ION MAGAZINE
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Limited Edit[ion] #6 About the Artist Brian Donnelly is a Toronto-based artist who paints naked bodies with animal heads. His striking work can usually be seen on massive canvases in galleries around the world. Defense Merger is your chance to own a piece by Brian and wear it too! About Limited Edit[ion] An extension of ION Magazine that focusses on collaborative projects. We work with our creative community of photographers, illustrators and artists to create cool products that reflect the culture of the magazine. Our t-shirts are produced in limited time runs, and available for a limited time only. Previous artists in this series include: the dark, Raif Adelberg, Michael DeForge, Camilla d’Errico and Robert Mearns.
CONTENTS Volume 8 Number 3 Issue 64 12 14 16 56 58 59 60
Editor’s Letter Shameless promo for the latest social marketing site we’re using. ION the Street Jean Jeanie! Of The Month Where we rework the best press releases we received this month and try to pass them off as content. Poster Art: EMEK We suspect EMEK is just pretending to be a hippy so he can sell posters to Phish Heads and Dave Matthews Band fans. ION the Web Beep beep boop! Horoscopes It’s gonna be a long month for you! Comics
CULTURE 18 20 24
Brian Hunter Might give you a few ideas about what to do with that soiled mattress that’s been sitting in your lane for the past six months. Tristram Lansdowne We think his paintings could use a few CHUDs. Aside from that, they’re fantastic. Ray Caesar Pretty sure the “Make Breathtaking Fantasy Portrait” filter in Maya does all his work for him.
FASHION 30 38
Shadowlands This issue’s fashion editorial is shot by Andre Pincés and styled by Toyo Tsuchiya. The Jean Pool It’s pretty deep!
MOVIES 40 42
Salazar Exactly like Three Men and a Baby except there are four of them and they have a video camera instead of a baby. Ti West The most successful direct-to-video filmmaker in the business.
MUSIC 46 48 52 54
Shout Out Louds This magazine is partially funded by the Swedish Cultural Society. Diplo Diplo drinks wine with a straw and says Vancouver’s Paul Devro is his favourite DJ! Bet you didn’t know that. A Sunny Day in Glasgow Their name is clever because it’s never sunny in Glasgow. Album Reviews
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WHERE TO FIND US WEB www.ionmagazine.ca FACEBOOK www.facebook.com/ionmagazine TWITTER @ionmagazine TUMBLR www.ionmagazine.tumblr.com ISSUU www.issuu.com/ionmagazine I
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ION MAGAZINE
Publisher/Fashion Director Vanessa Leigh vanessa@ionmagazine.ca Editor in Chief Creative Director Art Director Music Editor Fashion Editor Office Manager
Michael Mann editor@ionmagazine.ca Danny Fazio danny@ionmagazine.ca Tyler Quarles tyler@ionmagazine.ca Trevor Risk trevor@ionmagazine.ca Toyo Tsuchiya toyo@ionmagazine.ca Natasha Neale natasha@ionmagazine.ca
Copy Editors Editorial Intern Office Intern
Steven Evans, Marisa Chandler, Molly McQueen Sinead Keane Trey Taylor
Writers
Nojan Aminosharei, Jenkin Au, Rich Bucks, Stefana Fratila, Sinead Keane, Rebecca Kohler, Alysa Lechner, Patricia Matos, Jeremy McAnulty, Terri Potratz, Kellen Powell, Patrick Stewart , Alana Turner, Dr. Ian Super, Curtis Wright, Alicia Wrobel
Photographers and Artists Toby Marie Bannister, Taylor Borris, Travis Collier, Andrea Tiller, Justin Tyler Close, Dee Daly, Konrad Junikiewicz, Mitchell Kaufman, Andre Pinces, Jesse Williams, Felix Wong Junior Writer
ABOUT OUR COVER DIPLO SHOT EXCLUSIVELY FOR ION MAGAZINE This month’s cover features Philly-native, DJ, producer, filmmaker, and manatee enthusiast, Wesley Pentz aka Diplo. If you’ve been to a club in the past four years you’ve probably heard something he’s had his hands on. You may have heard his name as one of the guys behind the infamous Hollertronix parties or as MIA’s producer. He now makes up half of Major Lazer, a guerilla fighter with a prosthetic laser arm and a penchant for being a celebrity magnet. Major Lazer’s album, Guns Don’t Kill People... Lazers Do, sounds like being daggered by a massive bass line all while being too freaked out to yell “Rasclot”... but in a good way. Along with Major Lazer, Diplo’s label Mad Decent is home to a cornucopia of artists including dubstep superstar Rusko and Po Po, a Pakistani garage punk band. When Diplo isn’t running his record label, or producing for a large number of artists he spends time touring as a DJ bringing world influences to the dance floor. If you haven’t heard of the guy, get familiar. [www.maddecent.com] Read our interview with Diplo on page 48.
Zia Hirji
ION is printed 10 times a year by the ION Publishing Group. No parts of ION Magazine may be reproduced in any form by any means without prior written consent from the publisher. ION welcomes submissions but accepts no responsibility for the return of unsolicited materials. All content © Copyright ION Magazine 2010 Hey PR people, publicists, brand managers and label friends, send us stuff. High-resolution jpegs are nifty and all, but they’re no substitute for the real thing. Clothing, liquor, PS3s, CDs, vinyl, Blu-rays, video games, and an Apple Tablet (whatever the hell it does) can be sent to the address below. #303, 505 Hamilton Street. Vancouver, BC, Canada. V6B 2R1 Office 604.696.9466 Fax: 604.696.9411 feedback@ionmagazine.ca www.ionmagazine.ca | @ionmagazine www.facebook.com/ionmagazine | www.issuu.com/ionmagazine Advertising enquiries can be directed to sales@ionmagazine.ca
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Cover Photographer: Andre Pincés [www.pincesphoto.com] Makeup and Hair: Andrea Tiller for TRESemme Hair Care/NOBASURA. Diplo club shots: Nicola for [www.lindsaysdiet.com]. Suit is Diplo’s own.
CONTRIBUTORS WRITER [Alysa Lechner]
Hair & Makeup [Taylor Borris]
Photographer [Justin Taylor Close]
INTERN [Trey Taylor]
Alysa interviewed Tristram Lansdowne for this issue. She is currently pursuing her journalistic endeavors at Simon Fraser University, where, if she’s not studying Communication, you can watch her nap her heart out in the library lobby. She can often be found indulging in procrastination by drinking on neighbourhood stoops, counting five-cent candies and performing séances (contacted spirits include Biggie Smalls and Abraham Lincoln). Her celebrity crush is Jimbo Jones, but in reality, anyone bearing Ring Pops and/or beer will win her over.
Taylor Borris did hair and makeup on the this issue’s fashion editorial. Born into a family of artists (her mom is a designer and her dad is a film director), Taylor gew up surrounded by free thinking and creativity. In the industry for the past four years, Taylor has taken her love of makeup and fashion and graduated it into a career. Living and working in Toronto, the multicultural and artistic vibe of the city continues to inspire every part of her life. Traveling regularly between Toronto and LA, helps her stay on top of what’s happening in fashion and the arts. Taylor is represented by Judy Inc. in Toronto
Justin Tyler Close shot A Sunny Day in Glasgow for us. Justin chooses to live only in the moment... this moment. Barefoot, he travels the barren landscape in search of effervescent human beings who are daring and willing enough to reveal their souls to him. With the help of his trusty sidekick Nortis, and armed with his camera, magnifying glass and pack of “Red Baron” matches, they plan to eradicate the myth, known as global warming. He also enjoys marmalade.
As ION’s favourite intern, Trey Taylor has three rules: (1) Never complain about a situation while the situation is still going on, (2) If you can’t believe it’s happening, pretend it’s a movie, and, (3) After it’s over, find somebody to pin the blame on and never let them forget it. Trey Taylor wrote about the 50 fashion rules book that came in the mail from Amsterdam. Trey believes the only way to get what you want is through hard work. It’s like Marianne Faithfull says, “I think I’m really powerful. They’ll smash me, probably.”
