Issue Eighteen
Amyl and the Sniffers Sports Team Slaves Sleaford Mods Gently Tender Fontaines D.C.
Festival season is becoming a distant memory and it’s time for the tours to commence. Following their big show at Scala, Sports Team take the cover and they invited us to a local haunt in West London to chat about their rise. Amyl and the Sniffers are the Australian punks that no one can get enough of. We gave them a call to discuss how they went from potentially never playing a show to touring the UK and US. Slaves have just released their third record and to some critical acclaim. We speak to both Isaac and Laurie about the album as well as the debut release from their label, Girl Fight. In the midst of their latest release, we give Sleaford Mods’ Jason Williamson a call during his family holidays. He took the time to chat about social media and tell us why he thinks indie music is ‘horrible and tired’. Flying over to Dublin via email, we sent some questions to Partisan Records latest signings, Fontaines D.C. The Dublin boys have caused quite a stir and ahead of their tour with Shame, we dug into their inspirations and aspirations.
Palma Violets will hold a place in the hearts of many, but from it’s embers, Gently Tender are expanding on their
previous projects sound. We met them for a pint in Kings Cross to talk about their spiritual shift from concrete to earth as well as bringing in Celia from The Big Moon. Deeper into your read you’ll find Canadian collective,
Crack Cloud, who have been challenging the norm and
discuss how their disassociation with their surroundings has inspired their content. We’ve managed to fight through the Indonesian fanfare to have a chat with Brighton’s Fur. The
band have just signed to Nice Swan records and we caught
up with them to discuss criticism from members of The Fall
as well as being perfectionists. Sistertalk finish off the band features as the London buzz band keep things short and tell us what’s going on around them at the minute. As always
we introduce some of our new faves in Who Are You? This issue features The Murder Capital, Krush Puppies, Jacob
Slater, Sons of Raphael and more. Plus, Dan Pare takes us to The Five Bells in New Cross to talk about what’s been going on down there.
3 Gently Tender
27 2018
6 Slaves
29 Sports Team
11 Amyl and The Sniffers
33 Who Are You?
18 Sleaford Mods
35 Our Girl
21 FUR
38 Fontaines D.C.
26 Crack Cloud
39 Sistertalk
2 Chords Good
The Year of the Culture Vomit
Acts Of Fear And Love
Britain’s Bridleways
Big Attraction
Forget Indie Music Right Now
If You Know That I’m Lonely
Rehabilitation Outlet
Get To Know
Stranger Today
Chequeless Reckless
Bowser’s Castle
Opposite, So Young Illustration Competition Winner, Antonio Giovanni Pinna (The Beatles)
Gently Tender Gently Tender of North London are the band rising from
Pete: They’re certainly the oldest songs we have.
the embers of Lambeth’s Palma Violets. The band split following the release of their second record and founding
Sam: What Pete’s saying there is that we needed to release
members Sam Fryer, Pete Mayhew and Will Doyle have
these now because we’ve had them for such a long time. We
been patiently waiting in the background to launch their
couldn’t sit on them any longer.
new project. After luring in The Big Moon’s Celia Archer and London creative, Adam Brown to join the gang, Gently
Pete: They’ve been around the longest so there’s nothing
Tender have begun to take their choral harmonies to the
more we can do to them, they’re perfected.
smaller stages of the country. Singles ‘2 Chords Good’ and ‘Avez-vous deja’ opt to move their audience emotionally
Sam: So yeah, going into them and being honest, ‘2 Chords
over physically in an extension of Palma’s but with a nod to
Good’ is probably the most Palma Violets song we have
simpler times. Frontman, Sam Fryer took some time away
and ‘Avez-vous deja’ isn’t. I Like ‘2 Chords Good’ and the
from his Cricket podcast to meet us in a Kings Cross pub
timing because it shows that nostalgia and what we had.
alongside bandmate, Pete Mayhew to talk through the plan
‘2 Chords Good’ was written in the time of Palmas and is
and how it all began.
what our third album would’ve sounded like had we not split up. We don’t dislike what we did in the past, we love it
So we know that Sam, Pete and Will met at school but
but we’ve evolved. ‘Avez-vous deja’ is going into showing
how did Adam and Celia join the band?
people how ambitious we are and that we want it to be epic.
Sam: Celia came first as we share the same management.
Do you still have an affinity with London? Your aesthetic
We’ve toured with The Big Moon as well. Celia was very
has moved from Lambeth to more village Green…
interested in doing it and she’s a very good keyboard player as well. With The Big Moon writing a new album now,
Sam: Yeah I think it’s definitely taking a lot more from folk
there’s a lot of time for her to do something else for a bit.
music and the village green ethos. There’s more earth in the
Adam is more recent. I think we just needed that extra
music than concrete.
guitar layer. He was pretty much at every gig I went to. Pete: It’s just expanding from what we already had anyway. How much of Gently Tender is ready to go, is there an
It’s more interesting for us to write and for people to listen
album waiting in the background?
to.
