CONTENTS
Interview: Las Ligas Menores.......................4 Le Temps Detruit Tout..............................6 Interview: Laura-Lynn Petrick......................12 Interview: Richard Reed Parry.....................18 Gig review: Yo La Tengo...........................21 It can be cool to grow up.........................24 Interview: TOPS................................... 26 Album review: Tyranny.............................28 About books........................................30
LAS LIGAS MENORES ¿How did you meet, got together and started Las Ligas Menores? ¿Why did you choose that name? We (Micaela, Pablo and María) met each other in highschool but started playing together after we had finished it. In 2011, Anabella (María’s friend) joined the group. Upon mixing her songs and the ones we already had, we started to realise that we liked what was coming out of it. A friend of ours invited us to play at his house backyard and we accepted. On that first show we still didn’t have a name (but a horrible pseudoname that we hopefully discarted). Talking between us in that moment, the idea of calling ourselves Las Ligas Menores came up. The name is because of Pavement’s ‘Major Leagues’
(and also as an infinite reference to the amateur). Not much later, Nina joined the band (also friends with María but from college) and that’s when we properly became Las Ligas Menores. You are part of a small band community -Discos Laptra- that is growing more and more, how do you live that from the inside? We feel like a brotherhood. Laptra is kind of a disfunctional family (but one of the good ones) formed by bands that help each other and everything that is created around us is a reflection of what happens inside. One of our favourite things
from you is the artwork on the album and flyers. Who’s in charge of that? There are a lot of designers in the band so the final image comes from long debates. Generally, Ani takes care of the flyers and she’s the one who designed the artwork of El Disco Suplente, while Nina was responsible for the LP art. Jack White in a recent interview said that it’s a pity that when women go on stage they are seen like “oh isn’t she cute”. You’re mostly women, what is your opinion about that? Do you think it’s more difficult the music industry for female artists?
We’d love to. The guys from Hallo DIscos helped us with the casette and now we’re trying to edit the album on vinyl (it seems there’s kind of an issue with the importation of the material to do it) -Which is your favourite thing about being in a band? Being in a band, as every teamwork has its pros and cons. Luckily, we’re foremost a group of friends so we’re always eager to talk when there is conflict and enjoy it twice when we do well as a band. It’s not the same to see when people get excited over your friend’s song than a coworker’s one.
The truth is we never felt a difference. Even though in the beginning we were approached by comments like “they are invited because they’re girls”, we always believed it had more to do with how fast everything happened to us. We feel Jack White’s opinion comes from the “traditional” rock world, a more limited vision. The kind of music we play and the circuit through which we move is far less obtuse and intolerant. You recently released your debut album on casette, do you plan to release it on vinyl soon?
You can listen to their music on: lasligasmenores.bandcamp.com Interview by Merra abd Josefina Illustrations by Clara Stina
S P M E T LE T I U R T E D T U TO t
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W e could say that his career started when as a young boy he
saw Kubrick’s 2001, the best movie he saw in his life (along with Heneke’s Amour and Lynch’s Eraserhead). He stated that it clearly influenced him to make Enter the Void’s psychodelia.
S eul Contre Tous (I Stand Alone) is Noé’s debut film. It was
born of his 1991 short film, Carne, and it takes up the butcher’s story played by Philippe Nahon. Although the term “provocative” given to Noé years later (because of the rape scene in Irreversible or the abortion one in Enter the Void), in Seul contre tous he is more provocative than ever using titles in Godard’s way, words that question human morality and inviting the spectator to leave the
screen 20 minutes before the movie is over, because in that ending there is not only violence (which had already been present throughout the film) but also the peak of the main character’s neuritism, after a crescendo since the beginning. Despite all the harshness and horse blood (the butcher works with horse blood), Seul contre tous, in its way, turns out to be the most optimistic of Gaspar’s movies because of the characters’ search for freedom and because of the way he leaves behind morals to achieve genuine existence –like Heidegger would call it-, even though it makes him commit violent acts. We shouldn’t forget that he is the victim: he is the victim of himself, of his condition as a human being.
Ihalf).sawTheIrreversible twice (and a first time I was alone, I
couldn’t sleep and for some reason I wanted to watch a “strong” movie. It is clear that it didn’t help me sleep. Irreversible is simply terrible but in that horror there is a genius thing that made me force some friends to watch it.