[www.justintylerclose.com]
[www.seelike.me]
[ww.taylorborris.com]
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EDITOR’S LETTER
Michael Mann This issue marks the beginning of our eighth year of printing, so it’s time to reflect. I could regale you with seven amusing years’ worth of stories about all the blunders we’ve made. But that’s kind of painful and this page doesn’t have enough room to tell them all. So let’s talk about our last issue instead. If you missed it, on our last cover we had She & Him, who are Zooey Deschanel and some guy. Normally, Zooey Deschanel the actress would never appear in this magazine. Film publicists are a pain in the ass. They’re extremely protective of their property and will string you along for months. Zooey Deschanel the musician is a different story. A fun little trick you can do with celebrities is, if they happen to be in a band, you can go through their music publicist who always tends to be more helpful. It worked and we set up a photoshoot with She & Him and got way too many awesome pictures of them to print. This presented an interesting problem
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“Ground Score” by Toby Marie Bannister
for us. We’re a really small organization so how the hell do we let Zooey Deschanel’s fans—who it seems like there are more of online than in real life—know about our little magazine? Most of the people we cover are generally pretty stoked that we’re writing about them and they tell anyone who will listen that they were in our magazine. And I love that! Unfortunately we cannot count on She & Him to tell their loyal flock that they are in our magazine. So I actually started to do a little online PR for the magazine. For the most part, our website just sits there and we hope people find it. We try to do link swaps with likeminded websites, but that’s about it. With the last issue I got a bit more proactive. I emailed some photos to fansites but didn’t get any bites. Then someone suggested I try Tumblr. If you’re not familiar, Tumblr’s an extremely fast moving blogging site where
people can share images, links and videos with their followers in two mouse clicks. I describe Tumblr as Livejournal on meth. My friend came up with a better description when he called it “creative blogging for lazy people.” I started an ION Tumblr account and put up some of the images of Zooey Deschanel that we didn’t have room to print. It is a very strange feeling when you post a photo, leave your computer for a few hours and return to 300+ emails telling you that your photo has been reblogged by people all over the world. I look at our website stats every night. It tells me how you found the site, what pages you visited, how long you visited them for, what type of browser you have, who your internet service provider is and what your connection speed is (believe it or not, 2% of people who visit our site still use dial-up). Normally, our web traffic comes primarily
from Canada, The States and Scotland (because there’s an I-ON Magazine in Edinburgh and we have a better search engine ranking than them). When our traffic spiked due to the Zooey pics, it was all “What up Brazil, Japan, Australia. Russia and chunks of Eastern Europe? Welcome to the party.” Seeing our magazine spread all over the globe—and seeing that our photos were deemed “avatar worthy” by various Zooey Deschanel online communities—caused this Grinch’s heart to grow three sizes that day. The last issue with Zooey was such a success that we actually tried to get 30 Seconds to Mars to be on this cover but they were too busy. You’ll have to settle for Diplo instead. [www.ionmagazine.tumblr.com]
ION THE STREET YO! JACKET REQUIRED
[b]
[a] Religion [b] Cheap Monday Jean jackets are resurging this year but it seems like they’re different this time around and not like the one your mom wore to the Poison concert in the Eighties. You can now get ones that are detailed with leather, studded, tie dyed or ripped. Better yet, rip the sleeves off yourself like you’re one of The Outsiders!
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Photography: Konrad Junikiewicz Styling: Toyo Tsuchiya Styling Assistant: Mitchell Kaufman Hair and Makeup: Taylor Borris TRESemme Hair Care/judyinc.com Models: Bobbi and Erin at Elmer Olsen
[a]
ION THE PRIZE
Photography: Felix Wong Styling: Toyo Tsuchiya Models: Mike at Nam, Audrey and Josefine at Elmer Olsen
SWATCH There are a million benefits to rolling up your sleeves. One of them being that you will be better able to view the new watch you won from the Swatch Colour Codes collection offered as this month’s prize. You can’t wear your iPhone on your wrist, people, and nothing’s more fun than accenting your outfit with a Swatch watch. Like they say, the watch really maketh the man. Swatch watches have been the envy of many for years and the Swiss company has been the best maker of watches for centuries, so stop checking your cell phone and give your wrist a reason to thank you. To enter visit [www.ionmagazine.ca]
OF THE MONTH [Book] Never Leave the House Naked [Initiative] End Poverty 2015 [Store] Exhibit [Film Fest] POV
[2]
[1]
[3]
[4] ! ! !
!"#$%&'()%*%+(,-(&./&0*%*.,&1+23(,+&4*56&4(%+*785& 9&')(%%&:*+&9&
[1] Book—Never Leave the House Naked Never Leave the House Naked and 50 other Ridiculous Fashion
[3] Store—Exhibit Residents of Main Street can now have their streetwear fix closer to home. The newest addition
Rules narrows down the overwhelming multitude of fashion laws and faux pas into a manageable and
to Main Street is Exhibit, a street culture boutique that features items not typically found on Vancouver shelves.
easy to swallow fifty. They’ve even updated the sock and sandal rule to “Never wear tights with open-toed
Most notably, Exhibit is the newest store in Vancouver to carry Obey. Also on tap are the likes of WESC, Krew and
shoes.” Some rules get as playful as “Blue and green should never be seen without something in
Vancouver’s own, Liftetime Collective. Nick Richardson explains that he primarily orders only one of each size to
!
between.” And my personal favourite, the sacrilegious “Redheads shouldn’t wear red. Or pink. Or salmon.
maintain its exclusivity. So far, that exclusivity seems to have made items sell out quickly. —Jenkin Au
Or orange. Or purple. Or any other color or shade that could potentially clash with their ginger locks.”
Exhibit 2601 Main Street. 604.568.2915 [www.exhibitapparel.com]
Sorry Pippi. Before you get too bummed out about how constricting fashion can be, just keep in mind that every layer of Ed Hardy and Christian Audigier removed is one more bunny rabbit saved from the
[4] Film Fest—POV Grab some popcorn and Junior Mints because the University of British Columbia’s film festival,
peril of a fur coat. —Trey Taylor
Persistence of Vision, might be a first glimpse at the next up-and-coming filmmakers Vancouver has to offer. POV is funded by UBC’s film program students and focuses on showcasing six short fictional films that have grown
[2] Initiative—End Poverty 2015 It’s not often a clothing company aspires to create and maintain one of
from pitches at the beginning of the semester into full-fledged mini-features. The festival gives students the
the most in-demand denim collections around and end world poverty in the next five years. G-Star pas-
chance of winning prizes and gaining recognition within Vancouver’s respected film industry, before copies of their
sionately founded the GSRD Foundation in 2007 and is contributing to the hard and lengthy process of
final pieces are sent to acclaimed film contests all over the world. POV takes place April 30 and May 1. —Alana
ending poverty by pledging support through employment and opportunities... GSRD is directly connected
Turner [www.povefilmfestival.com]
with farmers, factories and workers, but focuses largely on providing educational, entrepreneurial, and financial opportunities to children and young adults in the hopes that the skills and loans provided will have positive long-term effects on their families in the future. —Alana Turner [www.g-star.com]
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[Art Show] Mirrorface [DVD] Fantastic Mr. Fox [DVD] Defendor [Apology] S. Vegas [6]
[5]
[7]
[8]
E R ’ WE RRY! SO [5] Art Show—Mirrorface From the collaborative efforts of Grace-Gallery, On-Main and photographer
[7] DVD—Defendor Who doesn’t love Woody Harrelson? He always picks interesting roles and this
Angela Fama comes MIRRORFACE. At this exhibit, there lies 12 seemingly simple photographs.
quirky Canadian gem appears to have been written for him. Woody plays Arthur Poppington, a
However, like most artwork, once the story is read, then the interest and appreciation will come.
delusional and mentally ill construction worker who dons a mask at night and fights crime. Armed
Fama captures two images of the subject—one a regular studio image and one a completely
with the best and latest gear, marbles and jars full of bees, Defendor tries to take down his arch-
natural mirror image. From Angela’s artist statement, “MIRRORFACE is the facial expression that
nemesis, Captain Industry. Along the way he even picks up a sidekick, a crack-smoking prostitute.
messages to us that we are ready to take on the world.” This collaboration will commence and be
Defendor is the movie Mystery Men tried to be.
available for your appreciation on May 1, 7pm to 10pm. —Jenkin Au [www.grace-gallery.com] [www.paulwongprojects.com] [www.angelafama.com]
[8] Apology—S. Vegas So we steal a lot of images from the internet because we don’t think anyone
will care. Turns out we were wrong! We got busted for lifting one from S. Vegas’ Flickr page to [6] DVD—Fantastic Mr. Fox Much like The Darjeeling Limited, this one really didn’t get the cussing
accompany a small piece we ran on Vancouver artist Indigo in our last issue. So apologies for not
attention it deserves. Mr. Fox (voiced by George Clooney) promises to stop raiding chicken coops
asking or crediting you, S. Vegas. The responsible parties have all been fired. Check out his Flickr
when he finds out Mrs. Fox is preggers. So Mr. Fox settles down and gets a job as a newspaper
here: [www.flickr.com/photos/aaronrts]
columnist and moves into a hole. When Mr. Fox decides to climb the property ladder, it places him within striking distance of farms owned by Boggis, Bunce and Bean. Let the shenanigans begin! You love Wes Anderson and you love Roald Dahl? Well, the unique humour of these two gents goes together like chocolate and peanut butter. Throw in top notch stop-motion animation with the voices of Jason Schwartzman and Bill Murray and picking up this DVD is a no-brainer.
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CULTURE
Brian Hunter
The Mattress King Words: Patricia Matos
Strewn around the backyard of an old bank in Montreal, propped up against trees, are used mattresses decorated with serene, sleeping, naked bodies. And they are captivating and catching the eyes of galleries, art bloggers and casual passersby across the country. The man behind these works is Winnipeg native Brian Hunter, who, at 24, fled the country to explore Asia after his efforts at making a full-time living off of his art seemed fruitless, and a need to see the world took hold. It’s our loss as we wait for more, because Brian is doing what few artists choose to at such a scale—just don’t call it “eco” or “street” art. Sometimes these labels can be irrelevant to, or negate an artist’s intention. But Brian, currently in South Korea, shrugs it off saying, “As long as I’m painting on garbage or painting on the street I’ll be in those categories,” adding, “I’m too much of a square to be called a street artist. I’m not worried about how someone might read my work; I’ve come to realize that it’s impossible to predict what people are going to think. I find, especially when I’m trying to be witty, someone will usually understand the exact opposite of what I’m trying to say.”
