Interviews
21st Century Facebook Interviews with BEN DAVID from THE HARD ACHES
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No Refunds For Assholes with KARINA UTOMO from HIGH TENSION
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An Open Letter to Kelly, Thomo and Georgia Maq Dear CAMP COPE,
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Paper Thin: a track-by-track with SPENCER SCOTT
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Record Reviews
Riff Hard - Thin Lips; Seeing What I Want To See - Self Talk; Blisters In My Heart - Martha; Growing Up - Bugs;
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At This Age - Signals Midwest; Okay - Dowsing
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21st Century Facebook Interviews SPENCER SCOTT WITH BEN DAVID FROM THE HARD ACHES I first met Ben David on the Glory Days tour. A lineup as stacked as the day it was concocted; Wil Wagner, Lincoln Le Fevre, Ben David, and Isaac Graham. Joined by another singer-songwriter in each city, and recreating the welcoming, collaboration heavy atmosphere of The Revival Tour in the United States. I was familiar with him through two releases; Let’s Elope, a six-track EP that still stands out as a high water mark for folk punk releases in Australia, and Brothers & Blisters, a release which featured the song “Hey Spencer, Here’s To Failing At Life”. Since then I’ve had the opportunity to play with Ben a few times, every time I’ve been blown away at not only his captivating and intense performances, but his prolific songwriting. In the several times I have seen him in the three years since, rarely has one setlist looked similar to the other.
And then there is The Hard Aches. The two man powerhouse consisting of Ben David and Alex “Upto” Upton. Their latest album Pheromones is Ben’s most consistent release to date, I remember putting it on for the first time and being floored from the opening line; “Sleep when I’m hungry, eat when I’m drunk / Been far from starving these past twelve months”. The two post-Pheromones singles, ‘Loser’ and ‘Glad That You’re Gone’, are more classic Hard Aches; catchy and defiant choruses mixed with clever wordplay and an emotional underbelly. — 3 —
I told Olly I wanted to include an article about The Hard Aches in this zine, so I sent Ben David some questions through Facebook for him to answer. Read this and then go listen to The Hard Aches, or listen to The Hard Aches then read this, or just do both at the same time.
The other weekend was Party Party Part-Sea, how was it? It must be hectic to organize and headline the same festival?
It was nuts, so much fun though. Having that many of our good friends on the lineup and in the room is the most incredible and heart-warming feeling. It’s basically just a gigantic love fest, everyone is in the ‘highest’ of spirits all weekend. We are very lucky to have so many amazing mates from all over the place willing to travel and run amuck with us. Every band fucking killed it too!
Last time I saw you was at Blackwire in Sydney, and it was your third show in three different states in 24 hours. How the hell did that happen?
Hahahaha I think the Blackwire show was the last show of that weekend. We did Canberra, Adelaide and Sydney in 24 hours, stupiddddd! Basically we already had our tour booked then got offered Laneway Festival in Adelaide. Obviously we weren’t gonna turn that down but it meant we played Canberra then drove after the show straight to Sydney airport for the first flight out, played Laneway in Adelaide then flew back to Sydney for a show at Brighton Up Bar that night. Was nuts, we all survived and damn we were well rehearsed for the 3rd show.
Is this year your first weekender? You’ve got to be pretty excited about it! What are you most looking forward to?
Yeah, it’s our first. I’ve been going to Weekender for a while now and it’s always the best weekend (big inspiration for us putting on Party Party Party). The idea of having all your friends from all over the place partying in the same place is always a recipe for chaos. We are playing The Rev on top of that which is one of our favourite venues in the world. We are also lucky enough to be playing the travelling Weekender circus “I Love Life” with our best friends Camp Cope, The Bennies plus High Tension and more. Gonna be a hectic few weeks!
I’ve always been impressed by how much of a prolific songwriter you are! Do you spend a lot of time writing songs? Is it a lot of fine tuning phrases, or do they tend to come out fully formed? Hahaha I try and pick up my guitar to write every day, it’s just what I’ve always done. I don’t always get fully written songs though, a lot of the time my songs are pieces of different songs and ideas I’ve written. When I do solo shows it’s always a great time to road test new material. I find fine tuning songs mostly comes from playing them live, it’s probably mostly to do with them becoming more comfortable. Alex and I spend a lot of time chopping and changing the beds for the songs that I’ll write on my acoustic. It’s then that they become songs, we demo them, rework them and go from there.
