June 2009 | www.kultmag.co.uk
Contents / Credits
Contents / Credits
kult mag _
Kult Mag June 2009
01 Sketching Out
Drew Millward _04 Dirty 30 _10 Kojack _13 Mr Penfold _14 Luke Drozd _16 Best Joined Up _18 Retro Chavs What Paint Shit _20
Music
Uninformed Journalism Leaves a Sour Taste _26 Flying Lotus: Interview _28 Album reviews _30 A huge thanks goes out to all the people that contributed towards the magazine to make it what it is... Drew Millward, Mr Penfold, Luke Drozd, Coil, TMS Crew, Dirty Thirty, Flying Lotus, Legoman, Rob the Controller and DJ Indecision
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Assistant Editor: Sophie Harrison sophie@kultmag.co.uk Music Editor: Euan Booth indecision@kultmag.co.uk Contact & Advertising info@kultmag.co.uk Further Assistance from: Nick Franklin, Mr Lega, Nina Reece, Matt Boult, Bodie Cameron, New Bohemia, Soundwave Festival, Kojack, Hedley Smith and Geenee
The Kult Team
Editor & Designer: Ralph Peskett ralph@kultmag.co.uk
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Sketching Out
Sketching Out Drew Millward Drew Millward was born in Coventry, grew up in Bolton, and now lives in Leeds. He draws pictures, some of which you can see in this article. If you like his drawings, please feel free to let him know, he is a friendly sort, and will most likely write back. If you are interested in having Drew create some work for you, then just get in touch. Firstly, tell us a little about yourself and how you came about to do art? In truth, it’s about the only thing I’m any good at. The windows of opportunity to be doctor or an accountant were very much painted shut. I realized that I could just about muddle through by making pretty awful work. I did GCSE, A-Level, Foundation and a Degree in Fine Art. Personally it wasn’t for me. It put me off making art. It was only after about two years of office work that I started to draw. From then on, that was pretty much all I did. Kult Mag June 2009
Originally it was to advertise gigs we were putting on, and from then on I got asked to do more work. The rest is history so to speak. Ten words that describe your artwork? Curvy, Crispy, Incoherent, Tight, Hairy, Mature, Cold, British, Colourful, Dark. How did you make a name for yourself? I was christened. I have my mother to thank for that. In terms of making work, I guess
Scrawl Showcase
Scrawl Showcase 01 Gig poster for The Melvins at Leeds Univerisity Stylus 02 ‘The Beast’ 03 Gig poster for The Gallows at Leeds Met University
I got started making posters for bands. It’s a great place to start. It gives your work a purpose and a platform. I guess it’s a bit more of a challenge to get your work seen if it has no real purpose. Often great work can just be put in a portfolio and forgotten about, and in a market that is so saturated with people trying to be illustrators and designers, once you get the opportunity to legitimately put your work on flyers and walls, it gets seen.
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How many illustrations do you do a month on average? Generally I try to get at least one or two projects a week finished, but usually more. It also depends on how difficult or involved the drawings are. Basically, there is no answer to that question. Do you have a full time job alongside working as a freelance illustrator? No, I work freelance full time. It’s equally rewarding and demoralising. What do you enjoy the most about being a creative professional? Working in my pajamas. No company on earth would put up with it. I also love the fact that I am my own boss. You are constantly working for the client, but it’s all down to you. If you fail, it’s your own fault. When things go well, it’s pretty rewarding. The
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“Contrary to popular belief, I do know what a vector is; I simply have no fucking idea how to make one” solitude of working alone can be a blessing and a curse, but in my case, probably more of the former. I’m pretty grumpy a lot of the time, and I’m not very good at taking orders, never have been, so working alone suits me fine. Motivation to get up in a morning is down to the love of the work and the need to pay bills. If it was just down to paying bills I would have given up a long time ago. I’ve heard that you don’t know what a vector is, is this true? Ha! Good news travels fast. Contrary to popular belief, I do know what a vector is; I simply have no fucking idea how to make one. What tools do you use? Can you talk a little bit about the
process of creating your complicated drawings? I still work in a very traditional manner. Although I do use Photoshop I try my best not to rely on it too much. Basically everything I do is pretty much ‘hand made’. I’m interested in the tradition and craft of illustration. I suppose that I try to keep to the thought that what I do in Photoshop is still something that can be done by hand. It’s just easier and quicker to use that particular tool. I draw with pencil, and then Rotring Isograph pens. Sometimes brush and ink, but still very much a hand made aesthetic. People often mistake my work for vector created stuff, but it’s just a lot of years practicing and experimenting with mark making.