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Brian’s aesthetic lies in “youth and honesty”—two things that become evident in looking at his work on mattresses, comforters, bed sheets, and sleeping bags. These are purposeful motives, yet each work remains simple and accessible. “I’m interested in wisdom, or searching for some type of approval. Maybe an absence of direction… I think I’m pretty cliché, but a lot of my ideas in all my work can be summed up as coming of age.” His work, with its often times fantastic themes—featuring giant headed characters from The Wizard of Oz and Mighty Morphin Power Rangers—frequently gets Brian accused of being flippant. This doesn’t bother him though. “I liked when someone once described my sleeping bags as unique, but at the same time completely obvious. The simple and clearest ideas are the best.” Though he admits to being in a learning stage as far as cohesively bringing new artistic elements together, Brian is careful to do right by his vision… much to the chagrin of his collectors. “There’s nothing worse then getting a call from a gallery telling me a client wants to know why [parts of their]
painting are starting to flake off. I think painting on garbage is my outlet to rebel against all that.” Brian has his sights set on working with materials on a larger scale. He developed the idea of painting on giant tarps after taking a motorbike trip across Vietnam, “I’m doing a lot of research and saving up so I can tackle some ambitious projects.” Hopefully these ambitions entail some more public displays, though a few have deemed them as “drawing attention with public defacement”—a statement that Hunter refutes, “I’ve always thought as long as I’m painting on garbage it doesn’t count as vandalism… I think that’s more related to property, it’s cold and impersonal.” Besides, any ol’ street artist might not have thought to take such care in selecting his canvases. As Hunter explains, “The flower patterns on the mattresses placed in the garden couldn’t have been more perfect.” The only thing dreamier than that idea is the work itself. [www.brianhunter.ca]
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CULTURE
TRISTRAM LANSDOWNE
Beauty in the Breakdown Words: Alysa Lechner
The phrase, “Beauty is in the eyes of the beholder” is usually tossed off as an overused cliché. But when it comes to Tristram Lansdowne, it’s not uncommon to have a change of heart. Suddenly, such statements lose their banality once associated with someone so down to earth. This 26-year-old Toronto resident (via Victoria) seeks out the decayed and dilapidated edifices in the outskirts of his town with the intentions of preserving them on canvas in the form of watercolour paintings. Tristram’s work has recently received international attention, as he just wrapped up an exhibition titled Refuge at New York’s Joshua Liner Gallery. According to Tristram, his work is influenced by “visions of the utopian past,” especially since he feels that this optimism for the future is now lost. “I guess every generation has their own doomsayers but, with global warming and all sorts of large-scale problems that seem to be out of our hands. It’s really difficult for our generation to be optimistic about environmental issues. They’re so severe and they’re on such a large scale that it’s hard to engage with them on a personal level. If you look at the way people looked at the future throughout the 20th century there were always huge looming problems but they were perhaps more temporary and there was a possibility of looking at a brighter future.” That being said, Tristram is quick to assert that he doesn’t want
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to come off as a preacher of his ideas about the future. “What I’m more interested in is engaging with what’s around me directly and seeing what I can do with it and seeing if I can find something beautiful or interesting in what has been tossed aside.” For some, finding beauty in a highly-industrialized city is no easy task, but for Tristram, it quite literally is a walk in the park. His creative process is composed of two main duties. Firstly, he starts by simply exploring his surroundings, which involves a lot of walking and taking a lot of photos. Next, he concentrates on generating ideas or concepts concerning what could be beneath these structures. “So on that premise, when I’m walking around, I keep that in mind and try to look at ways to relate what I’m seeing above ground to what could be underneath. It’s partially what I can discover and find randomly by walking and partly coming up with these formats that I’ve been developing and seeing how they fit together. It’s nice because it’s always a surprise what I find.” While solitude and natural decay are all emphasized in Tristram’s art, one can’t help but notice the evidence of a human touch found in the paintings. Empty beds, broken windows and walls veiled in graffiti are all stirring indicators of a human presence. “I think it’s just the way I feel when I wander around some of these areas. There’s a presence of people, it’s everywhere. They’re
signs of usage of these areas, and you rarely see anybody and you don’t necessarily want to, they’re just very haunting. Graffiti is a by-product of the areas that I explore now. It’s so prevalent in the places where I take pictures that it’s just an integral part of the landscape. It’s aligned with the organic decay and breaking down of material. It’s sort of a human version of mould. It’s one of the visual signs that a structure has been forgotten or abandoned.” No longer forgotten, Lansdowne’s paintings have given these neglected structures the attention they have always deserved, even if only on canvas. Hopefully one day you get the chance to keep Tristram’s abandoned buildings company at a future exhibit in your area. On returning to his West Coast stomping grounds, Tristram suggests not to hold your breath. “It takes me so long to get enough paintings together for a show, it could be a couple years.” Considering Tristram’s unique vision, meticulousness and overall passion for his art, it will be worth the wait. [www.tristramlansdowne.com]
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CULTURE
RAY CAESAR
The Dollhouse Words: Sinead Keane
Barbie. The most famous doll of them all. And one that would face a crude awakening were she to slip from the plastic grip of Ken’s arms and fall into the dark, unhinged world of Ray Caesar’s creations. Ethereal porcelain doll-like creatures, their cherry lips plump, eyes wide but devious and gestures provocatively foreboding, there is no doubt that these peculiar figures would eat the vapid blonde alive. While confessing to possess a strange fixation with dolls as a young boy, the Toronto-based artist now confines his interaction with the toys to a virtual world—his art. Viewers take in a seemingly innocent setting of nimble Victorian dolls, only to be confronted by a darker reality once they delve further into Ray’s images where things are not always as they seem.
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The surrealist art has been labelled as representative of loneliness, sadness and tragedy, but Ray views his images in a different manner. “For me, my work is very personal and I see a lot of hope and calm. My figures are not afraid of the dark as that is a place they call home,” he explains. “They are aspects of my subconscious and it’s our subconscious that is the dark side of our personality. We can be afraid of the dark or we can go into a dark room and feel around with our hands and see the room in a different way than what we see with the lights on. I believe the room in the dark and the room in the light are actually two different rooms. I actually believe my work is very gentle and quite sunny.” Ray’s art is unique not for its content alone, but also for the
creation method behind it. His work is entirely digital and created with Maya, a three dimensional modeling software. This allows the artist to gain a more intimate link with the Gothic fantastical universe he creates in each picture. “[With Maya] I can view the image from many angles and change things like a movie set. I can place meaningful items like love letters and lockets with images of my departed sister inside music boxes,” he reveals. “Girls may actually be boys in dresses and the hidden things have a power just because they are there and because I know they are there.” A similar vein runs throughout the features of the dainty characters in Ray’s work, due largely to the formation process behind the images. The digital creations are born from 3D models sculpted
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from the artist’s own body and that of his wife’s. “When I model, I trace the outlines of my own eyelids and run my fingers over my wife’s lips ... their bruises and scars and blemishes are ours. They are a form of self portrait of my soul I suppose.” Ray has an acute understanding of the strong tie which his identity has to his work. A man who describes himself as a dog in his biography, confesses to wallpapering his body in post-its on occasion and, one who spent much of his childhood wielding a knife whilst dressed in his mother’s frock may indeed be labelled as unhinged by society. It is these unique attributes, however, which
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form the foundation for a brilliant creative mind such as Ray’s. The English born artist’s colourful past is indeed deeply indented in his work. He cites his now deceased mother and sister as strong influences behind his work, their support juxtaposed with a less than desirable male presence in his early life. “The fact I survived my childhood is somewhat surprising to even me,” he says. “When you’re in grade four and sitting in class, you can’t just put up your hand and tell your teacher that you think your father is a crazy person. Life doesn’t work like that, so you find a way to survive it and one way is with art.” It is somewhat surprising that, having
survived a turbulent childhood, he went on to surround himself in an environment darkened by anxiety and fear: The Hospital for Sick Children in Toronto. Ray devoted close to two decades working in the photographic department of the hospital which documented child abuse, surgical reconstruction and animal research. “I had a strong belief that fate wanted me to witness something and like the idiot I was, it took close to two decades before I realized what I was seeing. I don’t think I would be making art today if it wasn’t for the struggle I had in dealing with some very deep emotions.” What eventually prompted Ray to leave this job haunts him to this day: a photograph
“My figures are not afraid of the dark as that is a place they call home.�
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of a young murder victim. This image, which he describes as an act of “Pure and Absolute Cruelty,” acted as a catalyst for his digital creations. “I still think of that child in the picture,” he admits, “she is very much part of my work. I don’t think you can be a human being if you didn’t want her to have a safer kinder place ... so I make a picture for the memory of her to live in.” It is in his pictures where Ray finds an escape from reality—the ability to create a world where its inhabitants can wander free from the shackles of the society. He explains, “I create a sanctuary of calm for difficult memories and souls. The good and kind are welcome in their world, but