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Was the transition of The Hard Aches from a three piece to a two piece a hard one? You and Upto seem to be working harder than ever, but did it take a while to decide to go bass-less?
It actually just felt the most natural it ever had. Alex and I have always been writing and working on stuff as a two piece so it was just a matter of playing around with a few different ideas on the guitar setup, song structures and chord shapes. There’s a big hole in the sound when you remove the bottom end but I think we are nearly there now! It’s definitely a lot of fun being a two piece – I can’t imagine anything else now.
Your last two singles have had very excellent music videos, and I saw recently that you’ve just filmed a third. Were you really into music videos as a kid? Why so many? Music videos are just a lot of fun. We are super lucky to have some very talented filmmakers and actors as friends so it’s been pretty easy to get clips done. We just finished making a clip for our next single ‘Gut Full’ with BARE Pictures (Thinking about it this will be the sixth clip in the last year hahaha shit!). It’s definitely gonna be the most colourful thing we’ve ever done.
What music are you really enjoying at the moment? Anybody I should be checking out? The new Hannahband record is amazing, the Camp Cope album is amazing, the new Foxtrot album is amazing, the next Foley! album is amazing ... although you’ll have to wait for that one.
Catch The Hard Aches on tour with Foley! throughout October and at Til The Wheels Fall Off Fest. New EP ‘I Freak Out’ available now. — 5 —
No Refunds For Assholes
A CHAT BETWEEN KARINA UTOMO FROM HIGH TENSION AND LAURA KEBBY
On an unsuspecting Sunday afternoon, about a year ago, my mate sat me down in front of her laptop and simply said “don’t talk, just listen”. Suddenly, in this tiny apartment my eyes and ears were met with an incredibly powerful display of femininity and passion, one like I had never seen before. It was really, the first time I had seen a group of women, represented so unapologetically to the masses. The clip in question was for ‘Bully’, the title track off the latest album from local heavyweights High Tension, and I’ve been a fan ever since. So, when I was asked who I would like to interview for LostBoyZine, Karina Utomo, vocalist and driving force behind HT, was an obvious choice. It’s always slightly nerve-racking though, meeting someone you admire so much,
whose music and persona as an entity, had become a recent influence and backbone to my daily life. But when schedules lined up and I was able to chat with Karina, I was met with an articulate, insightful and downright wonderful individual and took the time to chat about touring, inspiration, pit behaviour and what’s next for HT. For a band who knowingly lay on the outskirts of the Triple J playlist, to play Splendour in the Grass this year was understandably a completely surreal experience. “It’s really exciting when we get these types of opportunities, festivals like Splendour and Laneway, it just wasn’t anything that was in our vision or touring plans. It’s a much younger audience and to have that
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opportunity is really exciting. We usually play quite early in the day, trying to create this intense mood when it’s a beautiful day can be really difficult, but the response was really unexpected!” In terms of what gigs she enjoys playing the most, it seems it’s more about the company she keeps on stage, than the size of the crowd or the venue. “I’ve really enjoyed playing with bands that we respect and bands that we are fans of, it sounds cliché but it really does feel like a dream come true… And playing those gigs, there is always usually a really good crowd who are open to showing up for the supports. Touring with King Parrot and playing Dark Mofo with The Bronx have definitely been highlights for us as a band and for me personally as well”. The high profile touring schedule for HT doesn’t seem to be slowing anytime soon, with the band just announced as support for the legendary Refused and of course upcoming festivals Weekender Fest and I Love Life. “For as long as I can remember, all I’ve wanted to do is play with bands that I like. We are in this band long term, so it’s exciting when you get these opportunities that you never really set out to be your goal, now I just think, you can’t just restrict yourself to what you think might be possible”. I’m always curious as to the inspirations and writing processes behind the music I am listening to, and hearing the depth and ethos behind some of HT’s lyrics definitely caught me off guard. Karina commented “Over the years I’ve learned a lot about how to articulate myself better or ways to express myself better. When I first started writing lyrics in high school I was always really guarded. Whilst writing, you’re constantly unpacking and learning things about how you communicate, but really the writing process is about succumbing to your own revelations”. When asked whether this made for a nerve-racking experience on stage Karina adds, “It’s not always easy but I think