We got to the middle of the film and turned the thing off because it was really depressing (we didn’t even get to the end, the most depressing part of the movie). The third time I watched it I was alone, again, and it became one of my favourite movies. In 2002, Seul Contre Tous’ butcher appears for the last time on that first scene in Irreverible, only to clarify the end of Noé’s debut film. In comparison to that one, Irreversible is much more experimental: the camera goes round and round moving from one side to the other and never leaving us a rest; it makes us uncomfortable and even for some people it may seem irritating or tedious. This represents a technical challenge much bigger than in his first film (especially on the editing process, in which, for instance, they had to discard all shadows that took away the realism from the scenes). Also, Noé tells the story in reverse: in the beginning we see Vincent Cassel going into kind of a gay antrum, the Rectum, looking for someone. We haven’t got used to the camera’s movement yet; the Rectum is dark and disgusting, it can be heard psychotic music from Thomas Bangalter (yes, the one from Daft Punk) playing in the distance and soon we realise that Cassel is searching for someone to take revenge. After some minutes he finds him and kills him brutally. But why does Noé tell a story in reverse? That’s exactly
why: we don’t know why he wanted to take revenge, why he did what he did, and that’s why we automatically feel rejection: we judge him. However, half an hour later the scene for which Irreversible is known appears on screen: the rape scene that shows us the cause of revenge. It’s so realistic and brutal that from that moment we begin to judge more the rapist than the murderer. Noé in some way plays again with morality. This time in a more cruel way: he plays with the viewer. But the most terrible thing of the movie is that the more back in time it goes, the crueler it is, because of the discoveries we start doing. By the end of the
movie we see Vincent Cassel and the victim, played by Monica Belucci (the duo make an incredible performance) before everything happens, being happy and unaware of the fact that for Gaspar Noé time destroys everything, men are self-destructive and violence is his nature.
Itechnical f Irreversible supposed a challenge, it would be
nothing compared to Enter the Void, his more visual and psychedelic film. Even though Noe started writing the script 15 years before its release, it was delayed because he was afraid the movie would look cheap and
would be a failure because of “the effects not being believable”. When Noé tried ayahuasca, he started drawing his trip to later picture it in one of the first scenes of Enter the Void in which Oscar , the main character, smokes DMT, the drug that according to numerous theories is the spiritual/soul molecule. It can be found on the pineal gland that appears on the human fetus on the seventh week of pregnancy (49 days). The main idea of the last Noe’s film comes from the Tibetan Book of the Dead, which basically says that it is possible to reach a moment of illumination after death so that the soul can reincarnate after 49 days. It is not a coincidence that Oscar’s best friend tells him about this book. Neither is that hours after smoking DMT Oscar dies and his soul leaves his body to fly over a surrealist Tokyo. These air shots are the most beautiful ones from the film and for Oscar they can conclude in only one way: reincarnating. The end holds a kind of enigma that allows us to freely interpret whether Oscar
truly reincarnated or not. In this way Noé doesn’t shoot his pessimism towards us but lets us choose: in case he does r eincarnate we can consider it a happy ending but if he doesn’t, it’s the worst that could have happened to Oscar after dying (if we take life as a nonsense). Of being this way, it would mean returning to the void, which is clearly Noe’s version of life: he has said he doesn’t believe in reincarnation. He has this pessimistic theory of life, just like Woody Allen, whose films Noé compares to his own because of the melodrama and exaggeretated style of reality.