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01 ‘Deerhoof’ gig poster design 02 ‘Gallows’ band promotion 03 Skate deck 04 ‘Mogwai’
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Which artists inspire and influence your work? There really are too many to list to be honest. I’m pretty much influenced by a whole
lot of things. There are an awful lot of great painters and illustrators whose work I really admire, but I wouldn’t class too much as a direct influence. I love the work of James Jean, Aaron Horkey and Heiko Muller, but I wouldn’t necessarily say that my work is particularly similar to any of them. I would say that in terms of influences I’m certainly interested in Japanese prints and paintings, usually from around the 1700 – 1800’s, Edward Gorey, Maurice Sendak, 80’s Skate Graphics, Occult Imagery, Tattoos, Literature and Music. It’s really difficult to pin point specific influences. Pretty much anything can spark off an idea that turns into a piece of work.
Where can you see your work going in the next ten years? Hopefully it will stay on people’s walls. Personally I’d like to continue doing what I am doing now. I’d very much like to branch out in to making toys and possibly making some more clothing. I’d like to paint more. Do you have any projects lined up for 2009? Yeah, loads. Many I’m not allowed to talk about at the moment, but there are some interesting and exciting things in the pipeline. There are also going to be a lot more posters and prints this year, since pretty much all my work will now be published through postersandtoys.com. myspace.com/drewmillward drewmillward.com p _09
Sketching Out
Dirty Thirty
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01 ‘The choice is made, the traveller has come’ 02 ‘Panzuzu’
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For more work visit www.dirtythirty.com
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flickr.com/lookatkojack
Sketching Out
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Sketching Out
Mr Penfold Can you tell us a wee bit about yourself? My name is Mr Penfold. Born and raised in Cambridge UK. I work as a freelance illustrator and full time screen printer, oh and I work in a bar. I’ve been drawing ever since I was a nipper, and hopefully I’ll be drawing forever more! How long have you been in the design industry for? Did you come from an arts degree/artsy background? I’ve been freelancing for about 3 years. I’ve got no art degree or education. My father is a master screenprinter, so I’ve been surrounded by art my whole life. I also seem to have been surrounded by my good friends who all seem to have become artists too. Just how do you get those lines looking so damn clean? Well.... that would be telling. I think its just practice. The pen does make a difference. Poscas are your best for crispy lines. I always found that when drawing on a large scale using your whole body instead of just your wrist, makes your lines smoother and more natural. How long did it take you to find your distinguishable style? I think it’s taken a quite a few years. I wouldn’t say I’ve ‘found my style’ as I like the idea that my work is always progressing. I’m not going to stop it from changing into something different. Is there a concept/reason behind your cocknosed men? Haha... Yeah they’re based on a few old drunkards that used to come into my pub. I love the way that you can see someone’s past in their face. They didn’t always look (as you said call them)
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‘cocknosed’ its just how the shape has developed and turned into a slightly phallic shape. What’s been your favourite job/client? I’ve been real lucky and only had a few clients that have messed me around. Each job I do is always so different so it’s hard to compare them. I’ve been working with german based clothing company 667 for a year or so now and that’s a wicked job, such nice guys. Also I’ve been doing the spoonfed flyers for the last two or three years. Which artists work inspires you? Anyone who’s working hard and having fun. I’ve always been a fan of TLP, FLYING FORTRESS, and some of the other clean, crisp lined street artists.