it’s something that I really enjoy if it’s not entirely personal. A lot of things I’ve written about with HT are things that have been buried deep, and ingrained for a long time. I guess it’s not hard to reenact the story again and again, it’s something that actually feels really good when I can get it out. There is a constant theme in some of our songs, with the dark history of Indonesia, something that took me basically all my life to really piece together. When I was younger, living between Jakarta and Canberra, learning from my Dad about the real impact of the anti-Communist movement, in that retrospect, my writing is a very personal yet observational point of view and greatly influences a lot of the stuff for HT. People are still afraid to talk about that period of time in Indonesia and those stories will disappear over generations to come so in saying that, it never feels like a chore to perform or be on stage. In a way I’m really trying to make progress in my own mind”. A few months ago Karina took to Facebook to address an issue that continues to, unfortunately, present at the forefront of many a punter’s gig going experience – intolerable pit behaviour. Although there was a particular incident which sparked the discussion started by Karina on behalf of HT, this sort of behaviour is unfortunately becoming more and more prevalent. Although the individual was removed, Karina ran through her thought processes, “I just kept thinking, that guy just gets to go home now, what else could we have done? Those kind of thoughts were continually playing through my mind both during and after the gig. For Hammel and I, it was something that we have both experienced so it really hit home for us” she continued. “As women or really anyone, you should not have to fight for your place in terms of where you would like to watch the show from. We should not have to stay out of the pit, especially because of the premise that we are at risk of something happening to us.” Although
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Karina has been vocal on the issue she concludes that “sometimes the easiest way to be heard is to not say anything. As HT we are just doing what we are doing, in that we are just focusing on the music and bettering our abilities as a band. For us that’s going to be a more effective way to communicate in the long term. But, there are some instances where you really do have to stand up and say something and be unafraid to openly voice your concerns. This was one of those instances.” In talking with Karina I found her assertiveness and subtle self-assurance infectious. She is someone who is so totally unafraid to take up her own space. It sounds so trivial but whether this be at a show as a punter, or on stage, constantly presenting as the minority can be overwhelming. It can be confronting, going to shows by yourself and placing yourself outwardly as a minority, actually it can be quite terrifying. But for me as a fan, not only hearing but seeing
wonderful artists like HT and Camp Cope take the time to highlight, call out and bring these issues to the front definitely makes me walk just that little bit taller (which is a big deal for me). Because, at the end of the day, there are no refunds for assholes. I couldn’t resist a tiny bit of a curious fan moment, and took the chance to quiz Karina about when we would see some new tunes from the band. “We are hoping to play a couple of new ones at Weekender. In 2014 we played Bully there before we even recorded it. We love testing out new songs at these kind of shows because you can always gauge a response from that sort of a crowd as to how the songs will go”. In terms of whether there is a new album on the way she let slip, “it will be heavier and more brutal” and, laughing, Karina added, “but that’s just me on any given day”. Check out High Tension supporting Refused early next year.
