Independent Leeds Magazine Issue 03 by Independent Life

Independent Leeds Magazine Issue 03 www.independentleeds.co.uk

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Issue 03

Alternative Canvas

Art can be defined in many ways and displayed in diverse forms. From the traditional to the modern, it ignites the senses and evokes emotion. In this issue, amongst the best Leeds happenings, we explore a range of local artists embracing the alternative with creativity and skill in their respective fields; the art of music, the art of performance, the art of design, and of course, the art of art…

Contents ‘Weird Leeds’ by Bobbi Abbey

4-5

Immortal Bloom

6-8

Cosmic Slop

9-11

Pedallers Arms

The Cover’s Story Every issue we ask a different Leeds artist to produce our cover image. This time illustrator Johnny Cosmic displays his alternative canvas with a Leeds twist on the iconic Cheap Thrills album artwork. Enjoy more from Johnny inside...

The Art of Ale

14-15

The Rise of Punk Poetry

16-17

Designing Through Discord

18-19

Contributors We are fortunate to have such an amazing community of writers & photographers who are all credited at the beginning of each feature. And if you like what our illustrators and artists have done please get in touch on the details below. Editor John Barran : john@independentleeds.co.uk Illustrations Johnny Cosmic : @midnightvipers / ram_time@hotmail.com www.johnnycosmic.co.uk Bobbi Abbey : @bobbiabbey / bobbiabbey@hotmail.com Louisa Foley : @louisafoley / louisajanefoley@gmail.com

Creative Uprising

22-27

Royal Bloodline

29-31

Hats Off

32-33

Bars & Guitars: Tales of a Rock & Roll City

34-35

‘Do Play With Your Food’ by Louisa Foley

37-39

Digger’s Island Discs: KMAH

40-42

Reimagining Theatre and What it Can Do

44-45

The Multi Cultural Heart of Leeds

46-47

Delve deeper into the independent scene in Leeds at www.independentleeds.co.uk Twitter: IndependntLeeds | Facebook: IndependentLeeds | Instagram: independentleeds

Words : John Barran Photography : BOKEHGO

Immortal Bloom

Turritopsis Dohrnii: a curious ocean species whose jelly has the remarkable quality of transforming from the polyps stage into a medusa form and back again at its own choosing. Thus making it ‘immortal’.

A grouping of these profound creatures is known as a ‘bloom’. It is safe to assume that a creative collective taking its name and inspiration from such an intriguingly odd and awe-inspiring obscurity are likely to offer an appealingly alternative artistic vision. “These principles have morphed into an analogy for creativity, when faced with adversity we can rejuvenate our artistic growth,” confirms Jaime Slater, one half of Immortal Bloom, alongside Rachel Rea. The pair joined together after graduating from university and utilised their cross disciplinary skills picked up from differing yet complimenting experiences. Both were raised in creative environments that encouraged self-expression and, following courses in art and costume design respectively, they now develop their talents with a shared ethos. “We are both interested in our natural world and the man-made impact on it. We want to challenge consumerist ideology and our attitudes on sustainability,” explains Rachel. This admirable aim is at the core of their work together, using man-made waste to produce natural pieces. “We want to create art that has aesthetic pleasure and a dark underlying message,” Rachel continues. “This is practised using disposable and environmental contexts and creating beautiful installation.” Their most apt design and the springboard for Immortal Bloom was a jellyfish sculpture they made for Outlaws Yacht Club. “Joe Gill gave us a spherical key-keg provided by Northern Monk Brewery to see what we could do with it. The material screamed jellyfish!” describes Rachel of their unusual, eyecatching and innovative creation.

This led to further collaborations with the likes of Studio 24 to expand on “how we could transform waste into treasure.” “We really enjoy working with others and sharing ideas,” says Jaime. “We work separately in the same space then get our heads together and start to blend.” The involvement of others to explore their themes extends further to also include their audience; “Contemporary art is a platform for an artist to display mediums of contexts in a free practical style,” Rachel explains. “It’s an unspoken conversation between the viewer and the artist.” This philosophy to art and to life is summed up by Jaime with a favourite Michael Lipsey quote; “There are three universes: my universe, your universe and the universe.” As Immortal Bloom’s art balances experimentation and attraction with environmental improvement, Rachel believes it can play an important role beyond the aesthetic. “I think if individually art and its message have merit and quality then it strengthens the drive,” she says. “Art is a flow that is constantly challenged by political and cultural perspectives.” All of which requires a commitment from all of us to not only appreciate the art but to interpret it for ourselves; “Meaning is the key, and we can only learn from the past. It is important to inform future generations; to learn from mistakes and collectively change,” says Jaime, and Rachel agrees. “We all have our senses, we all learn, we just need to be open to the message. This is imperative to all understanding.” With wise words, exciting creations and immortal ambitions, this unique duo are ready to bloom.

Words & Illustrations : Johnny Cosmic

Cosmic Slop

Cosmic Slop is one of Leeds’most important and iconic nights of the last decade. Beginning as a fundraising party for local charity MAP, the event quickly became a cult dance favourite, its eclectic music, infamous sound system and artistic environment gaining wider recognition whilst retaining its original underground vitality. Johnny Cosmic, creator of the vibrant and challenging images that perfectly showcase Cosmic Slop’s positive vibe and social ethos, describes the story and displays the art… Music... Art...Production MAP is a registered charity which delivers bespoke courses in art, design and music production for young people who have difficulties accessing mainstream education. With a combination of creative programmes, innovative technologies and hands-on experience, MAP offers opportunities for students, residents, artists and volunteers to be involved in the teaching, learning, developing and bettering of themselves and others. By enabling the sharing of skills and experience between diverse members of the Leeds community, MAP has created a platform for mutual encouragement and inspiration amongst individuals, and has evolved into a wider arts hub, unique to the area. After completing courses at MAP, many of the students go on to pursue careers in the arts, and often return to MAP as volunteers, demonstrating its overwhelmingly positive impact. Music is...love Cosmic Slop was conjured by Tom Smith in 2009. The night is a platform for the collective good that