the cruelty of men and nature had best beware and keep their heads down low.” Having passed a significant amount of his life on a therapist’s chair, Ray has discovered that the creative process behind his art is itself a form of therapy and considers it, in every respect, lifesaving. “I have always found a refuge in putting overwhelming experience into a picture,” he says. “The act of doing this allows me to compartmentalize a difficult memory ... to make a better place for an overpowering feeling that my mind can’t handle. You write or sing or knit your way through something and place your energy in that thing you create.” When quizzed about the most rewarding aspect of what he does,
Ray is quick to point to, what he refers to as a “peaceful endeavour that doesn’t bring pain or heartache to anyone.” Sure, his provocative images may cause the super conservative to look the other way, but this artist intends to neither offend nor distress. Rather, he sets out to offer viewers an invitation to an alternative universe, an alternative, rather bizarre, reality where, cliché as it sounds, you can leave all your troubles behind. Unless of course your name is Barbie. In that case, you had better watch your back. [www.raycaesar.com]
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Skeleton Print Top - Religion
Shadowlands PHOTOGRAPHY: ANDRÉ PINCES // STYLING: TOYO TSUCHIYA Hair + Makeup: Taylor Borris TRESemme Hair Care/judyinc.com Models: David and Leanne at Elmer Olsen, John at NAM Styling Assistant: Mitchell Kaufman
Creative Direction André Pinces: & Daniel Fazio
[LEFT] Jean Jacket – Ksubi Tee Shirt – Religion [RIGHT] Bronze Studded Leather Jacket – Religion Tee Shirt – Elvis & Jesus Acid Wash Leggings – Religion Lace Gloves – H&M Mural Artwork by Les Ramsay Courtesy of 107 Shaw Gallery
[LEFT] Leather Jacket – Gestuz Denim Mini Skirt – Religion Ripped Leggings – American Apparel Lace Gloves and Cuff – H&M [RIGHT] Skeleton Print Top – Religion Leggings – American Apparel Lace Gloves – H&M
[LEFT] Jacket – Le Monde Gris Tee Shirt – Ksubi [RIGHT] Cropped Jean Jacket – Cheap Monday Tank Dress – Ksubi Lace Gloves – H&M
CITIZEN OF HUMANITY, JOE’S JEANS & KLAXON HOWL
The JEAN POOL Words: Alicia Wrobel
Photography: Felix Wong
Dark wash. Medium wash. Light wash. Skinny. Straight. Bootcut. Flare. Trouser. Low rise. High rise. Basic. Sandblasted. Distressed. Ripped. Though it’s a wardrobe staple, picking the right denim can be a long, arduous task. Over the last couple of years there have been several brands that have really stood out from the masses as providers of unique premium denim. Citizens of Humanity’s creative director and CEO, Jerome Dahan, developed his vision based on the logic that “a good fit and an interesting wash isn’t good enough anymore.” Dubbed “Citizens” by lovers of the brand, Jerome Dahan and Adriano Goldschmied design the line out of their LA offices. Featuring a flawless mix of American and European styling, models like the Avedon Slick Skinny for ladies, and the Sid Classic Straight Leg for men will have wearers turning heads. Like Citizens, Joe’s Jeans are designed out of LA, but offer
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something truly original. They have their own jegging collection (jeans + leggings) with over 40 different treatments and washes. The jeggings look nearly identical to regular jeans but fit like a glove—a great option for a wide range of body types, but more specifically for svelte figures who have trouble finding form fitting denim. If you’re looking to stick to more traditional denim, the president of Joe’s Jeans, Howard Codas, recommends the popular Honey bootcut and Chelsea slim fit for women, and the Classic Fit and Brixton skinny for men. Tucked away on Queens Street in Toronto, you’ll find Klaxon Howl. Owned by Matt Robinson, the vintage-inspired pieces that fit between the walls of the store have become favourites of fashion conscious men. Though there seems to be a tilt towards vintage wear in the last few years, few are able to marry it with the modern in a way that’s appealing and interesting. Klaxon Howl does not suffer
from this syndrome. Their seamless blending of the old with the new creates pieces that will stand the test of time. They pride themselves on the fact that “all designs are produced in small batches locally using construction techniques on Union Special sewing machines and vintage fabrics and notions.” Now that you’re armed with the knowledge to ease the process of finding the perfect jeans, check out the websites of our denim picks for the latest lines. You’ll find accessories and shirts that will pair perfectly with each style of denim. Just don’t throw your old Levi’s away—they might be worth something one day. [www.citizensofhumanity.com] [www.joesjeans.com] [www.klaxonhowl.com]
Hair and Makeup: Dee Daly TRESemme Hair Care/judyinc.com | Models: Mike at NAM Audrey and Josefine at Elmer Olsen | Joe’s Jeans c/o Leigh & Harlow www.leighandharlow.com
FASHION
KLAXON HOWL
CITIZEN OF HUMANITY
JOE’S JEANS
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MOVIES
SALAZAR
LocATION LOCATION LOCATION! Words: Terri Potratz
The secret to Salazar Motion Picture Collective’s triumphs may be cliché, but it’s honest: they’re driven by passion. The popularity of their narrative shorts (cleverly disguised as music videos and ad promos) is due not to fancy equipment, which they don’t have, or inflated budgets, which they haven’t been afforded—it lies in their eagerness to go anywhere to obtain the best shot possible. It is this commitment to outstanding location, built upon the sound structure of a creative and truly collaborative collective, which is the key to their well-earned success. Founded in 2008 by Nathan Drillot, Jesse Savath, Jeff Petry and Bienviendo Cruz, the group was banded as an initiative to up the ante of video production in Vancouver. Nathan explains the team was previously linked both socially and professionally, sharing a similar work ethic and a desire to depart from the “regimented mentality of film sets” to embark on an expedition that united their shared assets. They all have a background in photography, video, and/or art, which has lent immensely to aligning principles of composition and other visual aesthetics in their video work.
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You wouldn’t suspect a limited budget when examining Salazar’s reel; gauge the ripe footage and seamless editing paired with solid conceptual themes, and you’re likely to measure out a swanky client with a distended bank account. When questioned on how they could sustain such high production value using minimal shoot budgets provided by the small independent companies Salazar services, Nathan’s answer came back to the obvious. They simply do what most filmmakers won’t: put their egos aside, work un-clocked hours, and enthusiastically embark through any terrain necessary—be it Mexican jungles (Fan Death—“Veronica’s Veil”), massive sand dunes, or icy glaciers (Lifetime Collective Spring/Summer and Fall/Winter 2010 video campaigns)—because they recognize that grand locations are key to a grand visual. Look at works like the “Wizard Smoke” skate video or “Old World Lies” music video for Brasstronaut, and you’ll recognize that the action is authentic, not reconstructed in post. Salazar has no aversion to CGI per se, but Nathan nails it when he points out that reality is magical when it’s captured on film.
We recognize when time is taken to cultivate and capture real beauty; we have gut-wrenching respect for the Brasstronaut shoot that took three days on open ocean to complete. Visuals like these have instigated both word-of-mouth popularity and a viral following on the web. The Salazar family began with a brotherhood of filmmakers, but has expanded with every project they’ve taken on—a natural evolution when your production crew is small and your producer/client connection is genuine. Each video is built upon a relationship, not a contract. The complexity of Salazar’s work in just two short years has followed a steady incline, and the scope of their skill development shows no sign of plateauing. Ultimate goals for the Collective are to make feature-length narratives and documentaries, and for a crew who sees opportunity within obstacles, their success appears decided. [www.salazarfilm.com]
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MOVIES
TI WEST
SINCERELY SATAN Words: Kellen Powell
Illustration: Travis Collier
Ti West is very concerned with being sincere. This concern probably stems from defending and explaining his choice to set his newest feature film The House of The Devil in the Eighties and go as far as possible to make it in the style of an Eighties horror movie. The movie had an extremely limited theatrical release and it’s doubtful that anyone who reads this publication had seen it until it aired on the HD Network and was subsequently leaked online. The plot of House of The Devil is simple. A young girl in need of cash takes a babysitting job during a full lunar eclipse, only to discover her employers are devil worshipers. Praised for its daring pacing and commitment to creating an authentic Eighties horror atmosphere, the film’s director is adamant that nothing about it is a joke. This might seem out of touch in a society where virtually everything can be appreciated ironically and Ti West is aware of that. He is part of a generation of filmmakers
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that have grown up watching The Simpsons and he speaks with confidence and sarcasm. He is a smart ass, but not a prankster. He takes his (and all) films seriously and he thinks you should too. Why are Satanists so creepy? Why are they so creepy? I don’t know, maybe they’re just misunderstood. I think for me I just grew up in the suburbs and I have a really distinct memory of America in the early Eighties and there was a cultural phenom called “Satanic Panic.” I just remember like “oh don’t go down to the park by yourself or a van with no windows will come along and kidnap you and sacrifice you to the devil.” And it seemed totally preposterous to me, but at the same time it was really terrifying because it was the devil, he was the ultimate bad guy. I just always found that to be really fascinating. It turns out none of that was true. It was just this weird cultural
hysteria and I always thought that was really interesting that people got swept up in something that was so clearly NOT something to worry about. But the fact that society still sort of obsessed over it… I’ll always remember it. That’s kind of where the idea of making that movie came from. Hasn’t goth culture made it impossible to be scared of Satanists now? I don’t know, maybe if you’re like, an old woman then you might think goth culture is spooky. I mean I don’t know, it’s a trend. People nowadays have become very tolerant of trends. A goth doesn’t directly associate with this stuff. A goth is just like black nail polish and clothing, and I think that’s what people associate it with. So if you’re a goth and you’re really intense about it I don’t think anyone treats you that way… That’s probably kind of frustrating for them. Last night’s episode of Law and Order featured Juggalos that murder people because they listen to Horror Core…
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“If there’s anything to be afraid of… Juggalos might be it.”