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An Open Letter to Kelly, Thomo and Georgia Maq Dear Camp Cope, Hey! Tell me all about your morning, I really hope you’re having a great one. It’s important apparently to start the day off on the right foot. Although I went to a Jen Buxton show last night and I am taking on her life advice of “it’s just my aim to not be disappointing”. I think it allows for more movement, and I think it’s important to give yourself a break sometimes. This is my first open letter but it’s also my most important, so I’m sorry it’s taken so long to write (not that you’d know, it is an open letter after all). Carrie Brownstein in her book Hunger Makes me a Modern Girl (have you read it? Don’t worry I’ll lend it to you) talks about what it means to be a fan, and how fans grow and change as your music grows and changes from being heard by six people in the back of dingy bars with sticky floors, to playing a string of sold out shows (congrats by the way). As a music journalist myself, I’ve read many articles about what you’re all doing and how Camp Cope as a collective have really injected something different into the music industry, but I thought I’d really pen something personal in the hopes that it might close some gaps between the media and the girls at the front of your shows. I should say I don’t really have questions for you. This is more an expression of exactly what Camp Cope means to me, and I guess it’s almost a thank you letter in a way. A virtual high five from me to you. — 9 —
I remember driving along, just trying to get home after another day of work, feeling stuck with the state of the world when I was blind-sided by a track called ‘New Phone Who’s This’. I pulled over, thinking for the first time that someone had finally told it like it is. A subtle commentary on what life is really like for people who will settle for no less than 3-ply toilet paper. During those four minutes and twenty-three seconds I realized that maybe there was something more. After sifting through your solo project Georgia, I couldn’t wait to hear more about what you had to say about the world and where you saw yourself belonging in it. I was so excited to read the Camp Cope press release, because to me it was so much more than simply an extension of that solo project. It was a commentary on, and a step forward for, a movement from day one. This was really a thing you were doing and it meant more music, and a chance for three awesome artists to come together and produce something really great. The Camp Cope album is something that is extremely important to me personally, and without knowing it, the three of you offered me an alternative, something that I had hoped was there all along. It presented me with pieces that I didn’t even know I was missing and with every listen, I felt like my own voice became more important. The first time I heard ‘Jet Fuel Can’t Melt Steal Beams’ was the day you released the single and you played in Newcastle at the Hamilton Station Hotel. I kind of became cemented to the ground, because it was as if, for the first time, I finally realized and understood just what I was hearing. Even more so, this was just what I had been looking for in the music that had been flowing through my headphones. As well I guess, it was more about the way you introduced the song. You told the twenty or so people in the crowd how important this song was to you and that there was a reason you wrote this song, and that reason was for us, the girls in the front row. Because we should not go out in silence, we will not go quietly. I flew to Melbourne from Newcastle the morning of your album launch. I had no plans of where to go and where to be, I kind of thought maybe I’d get another tattoo, attaching to permanence makes me feel grounded. It seemed fitting enough, as I didn’t really plan any aspect of this trip except for the fact I knew that I was so excited to see your show. I definitely didn’t expect to see you Sarah as I walked into the Poison City store that afternoon. I’m pretty sure the first thing I said was something about the fact that Dawn Fraser would make a great rapper, I can’t remember the scenario but I feel like regardless of context this sentence would only make sense in my mind, but thank you for laughing at my joke anyway. The whole show, for me, was honestly a totally surreal experience. It was a show where it felt like everyone had gathered to hang out with the band whilst they played, rather than just simply standing and watching and there is a phenomenal difference between the two. Georgia you asked, ever so politely, if all the girls could move to the front of the crowd before you played ‘Jet Fuel Can’t Melt Steal Beams’. I swear my jaw dropped in that moment, and as the new friends I made that night turned to me and said “this is for you mate” and pushed me to the front of the crowd, it was like that moment was the only thing that really mattered. On shitty days, it’s moments like that that I keep in my back pocket. — 10 —
How awesome it is, then, that I’m about to head to Melbourne again to see you play yet another sold out show. Going to shows alone is super daunting yeah? You kind of walk in, hoping just to find a spot where you can get lost within the crowd and hope that no one notices the fact that you’re there by yourself. I love that you’ve all worked really hard to place your listeners and fans at the forefront of your gigs, especially your female supporters. I think maybe the gravity of that feeling gets lost between blog posts sometimes, because I’ve personally never felt alone going to your shows, and that’s a really (really) huge deal. See, I’m not about clichés or getting ridiculously philosophical but I am about thinking and writing and creating. Most importantly, I’m about realising the fact that the experiences you have can really ignite a passion or understanding that may have been there all along. I overheard a fan once say during your show “holy shit she’s right” about Jet Fuel, and maybe sometimes all it takes is seeing someone really back themselves, stand for something and fall for nothing. And that’s what you as a collective have done. You taught me to back myself and that being a voice for those who may not have one is an extremely powerful thing. My outlook changed to the point where I started understanding what it really meant to be passionate about something, to fight and stand up for the things I believe in. I guess the whole point of my letter is just to share with you the real weight and substance of what your debut album and Camp Cope as a whole really means, because I think collectively as fans we are proud, extremely proud, of the way you play shows and exactly how valued you make us all feel. I know I am, absolutely. You make us feel part of something that’s so much bigger than I think any of us realise. Thank you for letting us know that there is more than one person in this world who feels as though they are living like dogs in space. Anyway, I have to go. I’m just about to jump on another plane, almost 6 months after the album launch, to see you play Weekender Fest. How surreal is that! I hope Melbourne isn’t too cold and that someone buys you all burritos. Girls to the front, always. Laura.