MAP creates, and embodies all that the charity stands for, ethically, musically and artistically. The ideology confronts the traditional music bourgeois and pumps the funds back into the MAP charity. Sounds are discovered, loved and shared by passionate DJs through a renowned DIY sound system that has been built organically and grown with the night, as has its cultish following. Cosmic Slop has the feel of an underground private party where every social chameleon is welcomed and has endless possibilities of evolving into something new, a better future. By raising questions to the music and engaging the crowd to think about the messages within the lyrics, this is an equally interactive, thoughtful and joyous experience, escaping in an artistic utopia. The art behind the heart Johnny Cosmic has been Cosmic Slop’s resident artist from almost its infancy. Believe it or not, the link in the name is purely coincidental! The art, akin to the night, is expressive fun that also aims to be challenging and thought provoking. Never one to shy away from controversy, Johnny uses the images to question global issues and confront politics through parody. The style has parallels to Punch magazine’s satirical social commentary, mixing comic illustration and horror characterisation with a pinch of whimsy and humour, to present significant ideas of modern society. Much like the night it represents, the art exudes a raw energy that embraces the alternative, celebrates the individual, powers the collective, and also makes you smile.

Words : Louise Fletcher Illustration : Johnny Cosmic

Pedallers’ Arms

From the brightly coloured Fixie tribe, through the environmentally friendly daily commuters, to the takeaway delivery gangs, biking around the city has seen a dramatic increase over the last five years. Of course, there are the fanatics with all the latest technology and frames made from metal developed by NASA, but for most, investing in a bike is a cost effective means of transport, a cheap way to get about, and for some even a lifeline. So when your bike breaks what do you do? Some run to their tool kit and get on their overalls, others take one look and ship it off to the bike shop. But if neither of those are an option, with little repair experience and a small budget, a broken bike can be a real headache. That’s where the Pedallers’ Arms comes in. No, it’s not a place for cyclists to enjoy their favourite tipple, (although we have been promised you can always get a cup of coffee and a biscuit) but a bicycle co-operative, helping anyone and everyone to fix and maintain their bikes. “It evolved from the idea of wanting to empower people to look after their own bike rather than handing it over to someone at a bike shop and having it done for them,” explains volunteer and Core Mechanic, Amanda Sowerby. “Also, it’s just not affordable for everyone, sometimes you have to wait ages and not everyone feels comfortable going into a bike shop.” Although there are some bikes on the fancy end of the two-wheeled scale among the racks, Pedallers’ Arms sees a lot of people come down who otherwise might have had to give up on their bicycle because they didn’t have the money or the know-how. For a lot of the people who come through the doors, pedal

power is their only way of getting around. Amanda explains that it’s for this reason they are as inclusive as possible. Memberships for the year range between £15-£25 or donations can be made, depending on what’s affordable. Understanding that in some circumstances even this cost is out of someone’s budget, Pedallars’ Arms are still willing to help where they can. “We don’t turn people away because they don’t have any money. We get a lot of people who for whatever reason can’t afford to contribute, which is fine,” says Amanda. “With second hand parts there is a bit of leeway. If someone comes in and their bike is knackered and there is a part that would fix it, it’s up to the discretion of whoever is on shift whether to just give them it.” This hunger to help people to maintain their own bikes for zero profit partly comes from a passion to see more cyclists on the roads. Although Amanda has noticed numbers increasing, there is an underlying feeling that despite having been a push to get people riding, especially after the Tour De France, more could be done to encourage nervous riders. “Often a lot of people don’t want to ride on the roads and ride with cars. The council are trying but it’s all about winning over the council because at the moment they won’t reallocate road space, they don’t want to cut down on car capacity. However, until you do that you can’t put in the infrastructure that bikers need. It’s a tricky one.” But, while the politics of the roads may be a complex issue, Pedallers’ Arms aim for the future remains simple. To stay in their affordable working space and to just keep doing what they’re doing.

Words : Will Briggs Photography : Mike Medlock

The Art of Ale

With the amount of new breweries opening up in the UK these days it can be hard to stand out. That’s why the list of things a new brewery needs for success has moved from just a good beer recipe, to a better beer recipe and a great designer to create a range of attractive labels. Back in the 1870’s the UK’s first ever official registered trademark was given to a beer logo; Bass brewery’s famous red triangle. Now, with inventively designed and expertly produced bespoke artwork for ever-evolving ales and limited-edition beers, labels have become a little harder to copy than just a red triangle. The truth is that the beer industry has moved on leaps and bounds from the old days of sexist pumpclips and dull Microsoft Word clip-art packaging. A lot of newer breweries have enlisted the help of designers and artists to come up with an appealing frontage that personifies their brand and entices the drinker. Many of the bigger names have noticed this trend and begun to follow suit. It’s an important factor. When you have as much choice as we currently do in the UK, you need to make yourself noticed. You could have the best beer in the world, but if it’s displayed with a hand written post-it note, it probably won’t sell. Some brewers still don’t get it quite right, but we’re lucky to be seeing so many that do.

Here at Beer Ritz we sell around 800 beers, and of our UK selection there are some excellent looking designs. Brewers like Kernel with their iconic simple brown labels. Cloudwater and Brewdog who love to collaborate with artists. Professional looking products from the likes of Magic Rock, Vocation, Siren, Roosters and many many more! People who have spent time and effort making sure that the image perfectly showcases the output. A lot of work really does go into the process! One local brewery that is doing particularly well with their look is Northern Monk, based in Holbeck. Not just content to have their own brand, they’re keen to work with other breweries as well. Collaboration of course means a meeting of minds when it comes to the final result, something that can always go in a range of interesting, alternative and artistic directions, depending on each other’s design inspirations. It’s hard to say what the future holds for beer labels and overall packaging. One thing’s for sure however, it’s not going to get boring any time soon. Things can only keep getting better as breweries experiment with new ideas that keep the style up with the substance. And fortunately enough, sugar and calorie content can still be stuck in the small print on the back of the bottles...

Words : Chiara Amendola Photography : BOKEHGO and Thomas Williamson

The Rise of Punk Poetry

Chiara Amendola explores poetry and spoken word with Knottingley performer and poet Toria Garbutt.