Nowadays Noé is working on
his fourth movie, Love, from which he hasn’t said anything apart from it being “a very sentimental erotic film which celebrates sex in a joyous way”
tape #1
I NEVER LEARNT TO SHARE- JAMES BLAKE ROSA- GRIMES FITZPLEASURE- ALT-J GOOEY-GLASS ANIMALS LIES-CHVRCHES I CAN CHANGE- LCD SOUNDSYSTEM SOBER-CHILDISH GAMBINO POWER- KANYE WEST GENESIS-GRIMES STRANGE MERCY- ST. VINCENT A DAY IN THE LIFE (FT. MILEY CYRUS)- THE FLAMING LIPS http://8tracks.com/sillage-zine/tape-1
l a u r a l y n n p e t r i c k
Did someone introduce you or you just grabbed a camera and started on your own? I was really interested in documenting my youth. I had many junky digital cameras, but they would always break from our evening debauchery. Eventually at the age of 16, my father passed down to me a Yashica Fx 3 Super 2000, a camera my grandma had given him. She was an incredible film photographer, so he knew the ropes and showed me the basic mechanisms of the camera. Few days later I went to the local Zellers and bought film and batteries. For a while I made my elders load my film for me... I remember at first it was very tricky, figuring it all out. Some of those mistake photographs are my favourites though. All your photos I’ve seen are in film, has it always been like that? Do you develope the film by yourself? Since about 16, when I figured out my film slr, I had been shooting film. I felt a connection with the quality and timeless feeling you got from looking at the images. Although my photos were taken in the late 2000’s they appeared from another time. I definitely fell in love with that. I do not develop my photographs myself. I have taken darkroom courses, and developed about 6
black and white rolls on my own before. I have a close relationship with my developers, they run a local camera store, West Camera, here in Toronto. I think when I’m older, and have you know, a house in the country, I will maybe experiment with developing my own photographs. For now, I do not have enough free time. It is a very meticulous and long process. I leave it to the experts. How did you start photographing bands? My best friend Kai is a very talented musician (SPECTRE/ Sunshine & The Blue Moon) We have known each other since grade one. I love to photograph Kai, in all his forms. Since my teen years, I’ve been consistently surrounded by creative musicians. It just came naturally. I would attend their shows and we would have a bash after, and I would photograph it day in day out. Now I am completely surrounded by some groundbreaking musical talents, and I feel it is my fate to document their evolution. You’ve taken like thousands of photos of Mac DeMarco and the whole band and they all look like you were having the best times. How is it photographing them? When did you meet them for the first time?
Mac is a real gem of a man. He lights up a room. I first met him in Summer of 2012, in Parkdale in Toronto, at a smoke shop. He was playing a show that night in the hood. We went for a few beer with some friends and I took some photographs of him in the alley way. This picture came of it. He has a really genuine feel about him. It’s always a laugh when Mac & the band come to town, we get into the drinks and some major goofing around. They’re comedic and charming guys. Mac was just in town the other day, we lived it up, cab
bing around, even Jacuzzi’d. It’s a pleasure to be around him & the band. They really know how to have good classic fun. Could you tell us about your current Toronto music scene documentary? Toronto is a fierce breeding ground right now for some seriously innovative music. I’ve been going to shows consistently for the last couple years, and it is quite evident. There are a multitude of sounds coming out at shows. There is a
throwback happening, some kind of musical mosaic happening of the past’s timeless genres, particularly psychedelic music. I have been particularly inspired by TheAuras, a garage/psych band I met about a a year and a half ago. They are mindblowing... As well as some great friends of mine Sunshine & The Blue Moon, Michael Rault, Dirty Frigs, Calvin Love, Doomsquad, to name a few. Do you have any “dream band” you’d love to photograph? Most of my dream bands are passed away or like sixty plus now. I have always wanted to photograph Method Man... You’ve also worked in fashion like for American Apparel and some vintage boutiques. What do you enjoy the most about fashion photography? It is a fun project shooting fashion. You get to create a visual story with the clothes and the model. Most of the times I shoot fashion I was blessed to shoot with my friends who are models, so we had a nice connection and honest chemistry while shooting. I enjoy the interesting pairing of fashion and our natural environment. Like shooting a woman in a leopard coat in the middle of a forest. The patterns and textures can be so beautiful. All in all though, I find fashion to be a bit too finicky, a little too contrived for my liking.
I do it on occasion now with people I really love to work with. Finally, what do you think is the best thing about photography? The ability to capture a feeling which existed between you and the subject. It’s sometimes momentary and so brief. A photograph allows you to remember that moment and you can revisit the feeling anytime by looking at the image. There’s something so special about that. RECOMMEND 5 BANDS
THE AURAS MOLD BOY
SUNSHINE & THE BLUE MOON
THE NATIVE SMOKES JAUNT
Photo #1 by Tess Parks, #2, #3 and #4 by Laura-Lynn Petrick
RIChard REED PARRY - How did music appear in your life? Which was the first instrument you learned to play? Music has always been in my life. I was born into a family/ community of folk singers from the British Isles, which is a very particular angle of musical upbringing to have so I grew up singing a lot, singing harmony in groups with other people. But I was never really trained on an instrument besides having handfuls of lessons on a few different things - piano, drums, guitar.