Sam: We have a lot of songs, enough to make an album. We
Sam: We went away to a farmhouse in Wales to write and I
are never going to say we’ve got the album, we are always
think that has become more of a spiritual home for us. I’ve
adding to it. Your new song is always going to be better
taken a lot of inspiration from that place, the times we had
than your last song isn’t it, otherwise there’s no point in
there and the people that we met. Our name was taken from
writing it.
The Incredible String Band and the people that lived there were the ones who introduced us to The Incredible String
What makes these two singles the right ones to launch
Band. We definitely spent a lot of time listening to that kind
with?
of music and it definitely has a grip on this band.
3
Words by Sam Ford and Josh Whettingsteel, illustration by Marcus Oakley
Slaves Having spent almost their entire careers as divisive figures,
Isaac: I feel like in a way it was there, for both of us that’s
Slaves’ emotionally-direct third album has finally seen
our favourite kind of music to listen to. Melancholic, “nice”
critical opinion soften. Not that it bothers them much.
music. So I feel like we’ve always had it in us to want to
With ‘Acts of Fear and Love’ finally out in the world, we
do that but it definitely took a bit longer for us because we
caught up with Laurie and Isaac to talk about their label,
weren’t really used to it. Parts of some songs we’d spend
songwriting and why having a crowd singing back the songs
days on, whereas before we’d never do anything like that.
is more important than any fawning broadsheet review. What kind of music is that, what artists influenced that The new album’s out in the world, how does it feel!?
sound?
Isaac: Feels good man, it’s a nice time but releasing an
Isaac: My mum’s like a proper soul girl, so I grew up on
album is such a weird unexplainable feeling. You’ve been
that stuff. My old man’s just into absolutely everything, just
sitting on that, writing it, recording it, perfecting it, and
a mad vinyl geek basically. So I’ve just always been into
then all of a sudden it feels like it’s not yours any more. You
everything. Do you know what, when Baxter Dury - when
don’t own it. We’re buzzing and people seem pretty happy
Happy Soup came out - that was a complete game changer
with it.
for me, and Laurie I think as well. I remember we were driving to and from gigs and playing that on repeat and I
The reviews look to be really positive so far. Which for
feel like Baxter’s definitely influenced our band quite a lot.
you guys must be strange... You can hear that in your new record as well - you’ve Isaac: Yeah exactly, it’s like even if people don’t like us for
done the jokes thing before, but in this one it feels more
whatever reason they’ve got to appreciate it. We feel like
open and revealing.
this is definitely our best work to date, and I feel like people Issac: That’s what we’ve tried to do, we don’t take
are feeling like that as well.
ourselves too seriously, but on the other hand we really do. When you went in to write it, was that a conscious thing,
We’re serious blokes. I think this album for us, just reveals
that you wanted to subvert those expectations?
a lot more of our personalities whereas before we were just barking about the same kind of subject quite a lot and I feel
Isaac: Yeah. I don’t really feel like we put our hearts and
like now we’ve got a lot more personal.
souls into the album before this one. We just banged it out and then it didn’t feel like a real body of work. Whereas with this one we wanted it to feel like a journey. We put a lot of thought into different parts of the songs and there’s more experimentation with melodies. We put way more into the tunes on this record. Do you find that takes longer to do, the more melodic songs? Or did it come easily?
Words by Rob Knaggs, illustration by Sac Magique
6
How have you been finding the new songs go down live?
Laurie: So we’re working on Lady Bird at the moment, they’re our main priority. We want to get them to a place
Isaac: We’ve been doing in-stores this week and they’re
where they can navigate the industry a bit better, we really
all pretty much acoustic sets and for some we didn’t even
passionately believe in those boys and that was what sort
have a PA, so me with a tambourine and Laurie with an
of started us on this path. We always wanted to do a label,
acoustic guitar. It’s really interesting, it’s a completely
it started early on when we saw that Baby Strange weren’t
different experience, but I got a really similar buzz off it. It
getting the recognition they deserved, and then a similar
seems like the softer tunes are going doing really well at the
feeling towards Life, but they’d already worked out how
moment.
they were releasing their album. Then when Lady Bird came to us with those demos it just of all sort of felt right.
How do you guys normally write songs, and did this
They’re mates and personal friends of ours and we have a
album work in the same way?
history together, so it seemed like a no brainer.
Isaac: 99% of the time I do the lyrics and Laurie does the
I’ve always loved labels like Two Tone and Sub Pop that
guitar. A lot of the time Laurie will plant the seed in my
have a real identity, even Rough Trade, and if we were
head, he’ll have a really good one liner for a tune and
going to do a label it would have to have a real strong
then off that it’ll just grow. We literally just couldn’t do it
identity and Lady Bird are one of the first bands that I feel
without each other. We’re very much a partnership. Laurie
come from a real similar place as us.
has so many ideas. He’s constantly on his guitar working bits out and coming to me with ideas. He has so many ideas
How do you know those guys? I keep reading there’s a
and I’ll just kind of sift through them.
connection there from before the record label stuff.