Toria Garbutt is a rising star in the dark sky of punk poetry. The thousand-year old tradition of delivering beautiful verses orally is not lost, and spoken word artist Toria is reclaiming the term ‘poetry’. Poetry was born as a performative, oral form of art before becoming an intimate, inward-looking and solitary experience. Poetry’s main aim was to be played and performed in front of the masses. Spoken poetry is somehow something different to written poetry. Toria was attracted to poetry from a young age. “At 13 I became obsessed with Jim Morrison, listened to his albums on repeat, laid on my bed,“ she tells me. “I started writing a diary, a sort of stream of conscious poetic rambling”. She gained a lot of inspiration from the Beat generation poets and their refusal to put rules or boundaries on language. Later in the 90’s Toria got into the ‘Riot Grrrl’ scene, a chance for unabashed female self expression, and “a platform to be ballsy and honest.” At University, despite being terrified that other kids might be better than her, Toria loved the buzz of performing; “the intensity and intimacy of bearing my soul to an audience and orchestrating a collective group consciousness.” After a silent period of ten years, during which she was raising her kids and battling with depression and anxiety, Toria decided to go back on stage and joined A Firm Of Poets, a Wakefieldbased collective that brings together the best acts from all over the country and presents them in “kick a nights of words and music.” AFOP is all about making poetry accessible to the people and changing its connotation. This enabled Toria to perform at Beacons and Latitude festivals, then on a 20 date national tour called ‘The People’s Republic of Poetry’, and had her support artists like Kate Tempest and Mike Garry. “When we perform together, we take turns to stand up, we try to respond to the other poets. It’s really exciting that poetry is attracting mainstream attention.” But what makes spoken poetry so special? According to Toria, “it’s the most punk art form... poetry speaks the truth... that’s in contrast with people talking b in the media... there is something very liberating about just standing up and telling the truth.” “It’s really important that we connect as humans, in an authentic way,” she continues. “This is what spoken word has the power to do. It speaks straight to the soul... Words are powerful, they cast spells and create energy.”

Just like other alternative and radical forms of art, poetry often emerges from times of social and political unrest. In this sense, spoken words can be a weapon in the hands of minorities: Orwell believed that language is power and that words can shape reality. “They have an incredible impact, an ability to transform lives,” agrees Toria. As a mean to deliver these messages, Toria stresses poetry’s importance; “Words stick in people’s minds, especially rhyme. We can all remember daft little riddles from years ago, or annoying adverts. So it’s exciting to share words that will hopefully be remembered and perhaps alter perception.” For Toria, speaking the truth also means bypassing censorship; this entails using strong language and swearwords in poetry; “As long as you’re not directing them towards anybody in an aggressive or abusive way. I really love the way they sound with a Yorkshire accent, the flat vowels are beautiful. I wouldn’t swap an F for a C!” The use of swearwords is one way Toria challenges the misconception of poetry as an elitist art, something that’s only accessible to educated people. Spoken word nights are popping up all over and the interconnected nature of Leeds’ DIY music and art scene provides a comfortable home. At venues including the Chemic Tavern and the Fenton, through collectives such as Chunk, and in societies such as at the University Union, local poets are invited to learn and perform spoken word. It takes a lot of courage to stand there naked and be brave enough to give it a go. “It gives people a chance to open up to others and be accepted,” says Toria. “I love a good story, I like to hear real experiences, I grew up around brilliant storytellers, my dad could tell a right tale.” In relationship to other arts, Toria believes spoken poetry is essentially another form of creative expression; “I respect and admire traditional page poets, but I have no personal interest in writing that way. I love the sound and rhythms of language… even if I don’t understand the content I can appreciate a beautifully read poem.” One thing that gives spoken poetry a special place in the world of independent art is that the artist’s performance is not in any way restricted by venue, equipment, marketing, line-up or audience. “You don’t need any materials with you to share it,” says Toria. “You can just open your mouth, wherever you are, and pour your art out.” Toria’s new album, Hot Plastic Moon, will be launched on the 26th of May at the Hyde Park Book Club.

Words : Louise Fletcher; Photgraphy : Tom O’Neill @ Five Thirty and Asia Burrill Make Up Meg Ludlow and Maxine Smith; Hair : Milosz Pawlak

Designing Through Discord

If we were to play a game of word association, we doubt that beauty would be high up on the list of things which sprung to mind when the word Perspex was thrown out there. However, it’s this discord within our perceptions which inspired Emma Cook to laser cut and mould her way to structural designs full of drama and opulence. Whilst studying Fashion concepts and Communication at Leeds College of Art, Emma’s dissertation weaved its way through the idea of juxtaposition. Exploring a variety of themes, her work looked into numerous areas, including people’s use of fashion as a belief system, as well as opposition within structure. “In my practical synthesis I looked at opposites. Ying and Yang, belief and non-belief, and that went into structures and architecture, soft shapes, linear shapes, structure and form,” says Emma. “This took me down the route of opposing materials, looking at natural and manmade materials. In my final collection I used synthetic Perspex and plastics against couture silks in the garments that I made.” Since graduating in 2014 her work and collections have evolved from this original concept but have continued to take inspiration from both the natural and synthetic, including clear Perspex pieces resembling water, inspired by designer, Iris Van Herpen. “One of my favourite works was a short collection of white pieces which were a bit more feminine and softer in shape. The designs had a nod to the coral reef. The way that they looked and the photographer included in the shoot just made it something completely different.” With Emma’s pieces forming and developing from the chest up, her striking collections have

caught the eye of some of the most innovative in the hairdressing industry, who use her collections to stage and support their couture creations. From working with various hairdressers across the 2015 and 2016 British Hair Awards, to having her work used in the 2015 Toni and Guy lookbook, her work has made headway into the world of high-end, theatrical hairdressing. However, her ambitions and ideas are much broader than the width of a model’s shoulders. “I’d like to go more into exhibition pieces,” she explains. “Something on a large scale, something which would fill a room. I have an idea of doing a weird chandelier thing with lots of lighting and using more technology. Something less voyeuristic and more interactive experience wise. I’m quite aware that I want to be fluid in what I produce. Hopefully I can be free, whether that be in Perspex or in resin, doing castings.” Experimenting with the materials she uses is also firmly on her to do list, as ironically, her feelings about Perspex cause personal discord, angling with her passion for sustainability and the overall look of the end results. “At the moment I try and resource and reuse Perspex, I try not to buy it fresh, using scraps and offcuts. I’m quite keen to move away from Perspex and have a more sustainable way of working.” Despite this internal struggle with manmade materials, it’s undeniable that Emma’s creations evoke beauty from the unexpected and the endless man hours which go into designing, cutting, moulding and manipulating, produce wearable art forms which ooze effortless style.