A few months ago Music for Heart and Breath was released. We find extremely fascinating the concept from which it was born: the music is based on the rhythm of the musicians’ heartbeats. Could you explain us how does it work? How did the idea of making a record like that come up? I had the idea when I was a student studying Electroacoustics, and I was collaborating a lot with contemporary dancers, doing different kinds of performances, and thinking a lot about the
relationships between dance/ movement and music/sound. The idea to write delicate chamber music completely tied to the internal rhythms of the players just popped into my head one day in a class and I knew that one day it would yield a lot of beautiful results. It’s simple and complex how it works: the players wear stethoscopes and are either playing in synch with their own heartbeat, or their own breathing, or taking cues from another player following their own breathing. And from there, it works in many different ways, depending on the piece. You’ve collaborated several times with The National like in Music for Heart and Breath as well as in one of their records, High Violet. How did you meet them? How is it working with them? I met The National on AF’s Funeral tour, in Amsterdam, playing at the Paradiso. We immediately bonded. They are great to work with, and Bryce produced my solo record. We are always looking for excuses to work together. - Regarding Arcade Fire, the Reflektor Tour recently finished. How was the experience in the different countries?
Every country is different, every person is different, every crowd is therefore completely different. We had an amazing time in Latin America this year, those are exceptional crowds.Very musical. - How did all the covers you did during the tour come up? Did you take your time to prepare them? The covers came about because 4 of us started a cover band to just learn old songs and blow off steam sometimes but then it seemed like fun to incorporate all those songs into AF show, as a way to connect specific-ally to the place that we were playing. rather than it just being “Hello Rio de Janeiro” it would be “Hello Rio de Janeiro, here’s a song by Caetano Veloso that we love”. Better way to visit a place. -Which things inspire you besides music? (like certain books, movies, experiences, etc) Graphic novels of Shigeru Mizuki, Blade Runner, John Steinbeck, John Cage, Edgar Meyer’s recording of the Bach cello suites, Jane’s Addiction, Joseph Campbell’s Pathways to Bliss, Neil Young. Interview by Seba, Jose and Merra
Photo taken from You Already Know’s music video
ยก5
ALBUMS EVERYONE SHOULD HAVE IN THEIR RECORD COLLECTION by RICHARD REED PARRY
1. world of echo, arthur russell 2. laughing stock, talk talk 3. music for 18 musicians, steve reich 4. music from the penguin cafe 5. court and spark, joni mitchell
R EVI E W: D EL R EC I TA L D E G IG R EVI W::: T YOENLA EN G O 5/4 YOE LA G OT4/5 O RIL M IL && MM EC AEC A BY PM I I &&
I never really considered writing about music because of the simple fact that I am too teenager. I think I know a lot about music, though, and I feel everything. And everything appears so intense to me ( I guess its because of the hormones). So, in writing about music and especially about Yo La Tengo, its complicated to me because of that. This may turn out to be the most fangirl review of the world but its ok, Im like that. Anyway, I think its a good start.
I discovered Yo La Tengo in 2010 but I was very young and I didn’t even know when bands played gigs (and even if I would have, my mother wouldn’t have let me go). So I left them aside and listened to a thousand other bands and I made it. Until last year, when many coincidences got together and I found them again just in the moment I most needed them. And it was the best. I listened to all of their records again and each of them blew my head off. I listened to Fade, their 2013 little record for the first time and it felt magical. It became my No.1 album for train journeys. I listened to that record so many times I could hear it even when I weasn’t playing it. It was a shock to me, then, to find out last December (and kind of in secret) that there was a tiny possibility they would return. Soon later, our friends from Indie Folks and Bang Bang confirmed it with date and location and everything and I went crazy. I started counting the days and I listened to all of their records in loop for almost 8 months. Finally, the day came and the truth is that they couldn’t have made me happier.
They’re beautiful. And they’re beautiful as they are because they try so little in being like that: 0% pretentious, they go quite on stage wearing jeans and a simple shirt, Georgia with messy hair and with a “nice guys” look in the face. They start playing so tidy but never seem bored. They switch places, instruments and the setlist and audience adapts to these changes. If the song with which they start is more of a ballad, like The Crying of Lot G could be, people stay quiet and even some can be heard asking for silence. However, when it’s time to dance (Mr. Tough) everybody is allowed to dance a little.
The setlist is very varied and good. By the middle they add songs from their oldest records (personally, some of my favourites) like Fakebook, over which Ira makes a comment saying that probably most of us weren’t even born when those songs came out. By the end, in songs like Sugarcube or Ohm, people start jumping and they all look happy. They close with Pass the Hatchet, I think I’m Goodkind (great song!) and leave just the way they came, almost with shyness.
