Slave Magazine Issue 13 by Slave Magazine

ISSUE 13

David Eustace reeps one

tallia storm | kari

Slave Magazine Team Ania Mroczkowska Editor In-Chief / Picture Editor Louise Munro Editor In-Chief / Picture Editor Artur Dziewisz Design & Art Direction Slave Magazine Cable Street, E1W 3EW London www.slavemag.com contact@slavemag.com

cover picture by Tania Alineri

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Q & A with this issue contributors

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Alyona Kuzmina, 22 | PHOTOGRAPHER

Artur Rozmysl | writer

Bonnie Hansen, 30 | Photographer

From Kurgan small city in Zauralie, living in St Petersburg now.

I’m a child of the Cold War. I come from a place of wounds and bruises.

Melbourne Australia

Please describe yourself in 5 words.

Please describe yourself in 5 words

Love Russian winter and travel, working a lot when I have freetime doing some art pictures l ike this story

Can I do it in 6?

Passionate, photographer, fashion, awkward, fidgety

What are you a slave to?

Quite ordinary stuff, such as telling fairy tales on the phone, learning open G guitar tuning, or texting a friend of mine: “Kwa kwa kwa?”.

Chocolate

I’m slave to my work, great for me that it’s shooting.

Please describe yourself in 5 words

Q & A with this issue contributors

Caroline Hoermann | Photographer

Diane Jong, 25 | Photographer

Dirk Wilms, 47 | Photographer

Born in Germany , grew up in New York

Los Angeles

Please describe yourself in 5 words

Passionate , perfectionistic , adventurous, driven , romantic

Ideative, Futuristic, Quixotic, Curious, Strategic

Mülheim / Germany Please describe yourself in 5 words Shy, introverted, stubborn, polite, creative

What are you a slave to?

Ideas

To the music of Barry Gibb and the Bee Gees

What are you a Slave to ? Inspiration , creation and love

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Erin Eve, 31 | PHOTOGRAPHER

Fabien Mancel, 31 | PHOTOGRAPHER

Keziah Brown, 24 | writer

Bermuda. Now London

Paris

The deepest depths of Dorset

Please describe yourself in 5 words

Moon-eyed dog obsessed ginger

Eurasian, Passionate, Generous, Curious, i know my profile picture don’t show it , but I’m Never Serious!

Flamboyant, spasmodic, ostentatious, unorthodox, rascal

What are you a slave to? Nordic Noirs, Tudor history and tissue paper pom poms.

What are you a slave to? Music and Sex of course, what else? would say George!

What are you a slave to? Cheese! All kinds,all strengths, fondue’d, on a charcoal cracker, with chutney, grilled, souffléd. Everyway – I’ll take it!!

Q & A with this issue contributors

Rachel Schraven, 28 | Photographer

Raen Badua, 28 | Photographer

Ricardo Santos, 23 | Photographer

Utrecht, The Netherlands

New York City

Portugal

Please describe yourself in 5 words

Please describe yourselfÂ in 5 words

Dreamer, Rebellious, Fun, Passionate, Contradictory

I donâ&#x20AC;&#x2122;t settle for less

Dream, fight, friend, perfection and love

What are you a slave to?

My ambition and my passion.

I am Slave of mu professional goals and my future.

What are you a slave to? Red wine & cigarettes

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Tatsiana Kezha, 27 | Photographer

Suzanne Zhang, 21 | writer

Tania Alineri, 30 | photographer

Minsk, Belarus

Geneva, Switzerland

Please describe yourself in 5 words

Rome, Italy Please describe yourself in 5 words

Dorky, cheerful, sincere, demanding, boss.

Reverse manic pixie dream girl

What are you a slave to?

I’m slave to bright colours.

My own mind

I’m kind of lunatic, ethernal child, shy, dark and a little bit crazy What are you a slave to? I’m slave to the music and obviously photography

I’m an introduction: David Eustace’s honest journey interview by suzanne zhang

Glasgow born and world-renowned photographer David Eustace has worked with an impressive list of clients including Vogue, GQ, Tatler, and Panasonic, to name but a few -and yet he still approaches his projects with the same honesty and energy as when he first started. His journey is a tale of wisdom and experience, wherein he himself is just chuckles and insightful comments. Our video conversation is regularly punctuated by David’s roaring laughter, especially when the camera freezes and my image gets blurry. This is a man who knows how to bounce back on his feet –ten minutes before the interview he had fallen down a ladder, causing him to nurse a sore back the entire time. He gives me fatherly advice on life and tells me to never give up. A free spirit at heart, his good intentions and sincerity are transparent to anyone. Portrait of a multi-faceted man with an honest tendency to twist questions back at you.

GQ and Vogue. The thing is that there weren’t so many magazines back then, it was another world. The magazines I wanted to work for were Vogue, GQ, Vanity Fair, The Guardian and the Sunday Times etc… I had just started and suddenly I was working for them! It seemed normal at the time…it was a different era. You went to university for a degree in photography, how do you think that helped shape your style?