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CrossEyes Leeds 9 Mill Hill Leeds LS1 5DQ Tel. (0)113 245 5378 20

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*Foundation Diploma in Art & Design ** BA (Hons) Degrees; Extended Diploma in Art & Design; Access to Higher Education in Art & Design; Short Courses

Words : Ultimate Skin Tattoo

Opposite page illustration by Mitch Allenden & Rich Wells Dock Street Tattoos

I’ve been tattooing around 6-7 years. I opened Dock Street with Mitch around October 2013. My preferred style is along the traditional lines, but I never really stick to a certain theme. Rich Wells @richwellstattoos Dock Street Tattoos

Ultimate Skin talk about Leeds’ journey to tattoo capital of the North.

20 years ago tattooing in the city was bleak, with only a handful of shops scattered around town. Since then the industry has grown and progressed, with the opening of multiple new shops helping to shape Leeds into an exciting and innovative scene with a tattoo community rich in both talent and culture. Smart, young and enthusiastic, up-andcoming artists flock to the city, and business is booming. Silvia from Ultimate Skin, a shop which has been involved in the Leeds tattoo scene for a good part of the last 20 years; “Leeds now has an incredibly rich concentration of internationally

acclaimed artists in the city centre and immediate suburbs. Ultimate Skin has played a key role in these changes, which have helped to shape Leeds into the tattoo capital of the North”. The great thing about tattooing in Leeds is that whilst shops still have friendly rivalries between them, there is a growing sense of community spirit and cohesion and there is no better place to witness this than at the annual Leeds International Tattoo Expo, where artists not only from Leeds and the U.K but from around the world come together for a weekend to celebrate.

Before I began tattooing I studied illustration at university, generally working in ink and watercolour. I try to approach tattooing with some of the same elements that I used whilst painting or sketching, concentrating sometimes on the bigger image rather than the single piece. A lot of my work is heavily influenced by nature and the animal kingdom, and generally I try to merge it with elements of fantasy and mythology. I also really enjoy trying to do a modern take on much more traditional and iconic tattoos. Mitch Allenden @sneakymitch Dock Street Tattoos

I’ve been tattooing 6 years starting out in Headingley. I like to describe my work as light-hearted traditional, as it doesn’t conform to the classic traditional stereotype. My work consists of bright colours and obnoxious lines. #leadlines Adam Cornish @adamcornishtattooer_otc Oddfellows Tattoo Collective

My names Gibbo and i’ve been tattooing four and a half years. My style is influenced by the eastern european movement of tattooing. I like bold lines, solid colours and eating donuts. Gibbo @gibb0o Oddfellows Tattoo Collective

I like tattoos, I like tattooing, I like to tattoo. Tom Dooley @el_dooley_otc Oddfellows Tattoo Collective

I’ve been tattooing for 6 years, focusing on traditional based designs with a modern twist. Laserproof solid tattooing. Tom Flanagan @tom_flanagan_otc Oddfellows Tattoo Collective

Tattooing misery and all things bleak since 2006, I like heavy black work and fine lines. Cold days and dark nights. My work has gone through many incarnations over the years, but I find the way I work at this moment in time conveys what I want it to. Neil Dransfield @neil_dransfield_tatttoo Oddfellows Tattoo Collective

Hey, I’m Lukasz and I am a 25 year young tattooer at Ultimate Skin in Leeds. A few years ago my friends were painting a bunch of stuff to later tattoo and I decided it’d be funny for me to try paint something extremely offensive and inappropriate, that turned into a little point of realisation and later a bigger idea to change the way my life was heading. I love tattooing the old bold stuff, repeating and polishing up the classics. Lukasz @stolen_days_tattoo Ultimate Skin I started tattooing around 13 years ago. I think you could describe my work as Western traditional with Eastern roots. I just like powerful looking tattoos. Sway @sway_tattooer Sacred Electric

Tattooing for 5-6 years. Been working at sacred electric for 3 years now. If I had to describe my work I’d say it was a jigsaw of classic traditional put together inappropriately. Joe Ellis @joeellistattoo Sacred Electric

I have been tattooing for 4 years. My influences come from anywhere really; I like dark subject matter, flora/fauna and classical figures. I have no preference for colour or black but I like loadsa lines! Natassia Wild @tashawild Ultimate Skin

South African artist with a fascination for drawing and painting, living in Leeds for the past 6 years, working at Ultimate Skin for a year and a half. I have always experimented with different mediums and techniques to create dark pieces, often using surreal and abstract ideas. My favourite things about being a tattooer are travelling around different countries to visit and guesting in other shops and to see how other people practice tattooing. Justin Rockett @rockett_tattoo Ultimate Skin

Words : Khadijah Ibrahiim Album cover original art work : Carol Sorhaindo Album graphics and design : Kadish Morris Photography : Carol Sprano