What’s your favourite album? Oooo tough one.... well right now I’ve been listening to a French producer called Tayreeb (the mans a genius!). My iTunes is always on constant shuffle so it all gets mixed up, and it’s hard to put my finger on one artist, but that’s the most recent album I’ve bought. Have you got anything lined up for 2009? My girlfriend has just set up the new clothing project I’m involved in. Maybe a few shows... you’ll have to keep an eye on my blogs to find out what and when they are. penetpaper.bigcartel.com mrpenfold.blogspot.com
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01 ‘Neptune’ gig poster 02 Flyer design and illustration for Komakino 03 Gig poster for The Cellar, Oxford
04 Poster for ‘Hug-APalooza’ For more work visit www.lukedrozd.com
Luke Drozd Luke Drozd (b.1981 Derby UK) is an artist based in London who is intent on creating a body of work that is visceral, rich and varied. He studied BA Fine Art at Leeds Metropolitan University, Leeds, and is currently studying a Masters in Fine Art at Chelsea College of Art and Design, London, whilst at night creeping through the corridors of the world of contemporary illustration. His solo work has been exhibited internationally at; the closing party for the Scottish Pavilion, the Venice Biennale, Scotland’s Six Cities Design Festival, 2007 Jerwood Drawing Prize and shows with Dazed and Confused Magazine. He also works with a variety of arts collectives including The Werewolves of London and Leeds, England based Black Dogs. His client based work is broad in scope, from poster design for DIY bands and t-shirt companies to Sony Playstation and Warner Brothers Records. Recurrent themes seem to involve modes of communication, mutilated animals, lesser Gods and an ultimate sense of impending doom.
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Best Joined Up
Best Joined Up
Kult Mag June 2009
Best Joined Up
Best Joined Up is live art event and artists network that was put together after the promoter of clubnight New Bohemia asked doodler, illustrator and designer Bodie Cameron to help launch a live doodle event that could be held alongside the clubnight. After two days of measuring, one month of spamming, 20 litres of paint, 480 square feet of wood, one flyer and two sponsors, the event happened. Quickly growing out of the room it was spawned and the event moved into a swanky conservatory and started to invite artists, illustrators, graffiti writers, animators, photographers and all manner of creatives from across the country to come along and join in. A tour soon followed seeing some of the resident artists travel up, down and through seven cities and three festivals in the United Kingdom, Rome and Croatia. Minds met, collaborations were formed and the ever expanding network brought in commissions from redecorating the diesel store to customising two giant sumo wrestlers for Yorkshire Sculpture Park! Two exhibitions were curated and launched successfully along with a sister online gallery store - Subism. The event continues to draw in fresh artists and is focusing increasingly on supporting the artists involved through finding and sharing commissions and actively raising the awareness of their work. bestjoinedup.com myspace.com/bestjoinedup p _19
Retro Chavs What Paint Shit
Kult Mag June 2009
Retro Chavs What Paint Shit
Coil, TMS WHY COIL? At the time I was just really frustrated with my old letters, so wanted to change them, and I’d just been nicked as well so kind of had to change my name in that respect. A couple of the writers that I really looked up to in Oxford (LEASH and CRAM - CDS) certainly used to have a particular style, which was a kind of symmetrical shape. In fact I used to do my first ever pieces by drawing a sideways oval and fitting my letters into the shape in order to make it symmetrical! Toy hahaha... But anyway I was just playing around with the letters, and I realised that the C, because of its shape lent itself naturally to that style, and the bottom bar of the L could be used to kind of take the end of the piece down to a tapered end. Obviously now my pieces aren’t all like that, but the symmetrical thing doesn’t seem to go away. It’s a good formula. Where did it all start, were you always an artist, were you always into art, even before graffiti? I would say so, I mean I’ve always loved drawing and the general fine-art side of things. Since doing my Art Foundation and going on to University I’ve got heavily into illustration and graphic design, which now looking at it seems like a pretty natural progression from the graff. WHY’S THAT? It’s only really since I’ve been into graphics and illustration that I’ve realised this, but graff has taught me so much about composition, balance, and colour. You know just small things like where you position your piece on the wall can make such a big impact. If it’s a big wall then it’s all about the negative space. If you’re gonna put your tag next to your piece, where can you put it that it’s not going to upset the piece? What’s the composition of your