I think I was very lucky when I went back to education because I was much older -I was 28 and cynical. I had worked seven years in a prison, so I had plenty of experience and life. The good thing about coming from a background like mine is the discipline. I was in college every morning at 9 o’clock and that discipline helped me, it gave me focus. Going back to university had its perks, especially as a mature student. I Tell us a little bit about yourself David. You also really enjoyed the company of the younger started photography at age 27, after having students: I loved their energy. done various jobs, right? Yes, I used to be a prison officer in Glasgow, and at 28 I went back to full-time education to study photography. And then all of a sudden I spent the next four years working for big names, like

The Character Project / Highway 50 ÂŠ David Eustace

A lot of people say it’s a big change in life to go from the Navy to prison to photography. Were you always creative even when the occasions and opportunities didn’t present themselves? I don’t actually know, because the environment I grew up in never really acknowledged it. Creativity and photography were never a consideration. Where I come from, you would come out of school at fifteen and get a job in the city (Glasgow), something industrial or in heavy labour. Of course, we also didn’t have the same outlets as teenagers do now… Was I personally creative? I think there was creativity in me… To be honest, I don’t even know how creative I am today. I just do what I do. I have an opinion on things. I think I’m very fortunate I get to photograph the world the way I see it, and I’m very lucky that people like the way I see it.

How does an idea for a photo series come about? Tell us about your creative process. You are always questioning yourself, you are always thinking, there is no way to turn it on and off. It’s about doing something that is going to move others as well. For me, projects are really just ideas. At 21 I was a prison officer. At 31 I was working for Vogue. I didn’t know what a cappuccino was until I was 28. Projects come with experience and age. If you were to do a project now, it will not be the same were you to do it ten years later, right? Speaking about projects, do you have a favourite of yours?

I approach all my projects with the same energy and honesty, but the one with my daughter, ‘In search of Eustace’, is very special because Rachel was 17 at the time, and we can’t revisit Would you say that one is born creative or that. She has her own life now, she doesn’t really want to be with her old Dad… but that time one can learn to be? was great and I love the idea of her grandchil‘Creative’ is quite a bold statement. You are born dren looking at her as a young girl. with certain genes, creativity is in there somehow and it can be developed, encouraged, sup- You have shot many iconic faces, includported and celebrated. At times, it is repressed ing Paul McCartney, Tracey Emin, and Judy within some people. The most important thing Dench to only name a few. Do you feel like there is any difference shooting famous really is willing to open your mind. faces and ordinary, random people off the A lot of your work involves portraits, but you streets? have also done quite a bit with landscapes, and in cinema. How important is it for you to I think the conversation you have with them is not be pigeonholed as a ‘portrait photogra- different. pher’? When shooting intimate portraits, how do Back in the days, there weren’t as many photog- you gain your subject’s trust? raphers as there are now and you had to learn your trade, which takes an awful lot of commit- Again, it’s about the conversation. People are ment, energy and hard work. As a photographer people to me. It’s about adapting to them, as you would just photograph everything. Nowa- well. I think I approach everyone with the same days, there is a big trend in being such and honesty and interest but I will probably talk such photographer, because we live in a more about different things with everyone. compartmental world. Photography now follows trends rather than passions. You used to take I’m currently working on a project called photographs, and by doing that you could ei- ‘Friends and Family’, where it’s just me, myself ther make a lot of money, or get into the clubs and the camera, and I’m really loving it. One for nothing, or see yourself in magazines, or of my favourite movies is ‘Paris, Texas’(1984) you could become quite well known. Nowadays, and the main actor is Harry Dean Stanton. I was people want all of the above just by taking pic- in Los Angeles recently, photographing him for this project. When I met him I was just very tures… Photographer with benefits!

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Emilio Coia ÂŠ David Eustace

honest and obviously interested, I started talking to him and then he started opening up and telling me things too! It was lovely. The first picture you see on my website of him, sat in a bathrobe. He looks old, like me!

I love that idea of being just ‘an introduction’. I think one of my favourite photographs of yours is a set of four photos, shot in hotel, with ‘Chelsea’ in pink neon out the window…

What is your method of working when com- Yes, it was the Chelsea hotel in New York, with missioned with a portrait? an actor called Ciarán Hinds, and that shoot became very personal, almost like a narrative. I’ve always had an opinion, which can work in your favour or against. If someone commissions Yes, it’s very intimate, and it really feels like me to do a portrait, they should let me do the there is a story behind it. project –why get a dog and then bark? There is a certain artistic freedom that is required. I’m We were having a fun day, and I was very fortunot trying to sound arrogant but it does require a nate he is a very talented actor. I said to him, ‘ lot of energy. If you commission me, you get me, I want you to break down the actor thing, I want fully. A lot of photographers are there to please you to sit and think of when you were starting everyone, they just want to make everyone hap- out in your career; what it was like staying in py and it’s not that I am trying to do the contrary, cheaper hotels’. It became very personal, which but I just do what I do. I am who I am. is always something I try to capture in my photographs. I wanted to show his normality, too. Has there been a piece of art or design that has had a profound impact on you? How would you characterize beauty? There has been many over the years. I do like collecting young artists’ works, although I love all kind of art: Van Gogh, Francis Bacon, Basquiat etc… There’s an awful lot of art today; it is quite interesting, but I don’t think all of it is art. Some of it is just a social comment, and it doesn’t go any further than that.