Later, they do two encores opening the first one with Our Way to Fall and it caress the soul. Some covers follow among which Sun Ra’s Somebody’s in Love, a happy song that warms up the heart. They say goodbye in a simple way, happy with the Argentine crowd and they leave to come back minutes after. And that is when it really is going to end. They invite their roadies to play a cover of Daniel Johnston’s Speeding Motorcycle and then, they say goodbye again but this time is for the last. They are lovely, and I love them. Outside the venue I meet with friends, people I know from somewhere and unknown people. Between us we all agree on the same thing: it was super lovely. They are a beautiful band and they do well and we all anxiously wait for the next time.
IT CAN BE COOL TO GROW UP by josefina fogel
I’m experimenting the “don’t worry, it’ll get better” that everybody tells you when you’re in the middle of that fucking mess that adolescence is. It’s true, it gets better. Not a long time ago I started thinking and I realised how much I’ve grown up since i moved from home and got into college. First of all, I stopped being a little girl. It’s not that I believe that now I’m the most mature person or anything like that, I have a million things I need to learn yet. But I realized that I stopped caring too much about stupid stuff; I became more responsible, my head opened in a lot of aspects and I started worrying about more serious stuff. I’ve always been very insecure but now I try hard to have a better relationship with myself, so I can love myself and sometimes even “spoil” myself because if I don’t do it, nobody does. Cooper from Twin Peaks tells you the truth: “I’m going to let you in on a little secret: every day, once a day, give yourself a present. Don’t plan it; don’t wait for it; just let it happen. It could be a new shirt in a men’s store, a catnap in your office chair, or two cups of good, hot, black, coffee.”
I’ve met a lot of new people and gone to a lot of new places. Living in a bigger city (and having access to a much bigger one like Buenos Aires) gave me great possibilities like going to gigs (there is no worse feeling than missing your favourite band because you live 1000 miles away), knowing a lot of cool people, making new friends, having new projects, new adventures, having freedoms (and use them wisely). To sum up, doing stuff I love. And finally, I feel I’m more mature about my style. Being in college and (in my case) living alone, gave me the freedom to use whatever I want. In the past because I was in a school that made us use uniforms or because I lived in a small town where everybody knew you or because of my low self-esteem, I always wore the same. But since I arrived here, being surrounded by people who don’t judge or fear being judged for trivial stuff like clothes, I realized I started wearing things I’ve always wanted but felt insecure to wear. I believe I’m starting to develop something like a personal style. What I wanted to say is that I’ve always been afraid of changes: I’ve always been afraid of everything going wrong, of the “now what am I gonna do??” but I did it, I gain courage and came to live on my own 1000 miles away from home, from my family, from everything I knew, to a new city where I only knew only a couple of people, to start something totally new like college. And even though there were (and there are) moments when I miss so much, when I feel alone and I want to hug my mom and I want someone to cook for me, it’s inevitable to feel surprised (and proud) of how much I’ve grown this past year. So, my advice is that if you have the chance of doing something that’ll make you grow a Little as a person, take it. Whatever it is: travelling, moving to a new house, getting a new job, going to college, giving up things that make you feel sad, learning new stuff. Whatever it is, go for it. It can be cool to grow up. I hope I didn’t get way too personal and wow if you’ve read all of this, i love u.
TOPS answers by riley fleck (drummer)
How did you meet and when did you start playing? Maddy, David, and Jane all met each other growing up in Edmonton, but didn’t really become friends until they all separately moved to Montreal. I met them after living here for a few years, mostly from hanging out at a now-defunct loft venue called Lab Synthese. Then in the beginning of 2011 Dave and Jane were looking for a drummer for their new project and I was working on music in the same music space as them and we had a good chemistry from the beginning. Maddy joined the team a year ago to play live and things are working out wonderfully. Why did you name the band TOPS?
We liked TOPS cause it’s simple, assertive, and classic, and was better than anything else we came up with. Although the name transforms when considering other gay and BDSM senses of the word ‘top’, which gives a whole new meaning to old songs like “Turn Your Love Around”. How is the indie music scene in Montreal? Who are your favorite musicians from there? There isn’t a coherent singular Montreal sound right now. Everyone hangs out with each other and supports each other regardless of the kind of music they play. Montreal is pretty transient but my favorite musicians who are here now are Mozart’s Sister, Antoine 93, Homeshake, Alex Calder, Tas-
seomancy, Doldrums, She-Devils. How was the recording process of Picture you staring? There is a room in the corner of the Arbutus Records office that we can use almost exclusively, and we recorded and produced all the songs in there by ourselves (with the exception of Easier Said--Austin Tufts from Braids helped us with the drums). We wanted everything to be tight and clean but didn’t want it all to sound the same so we recorded every song one at a time, in slightly different ways. There are big windows looking over an abandoned train yard
and we can watch the sunset while we play. In your latest video we can see a little cameo of Mac DeMarco. How did you decide he’d appear on the video? Mac just showed up, he played a solo show in Montreal the same night and he came to the studio with some friends because our fake music video party turned into a real party. We told everyone that they could do what they want, to let their freak flag fly, and Mac did as only Mac could. Boys from Edmonton do shit like that all the time.