If there’s anything to be afraid of… Juggalos might be it. Your female protagonist is really naive. She’s motivated by money, but her decisions seem really poor. Is that something you based on the naiveté surrounding Satanic Panic? I think that was a big part of it. I mean I think it was also part of like a personal film of my perspective of my memories of the time as well. I wrote the movie when I just got out of college and was living in New York and was broke. If you’re doing anything artistic in life you have two types of friends: The friends who are like, struggling with you, and then the friends whose parents pay for everything and have no problems. And so that’s what I remember, all of us who were sitting around in our shitty little apartments eating rice every single day just trying to figure out how to get a movie made and then people who lived in their fancy places being like “You know what man, you just gotta keep at it, it’s all gonna fall into place.” And how frustrating that was. And so that was kind of the other idea. Like it was a two-part thing. Early Eighties memories Satanic Panic scariness and then scariness of you’re out of college there’s no excuses left to not
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be an adult but you’re like “ah this sucks I’m not really ready to be totally responsible.” The Grindhouse revival movement is sort of winding down now, but since your movie is sort of a deliberate Eighties throwback I’m curious where you stand on that. If you’re doing it for kitsch value, I feel it’s a bit lame. It becomes like an SNL skit or something. I mean with House of The Devil, it took place in the Eighties. It wasn’t supposed to be cool like that. If it took place in the Fifties maybe I would made it look like a Technicolor movie. I don’t know… It’s supposed not to be like, elbow in your ribs. It’s just because that’s what I picture that time period looking like in my head and that’s kind of how I want to represent it. I mean I LIKE all the sort of Grindhouse stuff but what’s great about the REAL Grindhouse stuff is that whether the movies are good or bad, the movies are sincere. I mean the movies now that are imitating it are so aware that they’re imitating it that it’s this crutch of like “if you don’t think the movies scary, that’s because it’s not supposed to be because it’s a silly Grindhouse movie.” It becomes this weird crutch
of style over substance, and that is a bummer. But other than that, you know… I just think people should make sincere movies. Your IMDB Photo is you holding a handgun and wearing a headband. You’re also part of a generation that is culturally very post-modern, sarcastic and savvy. Is it really possible for you to be sincere when you’re so aware of what your doing? Especially in the case of a film like House of The Devil, how can you be sure you’re not directing from a comfortable ironic distance? I think there’s an element of post-modernism that pops in no matter what just because of being aware. The kitschiest part of House of the Devil is probably the title sequence. Which is like, very similar to early Eighties movies and not so many movies now. But like, I don’t know if I did that like, just to make it seem like an Eighties movie or did I do it because it was just really satisfying and made sense for the movie? Like that happened to be both. So it’s like, there’s that post-modern element where I’m aware like, “That’s something that’s visually evocative of a specific time period.” I also just really enjoy that. You know what I mean? It’s like I’m not doing it because “Oh
it’s cool cause it’s like those movies”, so much as I just like seeing titles like that. So you know, it’s a little bit of both I suppose. But hopefully any element of irony or post-modernism isn’t so in your face that it becomes the theme of the movie. Because that’s when I feel like the movie itself is no longer that valid and it’s just sort of these tricks that you’re doing and that’s lame. It just makes the movie sort of vapid entertainment and not any steps above it. It seems like most horror movies now are lame. When did horror movies start becoming so lame? You know I think that’s true. I think the reality is horror has become kind of lowest common denominator because it’s been successful. And movies that are successful are not always good. And movies that are successful are always like, you know, copied, so you know I really just kind of put the blame or responsibility on the audiences for that. Everyone bitches and moans that they’re copying Friday the 13th. But then it makes like $45 million in three days so I guess it was the right thing to make it because people went and saw it. It doesn’t make the movie good and no one liked it, but you know, it
did make a lot of money, so they’re gonna make another one. And you can’t blame anyone for making another one because from a company standpoint it made $45 million in three days. So that’s a good idea. But then Sam Rami’s film Drag Me to Hell is like, “Woah! Sam Rami’s return to horror, new original horror from Sam Rami not a remake!” Nobody really went and saw it.... and that’s really the audience’s fault because if you don’t want remakes, stop spending money on them. So if you want original horror, support original horror because otherwise you’re not going to get anymore. It’s very simple. But I think people have become so lazy and if they don’t have any real… (Long Pause) I mean no one has any responsibility about anything I don’t think. Certainly in America. I don’t think most people think about the fact that if they go see small movies, more small movies will be made because there’s audience for it. Instead it’s like, “oh, yeah, I don’t know, let’s just go see whatever” and I think that’s sort of dangerous for, you know, our culture. But it’s just the reality unfortunately.
Couldn’t they just start making the movies more interesting anyway? Friday the 13th was kind of crammed down peoples’ throats? It was abysmal and even though it’s a remake it could have been done in a way more interesting way. Ah, but they didn’t HAVE to, so why should they? I mean ideologically you are 100 percent right and I will not disagree with you but like they could just make a shitty movie and have it make a bunch of money. Why make it good? It’s harder to make it good. Until audiences go “I’m not gonna just see this!” They’re gonna keep doing it because they can get away with it. Most of the people who are involved in it are not the creative people. They’re people who have a job from 9-5 and their only job is to make sure the company stays profitable otherwise they get fired. They don’t care if the movie’s good. They don’t care. They just want it to make $45 million in three days. That’s all they’re interested in.
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MUSIC SHOUT OUT LOUDS
WHAT A WAY TO MAKE A LIVIN’
Words: Nojan Aminosharei
Illustrator: Jesse Williams
It’s nighttime in Brooklyn and Ted Malmros and Eric Edman, the bassist and drummer for the Swedish pop-rock band The Shout Out Louds, are going to work. They come down the stairs at the Hotel le Jolie, a quaint hotel in Williamsburg overlooking the Brooklyn Queen Expressway, and we meet in the hotel’s common area to chat. It’s one of many chats the band members have been having during their weeklong stay in the city. Adam Olenius, the band’s front man, and Bebban Stenborg, its blonde keyboardist with her Sixties-era beauty, have holed themselves away in preparation for the night’s show. (The show, they insist, was intended to be a secret, much like the show they played the previous night in Pianos, a small bar in the Lower East Side. But it was outed by the popular music blog Brooklyn Vegan.) When we sit in the bright orange seats in the hotel’s empty common area, the two tall Swedes are visibly tired. Drummer Eric sits slumped over, and bassist Ted is perked up and smiling, but in a way that suggests the corners of his eyes may collapse in on themselves any second. As the name of their third album, Work, suggests, their latest North American tour and all the appearances, interviews and other trapping—like the six-hour-long Spinner session they record the next day—are all just long days (after days after days) of, well, work. And though they’ve fully embraced their vocation and started calling a spade a spade, the idea has perplexed many. “We did a lot of interviews in Germany,” says Ted, “And they always said, ‘You named your album Work. Why? It’s so bad.’ And we were like, ‘Is it?’ I feel sorry for people that hate their work so much.” Work followed the band’s seven-month hiatus after touring for their second album, Our Ill Wills. While Ted and Eric stayed in Stockholm with guitarist Carl von Arbin, Adam flew to Melbourne to live with his girlfriend, whom he’d met on tour in Australia, and
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Bebban retreated to see her boyfriend in Los Angeles. After working together for two years releasing back-to-back albums and touring, the hiatus was a much-needed break. The bandmates have all known each other for years—Ted and Bebban even went to kindergarten together—and while they would constantly hang out during the Shout Out Loud’s inception, the excitement began to wane in the face of building their own lives and families, pushing them to take the break. “So when we meet now and we go on tour, we’re really excited to see each other,” says Ted. It wasn’t long before Adam would begin writing songs and recording demos to send to his partners halfway around the globe. But though he sowed the seeds of a new album—Work’s first single, “Walls” was written in Melbourne—it didn’t immediately spring to life. “Adam sent some songs, and it was really difficult to give him feedback,” says Ted. If they liked what they saw but they didn’t reply immediately, it made Adam nervous. On the other hand, “There was one song that nobody really liked,” says Ted, before Eric shakes his head keep Ted from revealing its name. “We were just like, ‘Oh, uh, we don’t know what’s going on with this one…’” When Adam and Bebban returned to Sweden, the quintet came up with the concept of their new album. The theme of Our Ill Wills was a longing for travel (thus the maritime signal flags that adorns the cover), and it was followed by dispersion to far off countries and hemispheres. But when the band reconvened, it was for their music, their calling, and the project that had become their living. During their first two albums, the band held no expectations. “We didn’t have any plans,” admits Eric. But after time apart, something changed. “When we met again, booking long rehearsals five days a week, I think that set the vibe,” says Ted, of the albums distinctly workhorse rock sound.