In a million different ways. We tend to overanalyze when really, we should go with our animalistic attraction. It could be an old piece of wood, a cracked old face, a patch of skin… anything. I believe there is such a thing as a visual language, in so far as you look at something, and you don’t always know why, but you are attracted to it. It just touches you, it makes As a photographer, what themes or issues you feel magic. You look at something, and it are central to your work? just feels right. What is essential to me is normality and honesty. I don’t do anything that is necessarily gimmicky, or too clever or fashionable. I don’t really go out of my way to be anything else than honest. I love the idea that, if you look at one of my portraits, that person is looking at you, but they are looking through me at you. I like the idea of just being there and people looking beyond… I’m an introduction. I want to keep the normality, it doesn’t matter who it is, someone famous or not. There is a purity that I like to keep… I like keeping flaws in people because it shows their humanity.

What is it like for you to mix commercial and non-commercial work? It’s funny because most of my commissions are based on non-commission photography. I did this project called the ‘WEIR portfolio’, which was commissioned by one of the biggest film imagery company in the world. The brief was to shoot a documentary on plants. The only criteria they gave me was that I had to visit three central plant zones: Brazil, Chile and Texas. Other than that they let me do whatever I want. That was a very commercial project but there was no brief to it. All my projects have actually been self-initiated but supported by a company.

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Leonard Goldberg ÂŠ David Eustace

John Hurt ÂŠ David Eustace

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Even the ‘Highland Heart’ project, which was commissioned by ‘Anthropologie’. They asked me what I wanted to do; I replied I wanted to do a road trip with my daughter. When I first came up with the idea, people were thinking that perhaps she should be wearing ‘Anthropologie’ clothes, but I said ‘no, she’ll wear her own clothes, she is 17’. They were brilliant about it. That was very successful, so the following year they asked me to do something else, again…. I asked what and they said something close to your heart. That’s when I thought, right, I’d love to go back home to the highlands of Scotland, and that’s what I did. When you think about it I really just went home to take a few pictures, and ‘Anthropologie’ paid for all that. So, that’s is the balance between commercial and non-commercial. What are you most proud of? My daughter… but I think my wife has more to do with that, she is the adult in the relationship. Are you working on anything new? The ‘Friends and Artists’ project. There is also one project I am super keen to see take off. I want to embark on a Trans-Siberian Mongolian train journey. I would love to that. I’m also doing a little personal thing in Death Valley, where I’m photographing shapes and structures. I love it! I also have a book coming out next year. There are always new projects. Picasso asked, ‘who sees the human face correctly: the photographer, the mirror or the painter’? I believe they all see it equally… the mind sees it. It depends of what you are feeling, the emotional state you are in and who you are with. I think what is important is that you are willing to see it, but there will always be a questioning to it. It’s about how you see yourself too.

Mads Mikkelsen ÂŠ David Eustace

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It’s Not Beat-Box or what you think that is. Reeps One

tells us why his ‘face music’ is more interesting than labels suggest. Interview with Reeps One By Saucepan Birdman, formerly Chris Purnell

I listened to the song ‘move,’ by Reeps One, and watched the video of its performance hundreds of times. This bouillabaisse of a track is mesmerizing. First think of the noise popcorn makes when cooking in the microwave. Then add the sound of a dripping tap rhythmically melting with the popcorn then giving way to the sound of someone starting a motorcycle before starting to fire their machine gun. Musically, think of it like a grime, house or dubstep track – very high energy and shockingly danceable. Then conventional vocals are introduced into the mix, but then corrupted by the electronic sounds of what I can only describe as a vocoder running out of batteries. All this in the first 18 seconds. What makes it all the more mesmerizing is that Reeps One, real name Harry Yeff, does it all with his mouth. Look this video up on Youtube. It is hard to take your eyes off.

ing and makes him easily dismissed by people that are not into beat boxing – like me. But having listened to his music, while it involves an element of beat box, it isn’t what I would have thought of as beat boxing. Which in my mind is a hipster imitating a drumbeat while his ‘rapper’ friend shows me why Dr. Dre knows his name. Harry calls his form of beat boxing ‘face music.’ ‘The misconception is that the voice and playing an instrument are two separate and different things,’ he told me. His enthusiasm for his passion was visceral and really compelling. ‘Within beat boxing, every letter you speak is its own instrument. There are literally hundreds of sounds that I’ve had to learn to play. I can express myself musically in a way that I could never achieve with just a single instrument.’

