, Montreux Jazz Festival Award, Whittingham Award for Jazz innovation, Winner of the White Foundation World Sax competition and a Mercury Award nominee. He is undoubtedly one of the most exciting and original jazz and hip hop artists plying his trade today. Born in Birmingham, he was given a saxophone at the age of nine. Now revered amongst musicians he can count on Wynton Marsalis and Courtney Pine as both his inspiration and mentors for his weapon of choice, the alto-saxophone. With a more than keen interest in the history of black music and culture he has recently featured in BBC TV’s Jazz Britannia series, and wrote and narrated a documentary on the history of the saxophone ‘The Devil’s Horn’ for BBC Radio. He has a history degree from Oxford University. Basically what I’m saying is he knows his stuff.

This would be a return visit to Hoochie Coochie. His first was back in April 2013 when he just popped in to see what all the fuss was about after his sensational performance at the Sage Gateshead International Jazz Festival that same night. I was lucky enough to be at Hoochie Coochie on that occasion. It was as unusual and explosive as it was unexpected. A quite amazing display of alto-sax playing and freestyle rap and showmanship. It made quite a lasting impression on me for one. There was a fine knowledgeable audience in the house, boosted on this occasion by some of the North-East’s finest jazz and funk musicians. Anyone who had ever blown a brass instrument in anger in the region was here to see Mr Kinch. Respect. If you couldn’t find your bands horn section it’s because they had sneaked off here. Hoochie Coochie is an intimate venue with a capacity of 250. It’s one of the reasons they tell me that artists love to appear, usually seen to be having a coffee and shaking a few hands before the gig, and possibly something slightly stronger and a chat after. One of the few places where artists and customers talk to each other about the one thing they definitely have in common.

Tonight’s band was a three piece. Nick Jurd plays upright bass and electric bass guitar, Jonathan ‘Silky’ Silk on drums, and the centrepiece himself looking sharp with braided hair and tailored suit, on alto-sax and vocals and assisted by live laptop looping. He started with a mesmerising and highly technical avant-garde sax solo. The audience hung on his every note bursting into applause and whoops at the end of it. If you have seen Mr Kinch before, then you’ll know that a Soweto Kinch gig is very much an interactive experience. Soweto split the room into two, the “haves” on the right and the “have nots” on the left, getting us to chant in sequence the phrases “Privatise the Gains” and ‘“Socialise the Losses”. His lyrics are hard hitting and thought provoking, delivered in a rat-tat-tat high speed style but with each word clearly defined. Like a presidential convention. This gentleman demands your full attention.

The pace increased in the second half with the sounds becoming a little funkier while losing none of its free form stylings. He then treated us to his trademark off the cuff rap. It was this that got me transfixed on his first visit. This time he chose the word ‘Hoochie’ lit up on the wall behind him (preceding the word Coochie unsurprisingly enough) and invited the audience to pick a subject beginning with each of the letters on the wall. After a few beers and cocktails there was no shortage of ideas. However, both he and the disciples in the crowd settled on Happy, Ostentatious, Orbital, Cameron, Hydrogen, Intelligence and Ecstasy (basically a typical night out in Newcastle) rapping them back to us in the order they were given within a poem made up on the spot. It was impressive to say the least.

Make no mistake Mr Soweto Kinch is a class act. Lasting nearly two hours, it was a performance which was skilled, technical, relevant and modern. If you haven’t seen him before, put that right as soon as you can. If you’re in the North East of England anytime soon, make sure you check out hoochiecoochie.co.uk and the events page. You won’t regret it.

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THE FINAL WORD James Robertson Hirst takes online dating by the balls...

The Phallic Interpreter Dear friend.