Royal Blood Royal Bloodline

The Journey

An amazing musical dynasty of 4 generations

Leeds is one of the most vibrant cities for live music. Blessed with venues hosting an array of performers, we’ve clocked up enough bragging rights to get an Arena. But we are not a braggadocios city, we have a tendency to forget what really makes Leeds a great place. It’s important not to be superficial, but to be brave enough to delve deeper into the core to see the richness of our unsung heroes. I look to the inner city of Chapeltown and Harehills, my childhood stomping ground, where the liquid of life is continually poured, where seedlings nest, then sprout to amazing heights, because the spice of life is there, it’s alive, yet humble, to celebrate the community and shine a spotlight on this diverse culture, its stories and its history. Imagine a dream. Imagine a child named Sinclair Morris, born in 1938 in Otley Village, St Kitts, whom at the age of 14 years masters the art

of steel pan, playing calypso songs. A calypsonian man and musician with a message, who in 1961 arrives in England and makes Leeds his hometown. Imagine a steel pan tuned in the ready hands of this man, who becomes a father, and births a foundation of artistry in his children, to empower a soul fire, a building block, or as the saying goes, ‘The Head Corner Stone’. From St Kitts to industrial Leeds, Sinclair’s story became the pillar of a progressive household which filters into a community. He was aware of the importance of music and culture; the importance of heritage which manifests in his work, especially for those children whose parents came from British Caribbean colonies to England during the 50’s and 60’s and faced rejection. In 1972 he started Paradisez Steel Band, and by 1976 he was Leeds’ first steel pan teacher in schools. Sinclair’s home was a hub for young musicians from

Chapeltown, who would congregate in his cellar where he would teach them drums, bass and steel pan. His influence and the giving back to Leeds is vast. We then begin to embrace over five decades and three generations of a community, illuminated through the benefit of his gift for music. From the Morris family household comes the original Royal Blood, sisters Paulette and Annette Morris, children to Sinclair and Gloria Morris. The singing duo were born out of the radical movement of pan music, soca and the retention of reggae. They, along with many 1970’s black British youth, go on to create a new musical representation in Britain, one that was birthed out of a struggle of love and pain, music that said ‘I’ve arrived and I belong!’, a conscious vibration which touched the hearts of black Britain and spoke volumes to the people who felt rejected. With versatility and flare they cut across the boundaries and crossed cultures, affirming that life and art are not separate but a collaboration of experiences. Paulette and Annette first joined local bands Black Steel and Malika, who later changed their name to Exile Intact. The band saw early success and appeared on ITV popular British game show 3.2.1 with a song Paulette had written called ‘Lazy Day’. “During the 70’s and 80’s you never saw many black people on TV, especially on those types of shows. The appearance led to us getting a recording contract we didn’t fully understand. We were Rastafarians and we were not about the establishments, but we were young as well”. The late 70’s and 80’s saw Britain at a low. Racism, lack of diversity, and deprivation amongst the working class was being questioned and challenged by the likes of the Rock Against Racism movement which Exile Intact championed; “As a band we were very radical,” states Paulette. “We were anti-establishment singer-songwriters who wrote about oppression, the social political environment we grew up in. Because we faced racism and fought against injustice, the backdrop of the riots and Maggie Thatcher, the message in our music fitted right in with the rock and punk bands. At the time we were the only reggae band representing in a pub called the Duchess in Leeds city centre.” A similar message was echoed from across the pond where the USA had their own struggles. This was heard in the words of artists such as Gill Scott Heron, to whom they were asked to support at Leeds Irish Centre. “Our guitarist said at the time, ‘you don’t realise who this man is!’ It was years later when I realised what a privilege it was to share the stage with such a prolific artist. His music definitely influenced us in many ways.” The sisters went on to a mini-tour around universities, support The Twinkle Brothers, Sir John Holt, Kwesi Johnson, the Dennis Bovel Band, and released their first single ‘Who Is There’. At this time, Paulette and Annette started working in studios as backing vocalists, working with an eclectic mix of artists from different genres. When Exile Intact split in 1989, the Morris sisters decided to form a duo and became Royal Blood,

signed to Ariwa Records, and released the single ‘Slipping Away’ which entered in the top 10 of the Reggae Charts. They then signed to Phase 1 and released their first album. With legendary reggae producer Barry Boom they wrote and released the song ‘I Don’t Wanna Be The One’. A chance meeting in a Leeds studio led to the sisters touring with Boyzone and Peter Andre. Royal Blood have also toured the UK, Europe and South America with Finley Quaye, and the duo wrote William Orbit’s 2006 track ‘They Live In The Sky’. They have continued working as backing vocalists and recently toured with Martha Reeves in 2014; “That was an amazing experience, to work so closely with a legend,” says Paulette. “Hearing first hand stories about her time in Motown was surely something I won’t ever forget.” The sisters continue to support and mentor local unsigned artists. Paulette worked for Leeds College of Music and delivered singing classes during the late 90’s at the Mandela centre for over 10 years. During that time many young people came to those classes that are still performing now, including her then 3 year old nieces. “They are adults now, and the next generation to come out of the Morris house who are doing amazing things in music,” she says. In 2014, those same twins, Tila and Tavelah Robinson, appeared on BBC’s ‘The Voice UK’. They are currently signed and are soon bringing out a single. It just goes to show if you plant seeds and water them what grows. “All of Annette’s children write and perform,” confirms Paulette. “My daughter Kadish Morris was a member of Leeds Young Authors, featured in the ‘We Are Poet’ documentary, and now produces her own magazine. Like my dad, we have always inspired our children to have an interest in things outside of school, there is real value in encouraging interests.” This exposure of each generation to the arts resulting in the talent this family continues to give to Leeds is something Paulette acknowledges began with Sinclair’s attitude to their own childhood; “From an early age my dad’s music was a big part of our house, he had instruments everywhere and we had a piano in our front room,” she explains. “Annette and I would sneak down into the cellar to Paradise band rehearsals. We were fascinated how you could make music live, his influence was massive.” It was many years later before the girls started performing with their dad; “We love performing with him, he is so entertaining and we have learnt so much from his style. His vision was more than we understood at the time. Our dad makes us so proud and we have learnt from him that music is for a lifetime, it’s a deep love that takes over you and you have no control. Music and words becomes your life, my Dad Sinclair confirms that music is forever.” Royal Blood recently launched new album ‘The Journey’, are currently developing their company JuJo music, and you can catch them with Mojah and The Stone Roots Band at Sela every Wednesday night.