‘It’s just not what you expect, that’s why I don’t like the word ‘beat boxing,’ the two times UK Beat boxing Champion told me. ‘When told that Reeps One is a beat boxing thing, what people conceive in that moment is nothing like what they actually come and see.’ I experienced this first hand. The label ‘Beat boxer’ is limit-

It’s still developing now, but the one thing that set me apart straight away is that I like the deeper and darker side of music. When I was about seven, I was drawn to drum and bass, instrumentals and stuff that lacks vocal, but not beat boxers so much. What ended up happening was I was beat boxing this style, which

How did your style develop?

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Photography by Ania Mroczkowska

wasn’t influenced by other beat boxers. When I was 17, the electronic revolution started, and so I started to do drum and bass, the jungle and the dubstep, which hadn’t happened in beat boxing before. So I went to the world championships, did all of that and people were like, ‘whoa, what the hell is this?’

bad man! So of course he got it. My mum said, ‘as long as I got bread and butter on the table’ she’s cool with it. I’ve always been savvy. She knew that. So her attitude to it was just, go and crack on. We trust you, we know that if it doesn’t work you’ll have something lined up, because that’s just who you are. Their support was massively helpful.

So when you would get home, would put on some drum and bass? To me, it seems like What was it like growing up? the kind of music you have to be in the mood I was back and forth between my mum and my for. dad’s place. From the age of 9 we lived on a At a young age, high energy, attention-consum- council estate in East London. It was rough ing music, is what helped me chill out. I never but I absolutely loved it. As soon as I was old listened to drum and bass at home, but my Dad enough to go out on my own I was out explorwould play classical music and for some rea- ing. There was a little park that opened up nearson Wagner always appealed to me, because by and I could go and paint till two or three in it was always so big and epic. I love music that the morning. I was always very, very happy, decontains energy and overwhelming ideas and spite not having as much as other people. But it was because of the lack of things I found all intense emotions. these passions that I love now. Before beat boxing was chess - I was Southern England chess What drew you to beat boxing? champion when I was 14. Back then I was also I get bored quickly, so it just kept me occupied. teaching 3 chess clubs and I played for Essex It wasn’t for anyone else. The first time I realised and I played in Chingford. people actually liked it and wanted to dance to it I was surprised. I did well at school and I was on Did growing up how you did influence how path to go university, so it was never an intention you make music now? for it to be my job. Then I’d do performances and those reactions were so positive that they led me Definitely. It gave me independence. It made to do it more and more. I’m finding something me find my own fun, teach myself and learn new in what I’m doing, and even if it’s not Nobel things my own way. In that situation you either Peace Prize winning, it’s such a lovely thing that sit there doing nothing and be bored and unI can bring something that is genuinely mine to happy, or you use your own ability to explore and improve at things. I’m still doing the same people. That’s what keeps me going. today; it’s just refined. How did your parents react when you told them that instead of going to university, you What do you want people to take from your music? were going to pursue music? I was going to do fine art at Central St. Martins, so it was in a creative realm I guess. My mum and dad never went to uni. My dad was happy for me to do what I wanted to do, and my mum was just my mum. I think she was just being a parent. My dad is basically me: an artist, musician, poet, chess playing, tennis champion

I want them to get a sense of me. Even in an abstract sense, I try and leave a bit of Harry and Reeps One with everyone who experiences my performance, and I’m not saying that everyone will, but that’d be when I feel like I’d have achieved something.

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Where does the name Reeps One come Wow, yes I’m going to do that. from? Yeah yeah yeah, go for it. I always come up with something different, but I’m not going to do that this time [laughs], like Do I need a beat boxing name? some stupid stuff like ‘I was traveling through the desert and I had to hide a camel from a sand- I’d just use Chris. storm...’ so we could say that one, that’s quite a good one actually. But it’s a very boring and Eugh, that’s boring. plain thing, and that’s why I like it. I was 13 and just hanging out with a bunch of my friends and Listen to your music and think of name that can one of my oldest and dearest friends decided to represent your music. If you feel your music is give everybody names, and he called me Reeps not ‘Chris,’ or feel it’s another character or vibe, then it stuck. give that character a name. Is beat boxing something I could learn?

No one is going to want to listen to ‘Chris.’

Yes, beat boxing is like any other instrument in the world. I have the same physical make up as you, so anyone can beat box, just in the same way that anyone can hit a drum. Of course not everyone will be able to innovate for themselves because it doesn’t appeal to them, but it may appeal to you, and you will keep on practicing and honing.

Well you got to be exciting!

What’s the first lesson?

What if it’s something like Mr. Danger, or something like that?

No, I know, but no one is going to want to listen to Chris! Yeah but that’s the trick. They might not want to listen to ‘Chris,’ but then they hear Chris, and they’re like, ‘wow, Chris.’