But the wanderlust persisted into a want to for a new sound— with a non-Swedish producer at the mixing board. Though the Shout Out Louds follow a vague national tradition of making music that’s at once melancholy and unquestionably pop (think ABBA—if you aren’t already), they always felt a disconnect with Swedish music. “We never really felt like we were a part of the Swedishness of it,” says Ted, “It’s a little sweet, a little twee.” And after the success they’ve seen in America, their largest market (they still get calls from family members when their music shows up on re-runs of The OC), it’s no surprise that finding an American producer turned out to be a synch. The very first they contacted was Phil Ek, the popular producer behind Built to Spill, The Shins, and Fleet Foxes. It was a perfect match. “We really love Built to Spill,” says Ted, “It’s a band favourite.” Phil Ek’s clean, simple aesthetic was the exact departure the band had in mind after Our Ill Wills, produced by their friend Björn Yttling of Peter Bjorn and John, who gave the album an ornate orchestral sound. “We got carried away in the studio,” says Ted, “But this time, we liked being in the studio, just the five of us.” Work retains the band’s signature mix of energy and introspection, its catchy hooks and melancholic lyrics sung in Adam’s falsetto—perhaps instinctively shaped by vemod, a Swedish word for the sort of happy-sad feeling of inevitably leaving something behind when moving forward. And this time, the band has left behind its elaborate instrumentation, now stripped down to something more straightforward, something manifestly mature—a sound that’s settled into its place. “This is work, and for me, that’s a positive thing,” says Ted, “This is our nine to five.” [www.shoutoutlouds.com]
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MUSIC
FRESH WES
Words: Zia Hirji
Photography: Andre Pincés
What did you do before you started DJing? Lots of stuff, rode bikes around my neighbourhood, the last job I had was teaching kids and also social work. Those are the most immediate jobs that I quit before DJing. I also worked at the zoo for a while and sold shoes. So how did the whole Hollertronix party and Philly scene start? For me it was just a party I started because no one was putting our parties on and I couldn’t get a gig anywhere. There was a rock DJ thing happening at the time and there were black clubs in Philly and I was between them and there weren’t really hipsters yet, you know?
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So there was something happening there. My girlfriend at the time was doing Eighties parties and she couldn’t mix, and I was like, “Yo, I love these kinds of records.” I was into Arthur Baker, kind of Eighties vibes Electro stuff and then I just started doing parties on my own. We rented this club out near my house and didn’t make any money for about a year and then we started making some money and touring. It went to New York and it was crazy the kind of reception we had there and that was it. That was like five years ago. What about putting out the records? We first put the mixtape out and we sold like shitloads of the mixtape.
We sold them at local shops and we sold them at Turntable Lab. Turntable Lab pressed like 5,000 and they sold them really quick and we put a bootleg out to launch the Turntable Lab release and that sold out too. That was even before mashups were coming out, and that was on vinyl too. You couldn’t download the shit. So when did you flip to doing parties and putting these records out full time? What was the breaking point? I think I just hated my job. I just quit. I was sleeping less. DJing at night and waking up at eight in the morning to go to work. Eventually I was just like fuck it, nobody appreciated me at my job so I just quit
Makeup and Hair: Andrea Tiller for TRESemme Hair Care/NOBASURA.
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my job and was like, it’s time I commit to something. I assume you were a DJ before you started making music? No, I was actually both. This is actually when I started making money, making a living at it. We’re talking like 2005, but before that I was DJing by myself from like 16 years old. Like doing Miami Bass—DJ Laz and Magic Mike were my two biggest inspirations when I lived in Florida. So I was DJing that kind of stuff, collecting old records, but playing some Electro and Dancehall stuff out in Florida, never doing any gigs, maybe a friend’s party or something. Then I moved to Philly and started thinking how can I do this seriously? But no one was listening to any of the music I liked. Electro and Miami Bass? The East Coast thought it was fucking whack music. Southern Hip Hop was just like ghetto shit. Nobody in New York liked that at all so it just took me a while, and then parties just started moving. I think people just liked the idea that our parties had no presumption at all. It was really working class like black kids and white kids. The black kids started listening to stuff like Tainted Love, which was a big record, and that old school shit. We started playing a lot of the Houston records up in Philly before they were big, like Lil’ Flip and Still Tippin’—those were really big for the rock kids. It was really weird. Now it seems like you can’t go to a club nowadays and not hear Rap and Lady GaGa over Electro hits, it’s just the same thing. Back then it was really weird for people to hear us mix a Rock record and then drop an acapella and do it live. Now it seems a little cheesy, but back then it was actually different. That was the heart and soul of the party because it brought people together. Back then they were all sneaking in. Amanda Blank was just under 21 and she would sneak into our parties and it kind of culminated into a scene now. You see, in retrospect, even Santigold was crew with those people and MIA, her first show in America was at a Hollertronix, so you could see the vibe was just happening there. What was the most memorable party you played? The Mad Decent block party is always really crazy, that’s kind of where Hollertronix left off, we do that party on the street, and we have 3,000 kids come up and the city blocks off the
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whole street for 10 dollars… that’s all it costs to get a block party permit in Philly. We’re just on the rooftop with the speaker system and everyone is going crazy. It’s really Hollertronix. We have a real mix of people. It’s cool to say fuck you back to Philly, because they never supported our shit anyway. So that party’s good. The carnival party we have in England… during Notting Hill Carnival, we have this crazy party… we’ve only had two of them but it’s been insane. At the last one we had Thom Yorke there and he was moshing, and he met me backstage and he did a remix for Major Lazer. So, London’s Carnival Party is sick. It’s everything I love about the Caribbean, you know, Dancehall music and the Caribbean diaspora because there are all these little sound systems. There’s a Dub sound system, an Old School Disco sound system, a Hip Hop one, proper Reggae, UK Funky; every other corner there’s something going on that represents the London underground culture… I’ve always had more support from Canada. I’d do a show in San Francisco, a show in New York and then five shows in Canada. If I went to any other random city in America they would be like “I don’t get it,” because Canada has always had a more open acceptance for music. The cultures are mixed here a lot more than in America. Underground music is bigger in Canada than popular music. In America, I feel like it’s 90 percent pop and 10 percent underground. It seems like Canada is half and half. When you started Mad Decent, what was the mantra behind the label? I think that the main focus was just to give releases to stuff that we were doing bootlegs of anyway. I wanted to develop artists and scenes that didn’t have proper representation. Back then you didn’t have any Baile Funk stuff, or any Baltimore Club stuff being released on real record labels. That was the first goal. The label was just me. It only started four years ago, so for a year and a half it was just me answering e-mails and designing the covers. Then a year and a half after that, I hired a label manager and it’s been about two years as a proper label. I feel like we’re trying to do more bands we believe in. Rusko is our first major artist and I think he represents a big culture shift for us to do
a record that can go far, like further than underground music. Even though it is underground music we feel like we can break through with artists like that, and we’re doing Rock bands now. What are you stoked on for 2010? I hope we can keep doing fresh shit and keep being ahead of the curve. That’s the hardest part for us; to always stay ahead of people. Because the minute we do something cutting edge it seems like people bite into it and make generic versions of whatever we do that’s cool. So it’s always a struggle. Like why do I work so hard to make cool shit if people just rip it off? But I think we might hopefully break through with some of our stuff. To be honest, we never expected to have hits when we did MIA’s record, I never expected my girlfriend to have a top five single or whatever, but that just happened, so if we can do more shit like that it would be cool. We don’t really try to be successful, we just try to do what we believe in 100%. Like if we think that something’s amazing we are going to put our strength behind it. But there are a lot of roadblocks and stuff. I hope that kids keep supporting underground music too and new shit. I don’t want to name names and stuff, but whenever something does pop off in the underground, somebody does do it and they have their own record on a major label. And you can’t really sit back and hate on those people… it doesn’t do any good for you. The record books are going to name those guys and they’re going to be known as the ones who broke that music, no matter how hard you try and no matter how many people think you’re responsible for shit you can’t really complain, you just got to keep a positive attitude. I’ve just been so lucky to have success as a DJ and to have success producing. The one thing that holds true is I can probably lose all this and go back to working at my dad’s bait shop catching fish, and I’d be cool with it. I’ll start something else. I think I’m a creative person so I think I could do something else. And I think that’s a good strength because I’m not really afraid to keep fucking up. [www.maddecent.com]
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MUSIC A Sunny Day In Glasgow
IT’S ALWAYS SUNNY IN PHILADELPHIA Words: Stefana Fratila
Photography: Justin Tyler Close
A Sunny Day In Glasgow are a dream pop band from Philadelphia and their most
than most families.” Jen said, “I mean, there’s no meal that we don’t eat together.”
recent album, Ashes Grammar, is 1000% brilliant. Currently, they are Ben Daniels,
Ben recounted Chicago to me and what it was like to be fed mussels and invited to
Ryan Newmyer, Josh Meakim, Annie Fredrickson, Jen Goma, and Adam Herndon. I
a scotch tasting. The whole band lit up from the memory, especially Ryan who said,
tried to memorize their names as we each adjusted our bottom halves to the floor
“It was like an ultimate reality.”
of Vancouver’s Media Club.