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Paper Thin
A TRACK-BY-TRACK WITH SPENCER SCOTT
State Of Your Life, Mate ‘State Of Your Life, Mate’ was the first song I had ever written where I knew I wanted a band to play it. I just kept hearing the band come in after the opening line and it was really exciting. I spent a lot of time trying to add a 2nd and 3rd verse to the song, but finally came to the realisation that it didn’t need it, I love how to the point it is. The song title is also a reference to the podcast OSW; a podcast where three Irish guys review PPVs from the Hulk Hogan-era of wrestling.
Sixteen Months This song is definitely the oldest song on the EP, by a lot actually. This was the first song I wrote when I got a proper acoustic guitar, so maybe at least 4 years old? I can’t really remember. When we first got together to jam, we worked on this song and ‘Hotel Spencer’, so we could get an idea of playing together and what sound we were going for. I’m really happy with how this song sounds!
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Hotel Spencer ‘Hotel Spencer’ was originally released on a Split 7” with Georgia Maq from Camp Cope, which was released through Lost Boy Records (love you Olly!). It’s about the first time I went down to Melbourne for shows, which happened to be in the middle of a brutal heatwave. When I got to Southern Cross Station my body was dying so I went to the nearest pub, which was called Hotel Spencer. It was also Happy Hour! Japan Song This is a song that our drummer Liam wrote with his partner Nikki! He brought it into the band one day, and it sounded so complete that we didn’t have to do much to it to make it work. It’s super Pop Punk, and reminds me a lot of Milhouse and Chixdiggit. I think it’s a really nice counterbalance to all the downbeat stuff I contributed to the EP, hahaha. Also, Liam yelling “Let’s Go!” at the end of the first chorus is probably my favourite part of the whole EP, it makes me smile everytime. Haircut Earlier in the year I was going through a very hard time, I think the EP is a bit of a reflection on that. When I moved back home I made a friend come over and give me a haircut (sorry Tegan!). She did a good job, but when I went to even my sideburns I totally fucked it up and shaved them to above my ears. Wil affectionately referred to this haircut as the Don Mattingly “I thought I told you to shave those sideburns” Haircut! Don’t worry, my haircut is fine now. This is the first song I wrote once Paper Thin was a band, I’m very proud of it.
Paper Thin EP — 13 —
available now on lost boy records
MUSIC REVIEWS Riff Hard // Thin Lips
For those who had found themselves listening to Thin Lips’ terrific debut EP from last year or caught the band live, supporting the likes of Hop Along, Cayetana and Modern Baseball on various American tours, a full-length record was hotly anticipated. Given this, it’s without surprise that the band did not disappoint. Coming out of the world famous Philly music scene, Riff Hard sees Thin Lips continue to produce their unique pop-punk sound, both raw and harmonious, with some of the most honest lyrics of 2016. Catchy throughout, Thin Lips create simple songs that will infiltrate your brain for weeks. However, the band are really at their best when they flex their muscles, capturing their zeal in songs like ‘My Mouth Is Skinned Like An Apple’ and ‘Andy Weed’. The worst part of Riff Hard is that it’s over in under thirty minutes, so make sure there’s always time to spin it again.