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letters? Do they sit snugly together, or is there big spaces between bits of them? Are all your letters the same size, or do they grow from one side of your piece? I think most importantly, is it balanced and do your letters flow naturally from one to the next? You can have the most def wildstyle letters and no flow or balance and the piece just won’t work. On the other hand, you could have the most simple letters in the world with a really nice flow to them and a good balanced piece, and it’s a burner. This, for me, applies just the same to graphic design and illustration, whether it’s your typography, your characters or your narrative. As for the colours, wow. There’s so many colours of spraypaint available, you have to be careful you don’t just bosh ‘em all in and end up with a big gaypride flag you know? But having said that, big colourful pieces are always dope... I will say though, its like the balance and flow - you could have a piece with a next colour scheme and no style, but the stylish black and white piece always wins hands down. You can’t hide lack of style with colours. All of this stuff though, it’s all down to personal preference. One man could completely love one piece, but the next man could hate it and both opinions are valid I guess, just as in graphic design
Kult Mag June 2009
and illustration. Graff is what you make of it, and the beauty is that there are no rules visually, and any rules there are should and do get broken. You can do whatever the fuck you want. What does TMS crew stand for? Many things haha... Originally it was TradeMark Shapes but now it can stand for whatever you want it to really, my favourites are The Manz Society and Touch My Stiffy hahaha.... What inspired you all to get into graffiti? Pretty much the same shit really, just seeing graff around Oxford and loving it, and wanting to be a part of it. Also the destructive side of it is really addictive you know? Once you start you just can’t get enough. I get the same feeling of satisfaction from standing back and looking at a nasty filthy drippy tag, or big bashy dub as I do from standing back from a full colour burner - if not more. What’s one of the most interesting writing experiences TMS have had? All the best times come from bombing. TMS have been quite lucky in that we’ve never been chased, but getting away from the PoPo is always good. When I was in CDS crew, me, LEASH, CRAM and
HYPE decided to do a rooftop far too early in the evening. I was just doing my fill when the 5.0. rolled up in two cars and shouted that they had the building surrounded. We checked our way down and sure enough they had it covered. LEASH being the nutter he is refused to give up, and found a wall on the other side of the building that just dropped into blackness, but no police. Without knowing what he was falling on to or how high it was, he just went for it. His exact words when he landed were “It might hurt a bit but go for it”. It turned out his fall had been cushioned by a massive bramble bush man I was still picking thorns out of my hands and arse weeks later! Anyway we ended up hopping over a few gardens, and then just giving it legs and we all made it away. While we were running we were laughing so hard man, I’m surprised none of us fell over haha... You’ve had a few run ins with the criminal justice system. Do you still enjoy painting as much, or are you more cautious now? is the enthusiasm still there? Oh man I’m super cautious now, but to be honest getting nicked and going to court just makes me want to get one over even more you know? I’m just really careful now about the spots that I paint, and
who I paint with. But illegal graff is so important if you’re a writer, it’s not a habit or an urge or any of that shit, it’s an instinct. It’s part of who you are. How do you feel society look at Graffiti in this current day? Well thanks to Banksy people think that stencil art and street art and all that shit is graffiti, when it’s not. I hate it when people get it confused! It’s a totally different art form! Real hardcore writers wouldn’t even call graffiti an artform, for them it’s purely about destruction. But anyway, the public are a lot more accepting now. I’ve found they generally don’t like tagging, but can appreciate pieces. What track is that playing on your i pod as we speak? At the moment I’m bumping Pt. 1 of the J Dilla tribute mix by J Smooth - ‘The Underground Railroad.’ What do you think of Graffiti in the UK? The standard is so high now, it’s sick. You’ve got to be so, so good and original to stand out. Crews like RT are really pushing the UK scene internationally, and that’s big. One thing I hate is the lack of respect - when I was learning to paint I’d never take out a better piece with my attempt, p _23
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standard. It’s the unwritten laws of graff that no-one should break, but kids now don’t seem to give a fuck. Another thing is that it’s getting harder. Not just for trains, but even walls. One of my friends got arrested recently painting at an illegal HOF that’s been painted by all the Oxford writers for years, and we thought we’d never be hassled at. Someone else apparently got arrested painting a fully legal wall in Cowley! There are some local councils that have taken a really forward thinking progressive approach to graff, like Brighton, and look what happens. Brighton’s got one of the best scenes in the country. But fuck it, there’s always a way to get over... have you got any Shout outs for anyone? Kojack, Real, Fusa, Poster, Vier, Dens, the rest of the TMS family. Evo and Livestock. All the Free Range crew. CDS and KTF. RAW and LLP. All the Curry Club - for those that know... Finally anyone who’s painting burners, tagging, doing dubs, painting trains keep representing!