We also discussed the differences between Taco Bell and Taco Time. I argued
There have been many member changes since Ben first started the band.
that Taco Bell is better and they insisted the opposite. They then gave me a little
The band discussed amongst themselves who wanted to do what initially. They
packet of Hot Border Sauce from Taco Bell to keep. On it was written: “Will you
all simultaneously said, “Spinal Tap!”, and Ben added, “The band as it is now
marry me?”
is the best.”
They claim to get sick constantly while on tour but they didn’t seem sick at all.
Ashes Grammar is their second full-length release and it’s a beautifully and
Annie said, “Ryan claims to have the best vitamins…” Ryan smiled, “They’re the
carefully constructed record with each song weeping into the next. Any decipherable
best—but only for active men.” “Which is funny because we’re sitting eight hours of
lyrics on the record are lost in a beguiling and bouncing glow storm. I asked them
the day,” said Jen. Annie asked, “What about inactive men?” Ryan nodded, “That’s
about how it became what it is. Josh answered, “It was pretty intense. We didn’t
probably why I’m kind of sick, I’ve been taking the wrong vitamins.”
go into a studio or anything. We just rented out a ballet studio and did it all with
I asked them about the significance of the album name, Ashes Grammar. Ben
our own equipment, so that probably made it take a lot longer. But it was also more
said, “Ah, yes. It’s a colloquialism.” The rest of the band tee-heed in their various
fun that way, and less stressful.”
cross-legged positions claiming they had never been asked that question and that
I was interested to know if they had jobs. Ryan said, “We did…”, then Annie jokingly interrupted, “I got a good job and a hot girlfriend.” Ben followed, “I was
Ben had been waiting for it. He continued, “Ashes Grammar is a colloquialism to express frustration with languages and means of communication.”
going to start my goth industrial thing in the off-season. It’s called… The Cemetery
The rest of the band eventually convinced Ben to let me quote him despite his
Flowers.” Adam told me that he wants to open a gas station and drive a vegan
protests, “It sounded terrible hearing it coming out of my mouth!” I liked what he
hot dog truck. “If I was going to serve food, I would want to serve vegan food,” he
said. It’s pertinent. It even pertains to me sitting here in front of my computer screen
beamed, “I’m pretty much vegetarian although I think yesterday I ate something
and writing about him saying it.
with beef and broccoli…“ Ryan confirmed, “Yeah, the French onion soup!” Josh
Recently, the band finished making a music video for their song “So Bloody So
added, “And you did eat a cheeseburger Dorito!” Later I ate dinner with them and
Tight.” It is definitely worth watching. In the video, after trashing a keyboard in the
all that went through my mind was, “cutie PIES!” Also at dinner, Adam turned
middle of a street in the pouring rain, they all take their clothes off on a paved road
his American money into “boner dollars”. I learned what this meant that night
in a psychotic sensual dance with sparklers in their hands. Ben makes creepy faces,
(Google it!).
there is a lot of body paint, and the best part about all of this is that when explaining
Driving into cities, they research local menus. Some of their recent tour eating highlights are necessary to mention. Firstly, because they were excited to tell me
the video to me, they didn’t once mention any of this. They just said, “There were no special effects and when you watch it, just know that we were freezing.”
and secondly because I made them describe everything to me in detail. In New Haven, they ate bacon pancakes. Annie pointed out “We probably eat together more
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[www.asunnydayinglasgow.com]
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MUSIC REVIEWS 1
Autechre [Oversteps] Black Tamboruine [S/T] Caribou [Swim] Chin [D’Tach]
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[1] Autechre Oversteps Warp This one’s tricky. We’re dealing with a duo that has unconsciously worked for 23 years to narrow its audience. If you’ve been a fan of theirs for some time then I don’t immediately hate you, but if you have never heard Autechre before and are shouting their praise, chances are you’re a self-indulgent fuck. I can’t really see myself putting this on while cooking dinner, driving, or really at any other point in my life. Not that I dislike Autechre as a band, frankly I think that I just don’t “get it,” It should also be noted that I also don’t “get it” when it comes to why any girl would be in an American Apparel ad, unless she had huge daddy issues, a major coke problem, and an exhibitionist streak. Those chicks must be about as intelligent as “Intelligent Dance Music.” Note: This review was forced to be re-written, the real review is online. It features a penguin riding a clam to fight Cthulhu. Seriously. —Dr. Ian Super [2] Black Tamboruine S/T Slumberland I was so excited that this compilation came out that I almost called you “dude”, as in “Dude! Black Tambourine just released their complete recordings!” However, I don’t call people dude, especially because unlike some music dorks, I talk to girls. Black Tambourine formed around the time the Eighties became the Nineties and North America needed a response to the right hook from the UK’s fist of fuzz pop. Canada had Eric’s Trip and America had Black Tambourine. Not only was the band directly influencing Sarah Records acts and other boy versus girl bands, but
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Black Tambourine eventually split and became Velocity Girl and Lilys, two bands who made some real artistic man moves in their own right. “Throw Aggi Off The Bridge” will forever be Black Tambourine’s version of a hit single, a dark and cheeky number sang in the voice of a crazed Pastels fan wanting Stephen Pastel to axe his girlfriend, and is also referenced in one of the era’s key stone songs, “Twee” by Tullycraft, a song that name checks all you need to know about twee pop and fuzz girl/boy shoegaze pop from the era. Bro! You really need to own this album! —Trevor Risk [3] Caribou Swim Merge Most people are not about to forget the magic that was Dan Snaith’s 2007 release, Andorra. My parents certainly won’t forget their confusion when I pressured them into listening to Andorra after buying it for me for Christmas. It is now 2010 and the electronica math master is following up with the unequalled and liquid dance record, Swim. Dan Snaith has done exactly what he meant to do—he’s made music that sounds like it’s made of water. Each song floods into headphone space, nestling into the expanse of what makes up our ears. “WHOA!” The reoccurrence of the sound of the word ‘she’ sloshes in and out, pouring into the lyrical composition of almost every track. “ECHO!!” The single “Odessa” was literally the beginning. The looseness continues and deepens with “Kaili”, “Leave House” and “Jamelia”—which is also the final track and features vocals by Luke LaLonde of Born Ruffians. Swim is a crackle of Arthur Russell, a teas-
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ing clamour, a stream of engaging melodies. I know what I’m asking my parents to get me for Christmas this year. —Stefana Fratila [4] Chin D’Tach Sparks Music Chin Injeti was in Bass is Base way back when they had that song “Funkmobile.” After that they had “I Cry” and then Ivana Santilli went and did some solo stuff which was pretty fun too. D’Tach is a record that pretty much illustrates why Chin hasn’t disappeared into Canadian trivia obscurity (Bootsauce anyone?). This isn’t just a tailing solo effort, it’s the songsmithing that has caulked the gaps between Chin’s schedule producing with and for artists like Dr. Dre, Nas, Talib Kweli, Busta Rhymes, Clipse, 50 Cent, and Esthero with his bosom buddy DJ Khalil. The fact that he finds the time to pen an album replete with Eastern-influenced urban folk gems is staggering. Good work Chin; you went from “Diamond Dreams” to giving us aural wet dreams. —Patrick Stewart [5] Flying Lotus Cosmogramma Warp Seven seconds into Cosmogramma’s seizure-inducing “Clock Catcher” and I realized I was in for something pretty out there. Even as the album progresses—after it slows pace and calms down a bit—the elements of Californian producer Flying Lotus’ musical brain start unfolding in a distinctly abstract way. Flying Lotus clearly has a much larger imagination than I can fathom—my sonic palate (if you will) was not quite prepared for something this otherworldly. Cosmogramma is the equivalent of a Ritalin for a yawning music fan—there is enough spacey boom-bip,
Flying Lotus [Cosmogramma] The New Pornographers [Together] Peter Paul & Mary with Symphony Orchestra [The Prague Sessions] The Radio Dept. [Clinging to a Scheme]
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hyper bass lines and moody ups and downs to keep to the most fleeting ear engaged. The album’s tamest/standout moment comes during “...And The World Laughs With You,” which features Thom Yorke and a musical accompaniment that sounds like a more challenging, frenzied version of Yorke’s The Eraser material. Cosmogramma follows up 2008’s acclaimed Los Angeles with another spaced-out, beside yourself electro composition—a more challenging listen in many ways, but clearly something Flying Lotus had been waiting a while to drop. —Curtis Wright [6] The New Pornographers Together Last Gang Together is better than Challengers but not better than Twin Cinema. That’s my review, and if you’re a fan of the band you know that’s all that needs to be written. The New Pornographers don’t need someone to deconstruct their albums, cite influences or describe what the guitars sound like, and if you’re not a fan of them I hope you enjoy reading some hollow review of the XX or hero worshipping a belligerent IDM collector. The New Pornographers write songs that last forever without gimmicks, an exertion so singular today that they should be administered some sort of international honour. With three main song writers and top-of-their-game instrumentalists (Kurt Dahle!!!) it would appear that this band will never run out of AM Gold-esque hits. I feel like they might be visiting from the future and have brought back with them a catalogue of hits from the best songwriters and are deceiving