Interview by Merra. Illustration by Clara Stina.
JULIAN CASABLANCAS +THE VOIDZ: TYRANNY There is no easy way to describe the album Tyranny to virgin ears of the Voidz. The debut LP by Julian Casablancas + The Voidz can be likened to a classic Nintendo console playing a VHS tape, or a classic radio station being abducted and remixed by ruthless, punkoid robots. The album throbs, pulses, and writhes like a human heartbeat, but is altogether a different, more powerful entity. Like adventurers exploring a new world, listeners of the album are transported to a hauntingly beautiful landscape of loss, pain, redemption, and hope. One can only hope that they will stay for the ride. It is important to recognize that Tyranny is not a solo endeavor. Although Casablancas’s name is the centerpiece of the project, the sound of the Voidz comes not only from his rough, snarling vocals, but also from the incredible musical talents of the five other men who comprise the Voidz. While Amir Yaghmai and Jeramy “Beardo” Gritter duel deliciously intricate guitar riffs, Alex Carapetis snares a thick, bubbling drum-line that arises as a strong, gnashing core to the Voidz’s sound. The sound is raw and harsh, but sweetened by Jeff Kite on the keys and Jacob Bercovici on the bass and synths. To hear the Voidz play together is not unlike hearing a well-oiled machine grind its gears to create an impassioned product. The Voidz play not as individual parts, but as a whole.
In the album opener, Take Me in Your Army, Casablancas croons “This isn’t for everybody/ This is for nobody”. In many ways, Tyranny is for nobody; it’s a personal album, with chillingly potent lyrics that contrast what the seasoned Casablancas fan might expect. Tyranny defines Casablancas as one of the premier songwriters of his generation; it is difficult to not be blown away by the depth and breadth of tracks like Human Sadness and Father Electricity. Of course, the album is not for everybody: the experimental nature of the Voidz’s sound may turn off listeners expecting the infectious pop hooks of 2009’s Phrazes For The Young. Tyranny is an ambitious project. The Voidz combine 80’s punk with progressive rock, pop, and African beats to create a masterpiece of 21st century art. At first glance, one might argue that there is no way to take so many elements and create such a cohesive body of work. And yet, Julian Casablancas + The Voidz manage to do it; in a mere 12 songs and 62 minutes, the Voidz manage to redefine what it means to be a living, breathing human being in today’s tyrannical world.
not for everybody: the experimental nature of the Voidz’s sound may turn off listeners expecting the infectious pop hooks of 2009’s Phrazes For The Young.
review and ilustration by megan schaller
About reading by Melu Faez
illustration by Camila Gaspardii
Books kill me all the time. It is an overwhelming fear that I get when I know I’m on the last sentence and the story ends and will not go on just because I want it to. Because I do not have any sort of control over them and yet books, being just pieces of paper with letters on them have so much power over me that I can’t believe those gems were written by someone and are so finite. Just as finite as we are but at the same time they’re not. They are infinite because books transcend everything. And it’s such an irony that they are written by men, who destroy everything on their way because progress is supposed to end with everything that came before, but it never ends books. I have always had some sort of romance with words and everything they do -and undo-, and I believe books are the most perfect example of what words can make. And it’s funny how we are always so selfish and full of ourselves but we give ourselves to books as if they were our own ideas and do not even hesitate. And I hate everything I can’t control but I cannot hate books ‘cause they destroy me. But it’s such a beautiful destruction that I’m going to continue choosing it until I end up in a world surrounded by the characters that once took me out of my reality and got me to a place I didn’t choose but accepted and loved more than mine.
we are:
m er r a merra mili & meca meganmili schaller & meca melu
melu
josefina josefina
megan schaller
sebastian sebastian clara stina camila gaspardi
camila gaspardi
clara stina
andres
andres
if you're an illustrator/ photographer/have a band/ want to contribute to the zine, you can send us your work to: sillagezine@gmail.com also you can find us on facebook: facebook.com/sillagezine and you can buy the real version of the zine (with lovely stickers!) sillagezine.bigcartel.com
merci beaucoup!