Seeing What I Want To See // Self Talk
Having put out a couple of singles last year, Self Talk have really nailed their debut EP. Full of punchy hooks and lyrics that will resonate to your core, it’s hard to imagine the band not being the soundtrack to your 2am singalong with your best friend on a Saturday night. Self Talk are a band full of energy, evident on most of the tracks here, but it is interesting to note the quieter closing track ‘Coffee & Wine’, featuring stirring keyboard action, which suggests at a more innovative sound then the typical indie-emo-punk to come from these Melbourne locals.
Blisters In My Heart // Martha
If you haven’t heard of self-described “DIY pop band” Martha (from a real village in the UK called Pity Me) then go listen to them RIGHT NOW. The band know how to expertly weave social commentary and incredible lyrics into songs that will leave a smile on your face. Their latest record seems more polished than earlier releases, but lacks some of the spontaneity and creativity found on them. That being said, ‘Chekhov’s Hangnail’ may be a serious contender for best punk song of the year, and Blisters In My Heart is still an incredibly tight record.
Growing Up // Bugs
Brisbane duo Bugs have put out one hell of a debut full-length record, and boy does it hit the spot. From the refrain on opening track – “cute is pretty / but ugly too” – followed up by the back-to-back knockout of ‘Instant Coffee’ and ‘Stutter’, it wouldn’t be a surprise if no one actually hears the rest of the LP after leaving the first three tracks on repeat. If you want to be so overwhelmed with good vibes that you don’t know what to do with yourself, then I recommend you listen to the whole thing. We won’t blame you for falling head over heels for these boys too. — 14 —
At This Age // Signals Midwest
From the explosive opening track, Signals Midwest prove that they aren’t just putting out another record with At This Age, but have instead released a piece of art crafted from blood, sweat and probably a few tears. Fans will rejoice to find the band have deviated very little from the natural evolution of their sound, carved out on previous records. Harking back to the hooks that their debut LP Latitudes and Longitudes was built on, at the heart of every song are some of Max Stern’s best lyrics to date (which is saying a lot given his incredible back catalogue). There is some room for experiment, however, where tracks like ‘Spillover’ and ‘We Drive Forever Like It’s Nothing’ see Signals Midwest play with the space around the sounds they create, rather than just the sounds themselves – perhaps an influence of producer Evan Weiss (Into It. Over It., Pet Symmetry). Taken as a whole, At This Age is a time capsule documenting a band caught in the midst of change or, in a broader sense, a group of people who have evolved and grown over eight years together. Despite this, the anxieties, optimism and passion reflected throughout the record are those we have all felt, and no doubt will continue to feel at times, and that is what makes Signals Midwest such a terrific band. They are a sounding board or mirror of sorts that seems to know you better than you know yourself, but that want you to be the best ‘you’ possible. Ultimately this record has everything there is to love about a Signals Midwest record – hope, love, a bunch of feelings and ten certified bangers in a row. Good luck finding all the hidden-in-plain-sight references (we can count a couple of Smith Street Band and Pinch Hitter ones after only our first few listens!).
Okay // Dowsing
Dowsing are back with their third full-length, an ambitious and polished record from one of the leaders of the emo revival. With all previous members leaving except frontman Erik Czaja, Dowsing have returned stronger than ever to create their best music to date. Opening the record with the lines “punk is dead / and all your friends will be soon”, first track ‘Wasted On Hate’ is exactly the bridge needed between earlier material and Okay. It also acts as a perfect introduction for new listeners, being a summation of who Dowsing are – loud driving guitars, passionate vocals and tongue-in-cheek lyrics that never fail to amuse. Although present throughout the record, it’s easy to see this in song names such as ‘Grunge For Life’ or lyrics like “I’m feeling better / it’s such a chore”. After five years and a major lineup change, it’s safe to say Dowsing have finally found themselves, producing a record full of riffs and lines to shout at the top of your lungs.
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LOST BOY ZINE #7 thank you for supporting LBZ and the community it fosters. huge thanks to ben, karina, laura and spencer for contributing. photos courtesy of: joe andersons (paper thin) sian sandilands (the hard aches/camp cope) zach penhall (high tension) all reviews: oliver dan-cuthbert ollylbr@gmail.com all design: hazel chan chanqyhazel@gmail.com
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— LBZ007 • OCTOBER 2016 —