You already have 26 sounds, which is the alphabet. I’ll think of a name for you… How about... Saucepan Birdman? Okay, but I am Scottish, so I probably only have half of that. I LOVE it. [Laughs] There are 3 main percussive sounds. There’s B (ber) C (cah) T (tah), you don’t have to try and beat box, people think that you have to do lots and lots of sounds, all it is is speak in compositions and speak in rhythms. So when I practice I’m not always going [beat boxes] sometimes I just go [beat boxes with just cah and tah], so if you’re gonna start, put on a metronome and just speak a rhythm into it. Like [in a slow beat] bom tah cah tah, bom tah cah tah, so you’re just getting your mouth used to doing something that isn’t eating or speaking.

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A kind Of Absence Photography & words : Dirk H. Wilms

I remember very well the carefree days in my life, when I awoke shortly after the sunrise, to catch some new moods with my camera on the beaches of the North Sea. I loved those days there by the sea, running barefoot through the sands, feeling the warmth and the easiness. I loved to be outside in nature, and to be by the sea in particular. Even as a child I felt this strong affinity with the sea. It was a perfect life, it was my perfect life, and it should never end. But everything changed in the winter of the year 2001 with my HIV diagnosis. After this everything was different. Nothing remained as it was. From the beginning I thought it would be better to be honest about the infection by not lying to my friends and family. That was a big mistake. Since the beginning of time people do not want to tolerate the truth. So most of my friends left me because they were afraid of me. Me, the Monster with the deathly virus. (Later I realized that they were not afraid but rather very ignorant.) I didn’t get any more photography assignments, because my customers would not take the risk. (Later I realized that they were not risk averters, but they also were rather very ignorant.) So the first years after this cold season I barely left my house. I was afraid to go out for almost four years. I thought anyone and everyone who sees me would know immediately that I carry the virus inside me. The palish monster decided to stay at home.

So I began shooting myself. Susan Sontag once said, that the world is a range of potential shots. And in my new world there were the rooms in which I lived. I was able to photograph and stay at home at the same time. I became the range of potential shots. Because the first traces left by this virus were to be seen in my face, the idea was to cover my face on most of the photos. I do that mostly even today, I’m still afraid of not being loved, because I wear AIDS in my face. When I take my images I forget the time of day and all of my problems. It is as if I‘m in another dimension, as if I’m back by the sea, running barefoot through the sand and catching moods with my camera. The difference is that I do not photograph beach scenes but my body, as it is today. For me, photography is not the camera (anyway I’m not interested in the technology and its infinite possibilities). To me photography means to breathe life and to express myself. Photography helps me to make my fears, my depressions and my nightmares visible to those who care to see. I think, through photography I have learned to deal with my disease and to accept it with all its facets because I chose it deliberately to let it be the core of my artistic work. I have given myself the order to accompany the camera until the end. A task that will keep me busy for quite a while.

But I did not want to be forgotten. I wanted people to know after my death that I had been in this Would someone ask me today whether art can world. As I love art in any form, I decided to start save lives, I would answer, for me most defidocumenting my life, my fears and my physical nitely. decline as an art form in itself.

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I want to move people not to entertain them! Interview with kari by artur rozmysl

SLAVE meets singer-songwriter and music producer Kari. With two LPs released in the space of two years, this Polish-born and currently UKbased artist is getting ahead in the music industry, not only being compared from the very start to most renowned names but also, with a good reason, bringing to the table her unique persona.

by fans and critics. Moreover, with all touring ahead of me, I am curious and excited at the same time. For the time being, the feedback regarding my new album has been quite positive. I keep receiving messages from my fans saying that they like it, which makes me happy. The first snows we can see today outside the window have created a wonderful setting which fits perfectly with my current state of mind. I love Kari gives SLAVE an illuminating insight into how winter and I find this season very inspiring. she evolved from a student of a music academy into a full-time professional alt-pop musician How would you define “Wounds and and explains what her outlook is on the creative bruises” in conceptual terms? Is it there process, which led her to achieve artistic matu- to some extent a continuation of your first rity despite her young age. album? Her upcoming live performances are an abso- I don’t see my second album as a continuation lute must-see of 2014! of the first one. “Wounds and bruises” is a completely new project with very different music and We meet 3 days after the release of your today I feel I’m in a different place. Along with second album “Wounds and bruises”. this change I am defining my latest album as How do you feel during this particular time a new beginning for me. Even my stage name and what initial feedback have you got from has changed; it is no more Kari Amirian, now it the public? is just Kari. The title “Wounds and bruises” ac curately reflects the content of the album, there For me this winter season is definitely a celebra- is no particular relation to “Daddy says I’m spetion. I’m very happy that my second album is out cial”. now and I am looking forward to its reception

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Photography: Ania Mroczkowska Hair: Masato Inoue Make up: Marta Gacka Styling: Tomohiro Hanada Hair Stylist Assistant: Tomomi Tokuda White top: Patrick Li