Kult Mag June 2009
Uninformed Journalism Leaves a Sour Taste
“He creates music for 12 year old girls to make up dance routines to at sleepovers” Kult Mag June 2009
Out of habit, I always take the London Paper or London Lite when they are thrust at me at every tube and bus stop in London. So it was, on my daily commute, as I found myself scouring the pages for something more interesting to read than the fact that the ugly one from Eastenders had gone up two dress sizes, that an article caught my eye. A recent survey had worked out that fans of certain artists in the music business were less intelligent than others. Apparently, it’s the case that those who listen to Beyonce are far less intelligent than those who listen to Radiohead. Beyonce has, in fact, the number one most
unintelligent fan base. I didn’t care much about this conclusion. Firstly because I don’t know any Beyonce fans to now call stupid because a free London paper has invited me to, but secondly because it’s a sweeping generalisation and probably complete rubbish. No, what interested me was who came in at number two. A certain Lil Wayne. Now before I continue I must make myself clear. I am not a fan of Lil Wayne, I have not knowingly ever listened to a Lil Wayne song, and I have read enough reviews of him not to want to. What annoyed me was the way the paper referred to him as a ‘Hip Hop artist’. No doubt when this survey gets talked
Uninformed Journalism Leaves a Sour Taste
about in the pub and someone asks ‘who was second?’ someone will answer, ‘Oh, some Hip Hop artist.’ But to many people Lil Wayne is not a Hip Hop artist, he is a pop artist, as he makes popular music or chart music. He creates music for 12-year-old girls to make up dance routines to at sleepovers, or to wild out in a club to. His music is not for those who really understand and know about the culture of Hip Hop and what it stands for. He is another Flo Rida or Soulja Boy (basically the Hip Hop equivalent or Will Young and Gareth Gates); to quote Human Traffic, ‘cheese on toast bollocks’. But to others of course, Lil Wayne is a Hip Hop artist. He was a member of the Hot Boys, a collective from New Orleans and signed to the Southern Hip Hop label Cash Money Records. As well as releasing music, which could be, classified as R&B and
Pop, he has many songs which are classified as Krunk (a sub-genre of Hip Hop developed in the South). The thing is I am a massive Hip Hop fan, yet do not have one Hot Boys record. In fact I have no Krunk at all in my collection quite simply because I do not like it. You see Hip Hop is an immensely broad genre of music. Any fan will tell you the differences between West Coast, East Coast and Southern Hip Hop. Let alone the different styles of Hip Hop - there is Electro Rap, G-funk, Hardcore Rap, Golden Age, Freestyle, Dirty South, Alternative Rap, UK Hip Hop, Gangster Rap, Comedy Rap, Christian Rap, Trip Hop, Underground Rap, Turntablism, and Latin Rap, to name just a few. The differences between say Edan and M.O.P are phenomenal considering they are included within the same genre of music. The point is that for those who do not generally listen to Hip Hop this kind of uninformed journalism can give very much the wrong impression. Personally I believe Lil Wayne is one thing but Hip Hop is quite another and much of it, far from being stupid, is extremely intelligent. The lyrics of the Killah Priests classic One Step were put on an undergraduate reading list by Oxford University’s English Department for their stark portrayal of inner city poverty. If it’s literary awareness you want, Street Life’s verse on P.L.O. Style begins with ‘Oh! What a tangled web we weave,
when first we practice to deceive’ which is a direct quotation from Sir Walter Scott (it has long been a common misconception that Shakespeare wrote these words). It was actually a friend of mine who spotted Street Life quoting this phrase, a friend who happens to be reading Classics at Oxford – and also an expert on the Wu-Tang Clan. The example I have drawn upon here is one piece of misguided journalism amongst many. The problem is that the power and influence of the media on the publics daily choices and perceptions, and the high circulation of these newspapers mean that these surveys only serve to enforce stereotypes and pigeonhole the public as a collective rather than as individuals. These surveys are a lazy form of journalism, too vague to make any worthwhile social commentary and do not enlighten or prove anything. As for Lil Wayne, I would like to quote The Guardian’s Malvolio rehash: ‘some are born great, some achieve greatness, and some simply snatch it while everyone’s looking the other way. Step up Lil Wayne’. Article by Legoman