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the public. I mean, how do they do it??? —Trevor Risk [7] Peter Paul & Mary with Symphony Orchestra The Prague Sessions Rhino So . . . Peter Paul and Mary, right... I had visions of myself locked in my room, with headphones on, honing in on the yet unappreciated visceral artistry and biting socially conscience lyrical prowess that, in my imagination, would be Peter Paul and Mary. Then I listened to this record. WOW. Listening to this music is like watching some blonde-haired, blue-eyed cult from Iowa sell toothpaste to the Stepford Wives. The first two songs were cheese, but still kind of comforting, or nice in a way (similar to that one meal your mom cooked that just wasn’t ever very good, but she always stuck to it, and then over the years you develop this strange nostalgic pleasure in just how crappy the stroganoff is). Then I heard the third song, “Don’t Laugh at Me”. This song blew my mind. It’s all about different people who have lives that suck and how all they want is for people not to laugh at them. At first the characters consist of “a little boy with glasses, the one they call the geek”, and a young girl who never smiles because she has braces. But then the characters escalate to a cripple who sits out on a corner and someone whose entire family died in a car accident and is now homeless . . . who in the hell is laughing at that guy? That’s some tragic shit, and I guarantee you that whatever type of person laughs at the guy who lost his wife and children in a car accident is definitely not getting down to PP&M in order to catch this poignant message. Not to mention that the guy with
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the dead family probably has more on his mind than worrying about people laughing at him. Also Mary, from Peter Paul and Mary, happens to be dead. Postmortem vocals . . . extra weird. —Jeremy McAnulty [8] The Radio Dept. Clinging to a Scheme Labrador I first got into The Radio Dept. when I was 20 and living in London, upon the recommendation of the seemingly-culturally-relevant-to-me-at-the-time bastion of British hyperbole, the NME. Their review of the first single off the band’s first album said something about dark winter nights in Sweden and, like, sheets of frost and crackling ice and warm voices muffled by snow or something like that. Well, as it turns out, seven-ish years, a couple albums, and being featured in a Sofia Coppola movie later, they’re still doing pretty much the exact same thing. And, as it also turns out, seven-ish years and 7577 kilometres and a few failed relationships later, listening to The Radio Dept. still makes me want to be alone smoking out of a window, staring at the snow, not believing that things are going to get better and not really caring anyhow. This album is beautiful, just like everything The Radio Dept. has ever done. It also contains that band’s first ever bona fide summer jam (“Heaven’s On Fire”), and is making me critically reevaluate a bunch of the chillwave shit I’ve been into in light of the fact that The Dept. have been using the chillwavers’ sonic template for over a decade and maybe don’t get enough credit for that. And, of course, all of the preceding means Clinging To A Scheme is good and I like it. —Rich Bucks
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POSTER ART
EMEK
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How do you score a gig as official artist with one of the greatest rock festivals under the 49th? According to EMEK, the artist responsible for the legendary posters behind Coachella, harassment is the key. “They said they were looking for years for
an artist that was good enough for their event, that, and I was the only artist who slept in their doorway.” Crazed, psychotic stalker behaviour may be one way of hitting it big, but it’s hard to imagine that EMEK would have gained notoriety as one
of the best living rock poster artists were his images not the intricately drawn psychedelic trips that they are. He also raised a hell of a lot of money (over 30k!) for Haiti. Talented and a do-
gooder! Plus he has an art book coming out this year. If we didn’t like him so much, we’d hate his guts. [www.emek.net]
ION 57
ION THE WEB ION’S TUMBLR FIVERR EVERYTHING IS TERRIBLE TERRY’S DIARY 1
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[1] [ION’S TUMBLR] We have a problem. We have way more awesome images than we can possibly print in this magazine. Our Tumblr account is where you’ll be able to see some of these, as well as stuff we regularly spam you with on Facebook and Twitter.
[3] [EVERYTHING IS TERRIBLE] Everything is Terrible is the equivalent to being in a videostore in the Eighties on speed. They take forgotten VHS tapes and edit them down to four minutes. The result, hilarity. [www.everythingisterrible.com]
[www.ionmagazine.tumblr.com] [2] [FIVERR] What can you buy for five dollars these days? Three hours of parking outside the ION office. What can you buy for five dollars on the internet? Apparently a ton of different stuff. Fiverr is an e-commerce website which connects people who are willing to do everything from write a short bedtime story to design a company logo, all for five bucks. Lesson learned: value exists on the internet.
[4] [TERRY’S DIARY] Up until recently, this was a great Tumblr site to see Terry Richardson’s scandalous nude photos. Then Terry got hit with a slew of accusations that he’s exploiting underage models. So all the nudes got deleted but there are still hilarious photos of Terry and his mom. [www.terrysdiary.com]
[www.fiverr.com]
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HOROSCOPES THIS MONTH: REBECCA KOHLER Rebecca Kohler is a stand-up comic based in Toronto, USA. [www.rebeccakohler.com]
ARIES The moon is rising in the east (near the Starbucks). This is a good time for you to look at the past. Go to the attic and look at the dusty artifacts and skulls that you find there. You can bring a coffee from the Starbucks to drink while you look at the dust. Maybe try a new flavour syrup.
CANCER I just booked a ticket to go to Austin, Texas. I can’t really afford the trip but I’m really excited; Austin is supposed to be an awesome town. Have you ever been to Austin? No? Well that’s typical of you Cancer. You’re always being a wet blanket. Even your sign name is a downer.
TAURUS A good friend might have the stomach flu this week. In other news, you might meet a new love interest. There are monies on the horizon. You may get the stomach flu a few days after your friend. Your dog may die. Family will get on your nerves but redeem themselves at Sunday dinner. Sunday dinner will be roast beef. Your niece is annoying.
LEO Hi, I’m a single white (petite) female seeking a tall/well-built man. I enjoy jogging, bird watching and books about fairies. I’m a great kisser too! I recently got over a longterm relationship and feel like I’m ready to get out there again. If you’re looking for a warm, loyal companion, please contact me.
GEMINI The Gemini is known to be the most self-centered sign. You need to stop talking about yourself; no one cares that your hair dryer broke or about that cyst on your ovary. TMI! It would be good for you to turn your focus towards others. Why not ask your friend Paul about his ingrown toenail or Sandra about her new boobs?
VIRGO I am a Virgo! We most amazing sign. Always looking hot and taking phone calls because we so popular! Everyone wants to be our friend and buy us things. Men take us in the cars to rich restaurants! Virgo, this is a good month for you to continue being da bess!
LIBRA Avoid direct eye contact with homeless people as this will encourage them to talk to you (side eye contact is permissible). If you talk to a homeless person for too long, they can put a curse on you! And when I say ‘put a curse’ I mean ‘give you tuberculosis’. I know you want to help, but it’s time for you to sit idly by and watch the homeless perish. SCORPIO Mars is in the solar system’s milky area which means good things for you in the career category, but terrible things for your love life. When Mars gets milky it makes you less attractive because your inner chakras becomes exposed (and inner chakras are the ugliest ones). Try dressing up your outer chakras and hope for the best. SAGITTARIUS My brother is a Sagittarius and he’s kind of a douchebag. Like, once I asked if I could borrow his nail clippers and he was all, “I don’t share nail clippers.” And I was like, “A) I’m your sister and B) I don’t have AIDS or finger herpes.” But he still wouldn’t lend them.
CAPRICORN Confucius says “A bird in the feather is as light as a stone.” And this applies to you more than ever right now Capricorn. When you kill two stones with one bird’s feather, it makes for 13 in the hand. Use all the resources at your disposal if you want to come out of this alive. AQUARIUS Did you know that Oprah is an Aquarius? It must be hard trying to live up to how rich and famous she is. Like, she has her own magazine and all you have is a coupon for a free pad thai. I’ll bet this has you suffering a lot. You should write Oprah and maybe she’ll do a show about it. PISCES You can’t go around living your life asleep. It’s dangerous (especially when you’re driving) and people find it awkward talking to you because your eyes are closed. There are some great over-the-counter medications that can help you perk up: ginseng, cocaine, a slap in the face. (I can send you some coke in the mail, cheap!)
ION 59
COMICS
DINOSAUR COMICS BY RYAN NORTH
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www . qwantz . com
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