Talking about the title of your first album - So what kind of feedback do you get today ”Daddy says I’m special” - what does mummy from your former professors, when you are a full time professional, pop-music artist? say? My mum is jealous about this title and she is It depends, but usually they give me positive feedback. waiting for one dedicated to her. Let’s have a quick look at the past: what was What about your band members? What your first musical experience? What are your makes you play with some musicians rather than with others? first music-related memories? I remember that when I was a little girl, about seven years old, I played the piano. I started my musical education at a very early age, when I enrolled in a music school. To tell the truth, my deepest desire and ultimate goal was to become a score composer, not really a singer. But later I started to learn how to sing, I attended wonderful vocal workshops with inspiring teachers and that’s how I started thinking about singing.

When it comes to cooperation with band members, what counts is whether we have good communication, the same inspirations, the same language… It doesn’t matter if musician I’m playing with graduated from a music school, as long as we have good chemistry.

You put stress on the creative process, some of the quotes from your Facebook fanpage read: “Process is more important than You graduated from Fryderyk Chopin outcome (...)” or “The creative process is University of Music – what kind of student a process of surrender, not control.” How would you describe your song-writing were you? process in your own words? I was very lucky, [laughing] since I was very chaotic. I was always late and my professors hated Being in process is the greatest thing when it it. I always had a lot of things going on, this is comes to creating art. This is the time when you why sometimes I was skipping classes in order can observe yourself or confront yourself with to carry out my musical projects that were not different stimuli such as musicians, your ideas, related to my studies. The point is that when you you can develop your thinking or philosophy of are a student, it is not appreciated if you admit life. This is how I create my songs. Usually my that you have a music life outside the academy, creative process is inspired by various experisuch as writing pop songs. It certainly was very ences I have in my life. I know it may sound obdifficult for me to live a double life and to avoid vious, but this is actually the foundation when it comes to composing music. Each of my tunes, being caught red-handed. from both of my albums, is a personal story In what particular way did your musical about my reality, about real events taking place education help you to arrive where you are in my life. I’m not interested in being an actress today? Is it actually helpful or maybe some- when I’m singing on the stage, I want to express times it is more of a hindrance in your case to real emotions trough sounds - real me. And I think that is music all about. About being yourhave all this classical background? self, not pretending to be anyone else. I love my classical roots! Surprisingly it has a really strong influence on me. Music University Talent or hard work? Or both? was a place where I learned how to write music. I wouldn’t feel a complete musician without be- I think it’s both, it’s a combination of talent and ing able to express myself trough songwriting. hard work. I usually follow my intuition, when I’m Also when I’m working with a band, it is very making music. It comes very natural and always useful and helps me to explain what my vision is a lot of fun so I wouldn’t name it a hard work is, describe my musical expectations especially at this level. Writing process and music improwhen as a leader I’m the one who is responsible visation is like a sparkle. The fire comes later for that. It brings a real freedom to my musical and then it’s time to make the most of it, to let your idea develop in the best way possible. No life. I’m very thankful for that. doubt, perfectionism is my distinctive

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feature, since what is most important for me is to keep the vision, from the beginning to the end. You can view it in terms of hard work. It consists of starting something and not letting go, keeping going and putting in place all of the pieces you have in your mind. It’s about being open to other people’s ideas, not giving up when sometimes you feel weak. I’m not preoccupied with the source; I keep my focus on the fruits.

One can see animals as a recurring theme in your promo materials: lions, owls, bears, unicorns, to name a few... Likewise, the video clip to the single “Hurry Up” promoting “Wounds and bruises” is full of bees! Also, on the verso of the “Too Late” lyrics there are swans! Is there something you are trying to get across with all those animal references?