Royal Bloods Journey Born in Leeds, sisters Paulette and Annette Morris first joined local band Black Steel and band Malika who later changed their name to Exile Intact. The band saw early success and appeared on ITV show 3.2.1 with a song they had written called Lazy Day. They also supported artists such as Gill Scott Heron, Sir John Holt, Linton Kwesi Johnson and the Dennis Bovel Band and also performed alongside bands supporting Rock Against Racism. In the mid 80’s, the band secured some residencies in local clubs and universities and went on to release their first single Who Is There. At this time, Paulette and Annette started working in studios as backing vocalists, working with an eclectic mix of artists from different genres from Rock to Soul to Funk to Pop. When Exile Intact split in 1989, the sisters Paulette and Annette Morris decided to form a duo and became Royal Blood. With new manager Chevie, Royal Blood signed to Ariwa Records and released the single Slipping Away which charted in the top 10 of the Reggae Charts. They then signed to Phase 1 and released their first album self titled Royal Blood, with the track One Love entering the Reggae Charts. New manager Tubbs Derick Lawrence then took them to legendary reggae producer Barry Boom where they wrote and released the song I Don’t Wanna Be The One. A chance meeting in a studio in Leeds led to the sisters touring with Boyzone and Peter Andre. Royal Blood have also worked with Finley Quaye touring the UK, Europe and South America with the award winning artist. Royal Blood have also worked with British electronic music producer William Orbit and wrote the track They Live In The Sky for Orbit’s ninth album Hello Waveform released in 2006. Royal Blood have continued working as backing vocalists and recently toured with Martha Reeves in 2014. The sisters have supported and mentored many local unsigned artists and continue to perform live. Their passion for writing and performing is as strong today as it has ever been.

Words : Simon Doherty Photography : Max Miechowski & Jev Reu

Hats Off... ...to the Yorkshire Milliner Who Creates Fantastical Headpieces for the Rich and Famous

I arrive in Guiseley with my head stuck in my phone and begin to drift down Bradford Road. Asking Google Maps to elevate me to luxurious grandeur, it instead dumps me outside a nondescript door. I immediately assume I am at the wrong property; this doesn’t seem like a place where the rich and famous would come to be fitted with a hat for a special occasion. I enter and apologise to my phone. An Aladdin’s Cave of breathtaking hat designs, every available space on the walls and floor adorned with a dazzling array of headpieces of every imaginable colour and shape represented in this boggling cornucopia. Like walking into a gigantic kaleidoscope. Adele is the larger-than-life character responsible for this oddball opulence. Having been in the industry for 25 years, she has produced thousands of hats, and people flock from all over the globe to be fitted with one of her bespoke, handmade designs. “I’ve done some really crazy pieces in my time,” she explains. “I’ve done a Solar System, an Eiffel Tower, the Millennium Dome (that had multi-coloured lights), fruit bowls, fish bowls, all sorts. An ale company commissioned me to make a huge beer barrel hat with barley and hops protruding from the top once, and I did one for the Chelsea Flower show that was a massive tent!” Working on the assumption that your average person wouldn’t wake up one morning and decide that they want to walk around with a solar system attached to their cranium, I ask how someone gets to that point. “Sometimes a customer will decide they want a hat that’s the wrong style or shape for them. Slowly we’ll say ‘try this one on’ or ‘have a little go with this’ and people are often surprised with what they end up leaving with!” “Most ladies will come in here with an outfit but no idea what hat they want. They’ll get changed and we go through a process of matching up the shape. We’ll end up with four or five hats in the running that we think will look good, then we’ll take photographs of the client wearing it for them

and dye it to match the outfit. The decision then usually comes down to price.” This clearly takes an artistic vision and unique ability. What is the creative process that results in what, to my untrained and unfashioned eye, invariably looks like a strutting peacock morphed into hat form? “It just evolves. Sometimes I might look at something, like this model fish here for instance, and think ‘that would look great with some blue feathers’. I rarely end up with what I thought I was going to. I never draw a hat before I make it,” she chuckles. So who buys these fantastical headpieces that can cost well over a thousand pounds? “My clients are generally very private, so I can’t say much,” she tells me whilst inspecting one of her creations that makes up the blizzard of headgear stuffed into every orifice of her tiny workshop. “We make hats for all sorts of people and occasions: Royal Ascot, Dubai Races and high-profile weddings. Things like that. I’ve made hats for Princess Diana, Joan Collins who I accidently bumped into nearly knocking her to the ground - and plenty more people who I can’t name on the record.” Repeated attempts to encourage Adele to allow me to publish the names of her current famous clients prove futile. As a tsunami of cheap knock-offs flood the UK market, I wonder how the modern world treats the age-old profession of millinery, with its reams of tradition firmly steeped in British history. “At race meetings, they sometimes let the mass-produced hats win some of the competitions,” admits Adele. “I don’t want to win all the competitions but it kills me to see a Chinese import win one.” Despite this, Adele and many other creativemakers using traditional techniques continue to thrive as the public demand better and the talent wins out. “I did once send 50 designs off to China to get reproduced, but they could only make 20 of them,” says Adele. “They couldn’t copy them, they said they were too complex.” Passion, skill and craft, it proves, can never be replicated.

Words : John Barran Photography : Jason Odle, Ont’Sofa Illustration : Johnny Cosmic

Bars & Guitars: Tales of a Rock & Roll City

Over the past two decades Call Lane has developed a reputation for a mighty good time. As the many impressive bars increasingly line both sides and the crowds flock to the hedonism, it is still the original opening which brought rock & roll to the lane that they surround. Northern Guitars set up here in 1991 when founders Dave & Dusty were attracted to the vacant premise, which 25 years later remains home. “We approached the estate agent to take it on and they said ‘Oh no!’” Dave tells me. “So I introduced my friend who is a top property lawyer...” The pair first got together 2 years earlier to open Rock Shack in Hyde Park and then Rock Shack 2 in Merrion Superstore. Their shared enthusiasm for guitars and coinciding with the beginnings of a guitar boom meant Northern Guitars became an immediate success. “When Oasis broke it was a huge boost to guitar sales,” confirms Dave. This was reflected in the amount of competition, where once 14 stores existed in Leeds, Northern Guitars is now the last man standing. Throughout this time they have sold 10000 guitars to help a lot of Leeds bands on their way and also to some famous faces. With the likes of Noel Gallagher, Jack White, Roland Bolan, Kaiser