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Flying Lotus recently tore up a New Bohemia gig at Leeds University blending his own hip hop beats with soul, dubstep and a warm up from Gaslamp. Kult Mag was of course on hand to grill him... Where does the name Flying Lotus come from? Astrodynamics, flight, sound, you know new age travel through music man. Some of your tunes resemble video game sounds – 8 bit kind of sounds. Memories of video games you played growing up? Yeah man. A lot of Nintendo ya know. I grew up on Nintendo. I’m used to hearing those sounds in my life. Haha. I remember playing that shit for like two hours. The same fucking tune looping for two hours. Those are good memories for me. You were a film student before you became successful with music. What are some of your favourite films? Old boy, Godfather 2, Itchi the Killer. Pan asian film. Err… A lot of the Asian stuff man. Adult Swim, Massage Situation on the Boondocks spot... How did it come about? Oh man. That was just love. I used to watch the show and one day they used my music on
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it. I was just watching tv and it happened. It was really crazy. What is Brainfeeder? It’s my sort of label and home for some bands and fellow artists to do exactly what that is - to feed peoples brains and to inspire. To create inspiring music that makes people think. Maybe it’s dance orientated sometimes... How did the collaboration with Andrea Triana on Tea Leaf Dancers come about? She was interested in working with me, she heard my music and I just said for sure, why not? People like yourself, Ras G and GLK have influenced a whole new niche of music in Europe. Some of my mates call it post-Dilla glitch hop. Have you heard any producers that you thought were particularly good or doing something interesting with their sound? Oh right, ahh, thats cool.
That’s kind of more than a box I’d like to be in though you know, I dont really like to pigeon hole, but ahh, Burial, I’d like to work with. What can we expect from you in terms of upcoming projects? Yeah, I’m working on a cartoon right now. I’m doing a DJ Kicks thing, and, another album next year. myspace.com/flyinglotus flyinglotus.com Interview by: Nina Reece
Album reviews
L one : C l u ste r D re am s
Kult Mag June 2009
Lone’s new EP ‘The Cluster Dreams’ is complete donnage! You’re thinking, what the fuck does donnage mean? Well, to put it simply, it’s having or displaying the properties of a don. A term I do not use lightly! Lone (Matt Cutler) is the former producer for Kids in Tracksuits, the fairly well known Nottingham Hip Hop collective. He’s now turning his don like hand to some next level sheeeeat! Lone’s style seems to be an amalgamation of all the good elements of Flying Lotus, Boards of Canada, Sa-Ra, Prefuse 73 and Samiyam to name a few. It seems to have a strange and mysterious soporific effect on me, especially on a train or a bus. A soon as you press play you’re transported into a world of spacey synths, washy analogue keys and nostalgic 80s Nintendo effects, layered with the crunchiest most compressed snares you could ever wish to come across. Basically, if Mars had a beach resort they would almost certainly be chilling pretty damn hard to this shit! Lone is one of the most underrated producers in the UK right now! Go and buy this EP! By Rob The Controller
Album reviews
Ann Arbor, the suburb of Detroit has produced some incredible talent. Since Iggy Pop, Marvin Gaye and Uriel Jones have crossed the interstate into Detroit superstardom, the tiny (for american standards) town of Ann Arbor has still got another offering in the 21st century in the shape of the 20 year old, production vocal supremo DJ Haircut, aka Mayer Hawthorne. Legend has it that the lead single ‘Just Aint Gonna Work Out’ found itself in the hands of stones throw head honcho, Peanut Butter Wolf, and, upon first hearing, Wolf thought it was ripe for a now-again style re-issue. As it happens, it had only been recorded 6 months previously. I’m confident I wouldn’t need to listen to the remainder of the album to pass judgement on it. Having already heard 70% of the tracks through pre release and already released singles, this is already something special. From ‘Just Aint Gonna Work Out’, to the follow up, ‘Maybe So, Maybe No’ is already an indication of the talent of this man. Crunchy, original beats form the backdrop to Mayer’s falsetto vocal and incredible arranging skills echoing right back to Marvin Gaye all the way through to Warps Jamie Lidell. As well as his own productions, from the raw and stripped down drum breaks to the thick string accompaniments, it is a classic in the making. Buy before you try. By Euan Booth
M aye r H aw t h o rne: S elf T itl e d
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Kult Mag June 2009