What are the biggest challenges you have There is definitely a connection between my faced during your career? How are you music and nature. This is obvious for me and responding to them? for graphic designers I’m working with to express my character through nature-related refNo doubt, the biggest challenge for me was to erences. Perhaps it comes from the fact that I face my music with audience. Performing live often miss being close to nature; nature helps makes me a little bit nervous every time before I me to connect with my inner self. Besides, there get on the stage. Cities, venues and people are is a lot of space in my music; this is why there always different so obviously it makes each con- are so many artworks with landscapes. Photos cert like a new journey I must come through and by Bartek Wieczorek that you can find in the build relation with the crowd in 1 hour show. An- booklet from “Wounds and bruises” come from other big challenge was to invite other producer Japan. All that clearly helps me to express my to my world. I’m thinking here of Jon Headley, message. an amazing young producer from Wales, based in Bradford. Working with him was the greatest What is your way to keep balance in life? experience, since I could combine two different Where else do you like to invest your energy, worlds: my organic universe, my acoustic think- apart from music? ing and arrangements with his huge talent and prolific electronic creativity. It was a ground- I love running. I could feel its therapeutic benebreaking experience for me to work with him, it fits on my body and health; it is very purifying to was a huge challenge to keep my vision and to do physical activity. I can clear all my thoughts remain open to his ideas. then and meditate. What also helps me to recharge my batteries is getting together with my Talking about performing live, you mentioned friends and my family. Since I tend to spend a in one of your past interviews “[…] it hap- lot of time in the studio or touring, I really miss pens to me on a regular basis to disconnect my home life. from reality, to drift away for a short time and I cherish dearly these moments”. Do you Any New Year’s resolutions? What’s next for intend to make your gigs some kind of a you? spiritual ceremony? I’m looking forward to recording my third album For me performing music is a very spiritual act this year. Songs are already written, new ideas and I treat performing live this way as much as keep popping into my head, I just need to folpossible. I let myself connect with my emotions low my path and welcome all the opportunities and feelings as well as express them to the full- ahead of me. In mid-December I’m going to est. During my concerts I dig deep and through England, I will stay in Leeds first, then in Lonthis emotional and spiritual atmosphere I hope don and Brighton. I settled down there a year to make my audience think about their lives and ago and I find this place very inspiring, full of emotions, hidden or repressed, of which they great possibilities for personal development, might not be aware. I cannot stress enough that fostering relationships with new people and muthis is the main purpose why I am making music; sicians. My plan is simply to go back there, rest I want to move people, not to entertain them. a little bit and go back to work.

Uns tea dy Hea ds Photographer : Diane Jong Wardrobe Stylist : Jordan Stolch Makeup/Hair : Sherri Celis Model : Kira | LA Models & Chaun | Next LA Shot at FWD Studio LA

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Pink Beaded Dress: Michael Cinco

Kira White Feather Dress: Michael Cinco

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Chaun White Halter Dress: Gomez Garcia

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Kira White Feather Dress: Michael Cinco Chaun Pink Beaded Dress: Michael Cinco

Kira Peacock Dress: Basler

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Chaun Black Beaded Dress: Michael CincoChaun

Chasing The Storm Interview with tallia storm by Keziah Brown photography ania mroczkowska Stylist / Creative Director Tessa Hartmann Make up: Sam Edwards Hair: Taylor Ferguson

Pint-sized - but not Kylie, a mound of curls - but not Diana Ross, and a stare-worthy presence – but not Lady Gaga. At just aged 15, Tallia Storm holds all the all the vital ingredients to be a huge star. The acclaimed “Tiny Chancer” and protégé of Elton John has provided the soundtrack to London Fashion Week and The Scottish Fashion Awards. As well as stamping her mark on the fashion world she has also dived into a presenting career with TEDxTeen and has begun making waves in the blogoshere too. Coming at as us from all angles Tallia bellows fan beckoning and powerful melodies, alighting almost lost genres for a new generation. How did your career kick off?

two tables away, David Furnish is eating breakfast. When is a girl from Glasgow, miles away from home, ever going to be in a circumstance like this? I’ve got to do something, I thought. I ran to my room, wrote a quick note and stuck it inside my demo. I came back down to breakfast, grabbed my little brother, (who was about 4 and adorable at the time) and made my way over to David’s Table. I introduced myself and gave David my demo (I was extremely nervous at this stage). I asked if there was any chance he could pass it onto Elton, and luckily he agreed. Anyway from that point I didn’t expect anything to happen. I was 13 at the time and thought, if he doesn’t look at it, or bins it, it doesn’t matter, this probably happens to him all the time – at least I’ve given it a shot! The next day we were in security, just about to fly home. My phone started to ring, it’s an American number. I picked up “hello?”, “Hi, is this Tallia? Its Elton” replied the voice. “You’ve got one of the best soul voices I’ve heard in years – I’ve listened

Just over a year ago my family and I were on holiday in Hawaii. Dad came up from the restaurant saying “I’ve just seen Elton John, David Furnish and their baby in the lift!”, So me being an Elton John fanatic and diehard fan, became delusional and obsessed with finding Elton in to all your songs” after which he asked me to the hotel, for the rest of our stay. open his concert in Scotland – without a second thought, I accepted and for the 6 months The next day, we were sat at breakfast, I’m an- in the run up to the show I just practised, pracnoyed as I haven’t yet met him and he’s probably tised, practised. I owe it all to him. Before you not coming to breakfast, as he’ll be in the pent- knew it, I’d flown out to L.A., bagged all these house suit. Any way I look over my shoulder and gigs, and from there I’m now just about to get signed!

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Dress: Ana Ljubinkovic All jewellery Accessorize

Meeting Elton and David Furnish was the side my mother since she was 12. I think bestart point for your career - what’s your cause we are all so hard working it helps us to strive for mutual success. favourite Elton hit? Benny and The Jets- for sure, that’s the one me As well as your mother’s influence, your father is also a jazz pianist – did his music and my brothers can sing off by heart. have an influence on your growing up? Did you ever imagine that you’d be so Yeah for sure, we had Coltrane and Monk, in successful before even leaving school? the car on the way to school. They were playing Mum and Dad have always worked very hard, Chic and jazz all the time and this how it turned out! they keep my grounded. I see this as the beginning of the road and just because I’m about to sign a record deal, doesn’t mean I’ve made it, it’s a job. I it’s a career and I’m going to take my time to build strong foundations – not a one-hit-wonder type phenomenon!