Chiefs, Status Quo and Hawkwind as customers, and having toured with numerous bands and scoured events such as SXSW for second-hand guitars, Dave and Dusty surely have more rock & roll tales than their late-night neighbours combined. Dave wisely stays schtum; “There’s nothing printable as my daughter might read this!” Like the music industry itself, the future for Northern Guitars is ever evolving. New partner Rick Wade explains; “We have had plans to add a cafe bar to the guitar shop for a long time and finally it came together,” he says. “We would like to create a hub for local musicians. Leeds has a great music scene and we want to celebrate it by creating an environment for home grown talent to get a start…and a cool guitar...and a beer.” The cafe will have an area for live performances, which have already begun with the On t’Sofa sessions showcasing emerging artists. The first at Northern Guitars featured Stealing, RIB, Deadwall and Esper Scout, put on by Tony Ereira of labels Come Play With Me and Hatch Records. “I moved up from London to Yorkshire around 7 years ago,” Tony tells me. “I’m regularly blown away, not only by the amount of exciting new artists I hear locally, but also the diversity.”

Whilst acknowledging the challenge for smaller labels and musicians to make money in the modern music world, Tony is pleased that this only seems to make it stronger. “As John Peel once famously said, there is probably more music being made per square foot in LS6 than anywhere else in the country - I’m bending the analogy to be citywide!” The increasing number of venues in all sizes around the city and the support from its people gives hope that, in spite or because of affecting outside influences, the Leeds music scene will continue to thrive. Since their 80s beginnings of pub rock and political punk, through goth, Britpop, dance,

the rise of the Internet, an abundance of singersongwriters, and the popularity of festivals such as Live at Leeds, the Leeds music scene has changed and grown, but never without Northern Guitars. “Musical trends will come and go but there is something very primal about plugging a Gibson into a Marshall and hitting an E chord,” says Rick. “I’ll never get bored of that.” Dave is equally positive about the future for live music, for Northern Guitars, and for Leeds. “The music scene right now is very vibrant,” he enthuses. “There are a lot more independent venues. You can see a live band every night of the week. Leeds could be the capital of music in England.”

Words : John Barran & KMAH Photography : Kirsty Garland Illustration : Johnny Cosmic

Digger’s Island Discs: KMAH

Digger’s Island Disc, explores the collections of Leeds’ most prolific vinyl slingers and groove bringers. We challenge them to present to us the bare essentials from their collections and explain why they couldn’t live without them. Our third collection features four residents of Leeds’ underground community radio station KMAH, each sharing their electronic expertise to tell us the one record they could not live without...

Kristan Caryl: Rhythm & Sound See Mi Version [Basic Reshape] People go on about how dance music is a communal experience. Parties are only good if the crowd ‘feels as one.’ Fuck that. I’ve always preferred the back corners of a dark room where you can shut your eyes, block out the world and lose yourself in your own mind. No track encourages that better than this one. It’s not a clever choice. Nor a rare one. Nor an expensive one. But it is one that never fails to make my insides go gooey. As much as anything else, Basic Channel were masters of space. Their entire discography is full of grainy and lo-fi grooves with no discernible edges: their drums seem to float, their pads disappear to an infinite horizon and their frictionless grooves feel as though they were rolling somewhere in the cosmos long before you tuned in, and will roll long after you tune out. The delicateness of this one, with its waify and incidental little melodies, dreamy guitar riffs and scuttling sonic details, make it a masterclass in less is more: it’s largely empty yet thoroughly absorbing, and is the finest bit of suspensory dub techno I know. What’s more, it was on an excellent Alex Smoke

mix that soundtracked many romantic nights in when I first started hanging out with my now wife ten years ago. We caned it so much the track has a warm glow of nostalgia about it that makes it a record I truly cannot live without.

Hamish Cole: A Tribe Called Quest Midnight Marauders A Tribe Called Quest are my favourite hip hop group of all time. I am a huge fan of pretty much all their material, but Midnight Marauders in particular. It was the first album of theirs that I bought when I was 15 and have been playing it regularly ever since! I am still not bored of it in the slightest. I found it a tricky challenge to pick a favourite record. I know my choice may seem like an obvious one, but when I was going through my records there was nothing that jumped out to me more as my favourite record. I used to be a huge skateboard geek and was totally obsessed for most of my youth. I was also hooked to skating games and I remember hearing Award Tour by Tribe on ‘Thrasher: Skate and Destroy’. I kept going back to the options screen on the game to repeat the track as I absolutely loved it. My two older bro’s Giles & Ollie were and still are big hip hop heads, so no doubt I got into Tribe

through hearing them play it round the house when I was younger. This was one of the key albums that got me hooked on hip hop and buying records. It’s timeless. For me, it’s got all the ingredients needed to make a perfect album. Q-Tip & Phife (RIP), are both amazing MC’s and individually have their own unique styles, but when together they are an unstoppable force. Also, the productions are always super tight, heavy hard hitting beats with jazzy melodies. Gets me every time… I generally play the LP on a lazy Sunday morning, whilst chilling in my boxers with a cup of tea and a full english breakfast.

Mike Lawton: Comb & Razor Brand New Wayo

So I’ve gone for the brilliant Comb & Razor compilation ‘Brand New Wayo’ released back in 2010. It’s a treasure-trove of amazing Afro beat tracks all recorded in Nigeria between 1979 & 1983, when the country had finally freed itself from the dictatorship that had blighted the country for 23 years. The standout track for me is the title track ‘A Brand New Wayo’ by Mixed Grill, more of an afro-funk track with raw funk guitar & bass line, loose drumbeat, rasping horn section and gang style vocals, it is guaranteed to get even the most rhythmically inept person bopping along to the beat. Other tracks worth a mention (and a listen) are: ‘Excuse me baby’ - Dizzy K. Falola ‘Listen to the music’ - Bayo Damazio ‘Jane’ - Amel Addmore ‘Love Or Money’ - The Stormers To be honest there isn’t a bad track on the record, and this selection is just a few of the tracks that I’ve been caning over the last year or so. The record has been a staple in our monthly Headfood show, which I host alongside Loz Youngs and also

at the bi-monthly Headfood event at 212 bar in town. It’s not left my record bag since I found it whilst digging at Piccadilly Records and was hooked before I’d even played it. With the strap line ‘Funk, Fast times & Nigerian boogie badness’, I was pretty sure it was going to be a keeper! Hey ho - turns out you can judge a record by its cover after all!