It has been some weeks since we corresponded and I feel it is incumbent on me to write this message to you. I have been busy with work duties, a feeble excuse I know, but I beg your indulgence on this matter. Furthermore I must openly declare a degree of confusion on receipt of your last message, consisting as it did of a single picture. As you are aware I am new to the online dating experience and have perhaps not been sufficiently informed about the social etiquette of the medium. Nevertheless I was surprised not only to receive a photograph without an explanation attached but to find that the photograph was in fact that of a penis, which I presume to be yours. Thank you for that. I appreciate that you took the time to photograph your genitals in order to send it on to me in the interests I suppose, of getting to know each other better? I surmise that this is the reason since your profile, if I read it correctly, indicates a desire for friendship, conversation and networking. Given those aims I was at first at a loss to see how they could be furthered by the introduction of your naked organ into the conversation. In the context it appeared to be a non sequitur.

At first I wondered if it was a cry for help; that you were seeking advice on a rash or infection of some kind but close inspection of the photograph revealed no such abnormality. To be doubly sure I took the liberty of showing the picture to one of my colleagues at the CSIRO, an eminent biologist by the name of Dr Werth. She assured

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me that there were no infections apparent from the image. I understood this to be a positive development and felt perhaps that your intention had been to demonstrate your rude good health. If that is the case, thank you for letting me know.

Further conversation with Dr Werth revealed a surprising result. She is also trained as a phallic interpreter, that is to say she is able to analyse and diagnose health and personality from viewing images of the male organ. I was surprised to learn of this unusual occupation, which had hitherto remained hidden to me but she assured me that she has been widely consulted. Due to the senstivity of her profession she was not able to divulge the names of the famous clients who have consulted her, but she did say that on more than one occasion she had been able to provide an important service to both the owner of the penis and their potential partner. At least one bride to be has called off her engagement after Dr Werth uncovered a narcissistic streak evident in an elongated and slightly curved penis that she was able to observe a photograph of. With that in mind I took the liberty of forwarding your

picture to the doctor for a reading.

The results were illuminating and comprehensive enough to fill a ten page report but I have summarised the most salient points as follows.

Dr Werth’s first comment was that the pale colour of the genitals indicated Northern European ancestry on your part and a vulnerability to chest cold as well as gout, in later life. The pale blue veins on the left hand side show a loyalty to friendship which I considered to be a recommendation. The bulbous tip of your organ indicates a strong personality and a tendency to rush into situations without always considering the consequences. The Doctor was also kind enough to analyse your scrotum while confessing that the amount of shadow made her reading more difficult. Nevertheless she detected patriotism, a passion for fast cars and some problems with the number three. Accordingly she advised you to exercise caution on days ending in that number. She did conclude that the entire genital area indicated you were likely to live well into your eighties, all things considered. There was one caveat- she did detect a fondness for fried foods in the excessive swelling at the base of your organ, and advised you to exercise some restraint in the consumption of oil.

All in all I feel she has done an excellent and comprehensive report well worth the seventy five dollars. Since you were kind enough to share the most intimate part of your anatomy with me, I felt it was the least I could do to have it analysed. I look forward to hearing from you in the near future as to the accuracy of the reading and hope that it can be the catalyst for a broader discussion and a long and fruitful friendship.

I remain sincerely yours, Edward Humbolt, BSc, PhD.

Sustainably Chic “here you breathe”

In Latin culture, the verb “IRE” represents the continuum, it represents life, changing in order to tend to the origins.

Studio IRE is an Italian, Roman Atelier born in 2014 who emphasise the values and bonds linked to the cycle of life, the material time of elements. They are driven by OUR very necessity to bring products back to an ETHICAL level of design, returning wealth to the ancient traditions, to the talents of the territory from it’s deepest roots.

The work of Studio IRE is dictated by a short chain production, ETHICAL :: SUSTAINABLE FASHION, with the focus on “clean clothes”, which are not tainted by labour exploitation or use of polluting materials.

They combine natural materials with an extraordinary finish and unique memory.

Signs from our leaders dictate a wish to design on a human scale.

www.studio-ire.com Be glamour in a very Ethical :: Eco Fashion way!!

“...it takes so much more courage to say you love something than to say you hate it...”

Annie Clark, St. Vincent

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