Your family play a huge part in your career - why did you swap the Hartmann name and go for Storm?

Storm is actually my middle name. My full name is Natalya Storm Hartmann – so I’ve just taken As well as being a singer you are also a the middle bit! blogger, presenter and a keen swimmer – Your sister Tessie puts together your looks what’s your real passion and aim? – how is it working so closely with her? I’m a big fan of writing, I blog for TEDeX Teen and Shout magazine. I’m beginning to write my I think it’s great because, she knows everything own lyrics and my own songs too. I’ve been writ- about me, from top to toe. She knows exactly ing about everything and anything, from ‘tween’ what I want. We make mood boards and open stuff, like make-up and clothes, to my TEDeX up the latest issue of Vogue and pick styles out Teen stuff, which lets me talk about the refer- and go from these. Obviously I can’t always endum, and how somehow it’s still going on! I have Versace, so we head to the high street just want to speak, present and write and get my and see what we can get from Topshop and New Look. Tessie’s amazing at what she does voice out there! - she’s extremely artistic. So many people are Your mother is the Fashion Editor At Large puppets to fashion these days. for The Herald, the founder of The Scottish Fashion Awards and the owner of Hartmann As well as your sister, who else inspires Media (Tallias PR agency). Does her success your look? have an impact on how you work? My Nanny passed away last year; she was in I owe where I am to her, however I do think her late 70’s, so she’d lived through it all. She whether she was in her position or not she would was one of the most glamorous women I’ve ever support me just the same. I’ve never had a sing- met – she had cupboards of furs and designer ing lesson in my life; I’ve literally just done the handbags and 50 year old vintage pieces… I’m scales and learnt to read music with my Dad. actually wearing her fur jacket today! She exThey’ve had that faith in me. Just like this, my perimented with fashion, there was no boundsister, who’s my stylist, has been working along- ary line. I look up to her as an idol and just like her I’m not afraid to move ‘outside the box’ too!

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Vintage Versace scarf Boyfriend jeans - GStar Chain belt - vintage Chanel Vintage white faux fur coat

Do you have any other siblings we should You’ve been spotted wearing pieces from lesser known and graduate fashion look out for? designers – is this to support up and I’m one of 4. I’ve got Tessie, and two younger coming talent or is it to wear something no brother’s, Jonnie who’s 9 and Zack who’s just one else is? about to turn 7 in 13 days (as he reminded me Wherever I go I try to find the new up-and-comthis morning). Zack wants to be a drummer/bass guitarist –he’s ing designer. When I went to Madrid for Eva my father’s double! When I came back from LA Longoria’s Gala, I found Moisés Nieto and when he was asking me “how long will it be until you I was in New York I borrowed pieces from The are famous?”, I was like “I don’t know Zack – Parsons School of Design to wear to my gigs theses things take their time…” he was like “so and meetings. These piece could be Lanvin! that means it’s just a year until I go on tour with Their stuff is so crazy and bonkers and that’s you?”. I think there’s such a competitive rush in what I live for! I’m at the beginning of my road and so are they, so there’s no reason why we our family that we are all loud to be heard. can’t help each other out! Rihanna did River Island, Kate Moss did a number of seasons at Topshop – would you Tell us about the crimping – when did this ever put your name to a brand? If so which? come about? (Laughs) My hair is really curly, like BIG ringlets, so when I crimp it just takes really well and last for ages. Me and Tessie did it one day and it’s just stuck with us! It’s big and why not? In Scotland, where I come from, it’s go big or go You have a very daring sense of style – which home! labels do you love wearing the most? So as for the future - what’s on the horizon I’m a huge high street fan. My Nanny left me a this year? cupboard of Chanel bags and amazing vintage pieces that I’ll keep forever and ever, but on the This is going to be my busiest year yet. This day-to-day I wear mostly River Island, Acces- month I’ll be signing my contract and sealing sorize, Topshop and New Look – these brands the deal. I’m flying out to LA to work with some are brilliant because you can find yourself and incredible producers, I’m doing loads more gigs, performance and just working at those your individual style within their collections. songs. My diary is jam packed full! I was a BIG fan of Rihannas range at River Island – it almost felt like a designer collection. Eventually I would love to create my own line – so watch this space…

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Hey Mrs Blumenfeld

Photography : Rachel Schraven Styling : Mariska Groothuis Make up & Hair : Christel Man Models : Anne | Echte Mensen Ray & Vincent | 77 Models Location : special thanks to Hotel The Toren, Amsterdam

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Slave Magazine issue14 | Out March 2014

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