Mike Stockell: Jean Caffeine Downtime, Turn Around and Go Backwards This record ticks so many boxes for me, but above all, it’s one of those tracks that still makes me feel the same way as when I first heard it. Corny as it may sound, it just puts a smile on my face and makes me feel real nice and warm. I have a real love of UK music from the late nineties / early noughties, in its essence it is understated, rich, and really functional in a club, and this track fits perfectly in that bracket. It’s one of the first records I paid quite a bit for, and for years it never left my bag. Although not packed as much as it used to be, when i play this track (particularly on a nice system) without doubt someone always asks what it is. The track has very little going on, yet you’re hooked from the first little sample, its soulful pads add all the warmth and the bassline is just bliss. It’s Luke Solomon at his best, and it perfectly captures an era of UK music that is often overlooked, and nowhere near as bolshy as the stuff coming out of the US at the same time. Understated, proper, quintessentially British, and most definitely a track I’ll be playing for years to come.

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Words : Louise Fletcher Photography : Richard Davenport

Reimagining Theatre And What It Can Do

David Bowie coming back to life, snow falling inside and slightly erotic, avant-garde choreography. These were just a few of the memorable moments which audiences were treated to across the Transform Trailblazer weekend. From the radical and cutting edge, to the vivid and colourful, Transform aims to change our perceptions of what theatre is, with a little help from both local and international artists. Although the Trailblazer which took place across two days at the end of April was a huge success, it’s only one of the steps (granted a big and extremely exciting one) in Transform’s bigger plan to bring an international festival of performance to the city in 2017. Originally an initiative by West Yorkshire Playhouse to bring in different kinds of artists, using the space in a different way, Transform evolved to become an independent organisation, with Amy Letman at the helm, steering it through its journey to bring an international theatre and performance festival to Leeds. “We thought it would be a really interesting idea for Transform to develop as an independent city-wide international festival,” Amy explains. “I went to some international festivals which really inspired me and I came back thinking, Leeds needs an international theatre festival, let’s do it!” Taking a lot of inspiration from mainland Europe, Transform aims to showcase theatre with a less drama focused trajectory, instead colliding with the visual arts, cinema, music, cabaret and club culture which Amy believes sits comfortably within the city. “It’s more how artists who are part of contemporary society view the world around them and make stuff that is inspired by the different art forms and perspectives of what it means to be a human being in the world today.” This nod to international influence was seen in the debut of SCHÖNHEITSABEND by Florentina Holzinger and Vincent Riebeek across the Trailblazer weekend which saw the duo look back on the stars of the queer, avant-garde dance tradition. Merging madness and ecstasy with explicit eroticism. However, Transform’s focus on local and community engaged projects was also seen in

WANTED, which allowed a cross sections of the Leeds community to bring their visions to the stage, no matter how weird or wonderful. This mixture of local, community-based projects, alongside more established international offerings is something which will feature heavily within the future festival and is important in inspiring audiences as well as artists. “To see what people are doing in other countries in terms of their aesthetic and their style of theatre is interesting. I think for audiences there is something exciting about seeing things from another place which gives you a different perspective on the world because it’s from people living in a different part of the world,” Says Amy. “I think that the dialogue between stuff created here and from all over the world, putting that in a melting pot all together, potentially does something really exciting and I think ‘why shouldn’t we see international theatre in Leeds?’“ It’s partly down to dedication to Transform’s leading mantra of reimagining theatre and what it can do which has allowed all this to happen. Amy has travelled across the globe, discovering producers, shows and inspiring artists, persuading them to bring their performances to audiences across the water. The effect of all this globetrotting and arm twisting means Transform Festival not only gives the Leeds audience an opportunity to experience and engage with performance in a whole new way, but it also supports the independent producers and artists who perform and create work specifically for the event. With the official program not being announced until January 2017, it may be a little premature to be planning in our schedule for next spring already, but after enjoying the weird, wonderful and inspiring events of Transform 16, our imagination and excitement has been well and truly peaked, and April 2017 has been marked in the diary. Although even Amy will admit, there is still a long way to go in terms of event planning, Transform Festival 2017 promises to be an exciting addition to the city’s already strong festival offerings, opening up stages and spaces across the city, to show that theatre in Leeds isn’t just limited to the traditional.

Words: Jessica Wright Photos: Mike Medlock

The Multi Cultural Heart of Leeds Many tongues one voice

许多语言一个声音 MNOHO JAZYKŮ, JEDEN HLAS

VIELE SPRACHEN, EINE STIMME BEAUCOUP DE LANGUES, UNE SEULE VOIX TANTE LINGUE, UNA SOLA VOCE MUCHAS LENGUAS, UNA VOZ MNOHO JAZYKOV, JEDEN HLAS WIELE JĘZYKÓW, JEDEN GŁOS MUITAS LÍNGUAS, UMA VOZ KAI JUBAAN PAR AAK AWAAZ

Leeds Kirkgate Market is an eclectic blend of cultures. Despite being the biggest covered market in Europe, it manages to emit a sense that it is one big family. Multiculturalism is like a recipe, where each different ingredient enhances every other. Sometimes only one can be bland; like if you ate toast without butter, it just doesn’t work. But together the flavours enhance! If Leeds Market was a tasty dish, it would be paella; its authentic ingredients harmoniously

compliment one another into a vibrant life, and so does the unified colourful culture of Leeds Market. Kada Bendaha, owner of Cafe Moor, introduces me to a diverse range of stallholders, who all confirm that the blend of language, culture and tradition from across the world has formed a collective insight and intelligence in foods, skills and wares that is hard to find anywhere else.