What is the album about, lyrically. If you had to surmise
So Isaac is like best friends with them all from where he
it?
grew up. For me, Sam the lead singer was a drummer in different bands growing up so he was from Tunbridge Wells
When we first started writing the album, the phrase “fear
and I was from Maidstone and I used to go and watch his
and love” was just stuck in my head, and I kept saying to
bands and be blown away by him as a musician. And then
Laurie “fear and love” and he was unsure about it. I thought
he was in a band with Isaac and that was how I met him for
it’d be a good title for a song but he was quite unsure about
the first time and then more recently I’ve met Joe and Alex,
it, you know, it’s a really epic sounding phrase. It almost
Alex is quite a good friend of Isaacs. It’s mainly through
sounds too big or cheesy or something. But then we got into
Isaac, but I have a separate relationship with the lead singer
the studio to start writing and Laurie was like: “where does
Sam.
it even come from, that fear and love?” And I just said to him “I had someone tell me, there’s no such thing as hate,
I’ve watched Sam grow up, and he probably still is the best
just fear and love…” And he was like: “That’s it.” And it
drummer I’ve ever seen. But he’s a front-man now.
just all sort of suddenly made sense. And it was from that point that it all started unravelling. And I think the thing
Do you have your eyes on the next band you want to
that runs through the album is that it’s what I’m feeling
work with?
rather than just trying to bark about what I think everyone else is feeling. *Swaps phone to Laurie* So we’ve been talking to Isaac about the record, the other interesting thing you’re up to at the moment is your label. Tell us about that.
7
Slaves
We look at stuff and we’ve been sent a lot of demos that
For us it was going to shows and seeing reactions to the
we’re going through and there are people that we like... The
songs. Towards the end of the last summer the biggest
reason we’re working with friends at the moment is that it
moments in the sets were the songs from the first album,
makes the relationship a lot easier. Next time if we were to
none of the new songs had really caught on in the same way,
sign a band who we don’t have a relationship with already…
whereas now, even a week into our album, all the tracks we
basically, we can’t give everything at the moment because
play from the new album have the same reaction as some
we’re in album mode. But I think Lady Bird understood
of our older songs. The last album just didn’t feel right, it
where we were coming from and how much we could help,
felt rushed to get the album out. It didn’t flow, it was really
and what we could help with and when the word “label”
laborious. So by the time you release that it’s a bit fraying.
gets thrown about people all of a sudden think there’s a lot of money being thrown around but this is a passion project
Can you see yourself with the first record going even
and we want to be ready when we do take it to the next level
further away from the early Slaves formula?
- we want to do it to the best of our ability. I really want to - I don’t want to just make songs that I had this vision of them when they supported us at the
we’ve already made. There was this big moment writing
Tunbridge Wells Forum and I just thought, this band could
the new album, where I realised that if you’ve written ‘The
do it. They have all the ingredients.
Hunter’ once and you’ve written ‘Beauty Quest’ once you don’t need to write them again. You can always play those
Isaac seems chuffed with how the album’s been going
songs in your live set, there’s not a lifespan… we want to
down, how have you found it?
go somewhere else. There’s always been moments on the album that show our true selves, but I definitely want to
I’m completely stunned at the response. We’ve never had
keep going down that melodic route - I enjoy it a lot more
so much positive feedback to anything we’ve ever done.
- it feels like more of a challenge to me and I think they are
People are genuinely loving it and that feels incredible.
harder to construct and the payoff is incredible. Watching
We’ve done the unthinkable and made a record that actually
everybody sing the new songs back has been incredible.
is being hailed as better than our first record which we
Those big moments in the set are always amazing to
never thought we’d do really.
witness. A lot of people are asking why it’s only nine tracks, but I think it’s really important because we want it to be
What do you think made that difference?
intense. An album doesn’t need to be longer than that.
I think mentality has a lot to do with it. You have to be
No it’s great and it feels like an album you can sit down
willing to deconstruct your band and then build it up again.
and listen to in one go at that length. It’s not just a big
And look at how you write songs. That takes a lot of doing,
collection of bangers.
that’s not just “let’s write a song.” You have to sit down and analyse everything you’ve ever done and work out what
What people started to think about us got really irritating,
works and what doesn’t and how you can make it better and
and it gets you down a bit... We wanted to make music
you have to want to do that. I think it’s really easy to just go
that actually showed our true selves and that’s why there
and write songs. You can just go and put some stuff together
are those punk rock moments but also these bigger song
and put it out, but we analysed it all. We let a producer
moments because that’s what I truly want to achieve.
produce us. There were songs that have seven different
This album was kind of like about setting the record
versions, it’s a mindset that you want to outdo yourself. We
straight, maybe. We always knew we had it in us but then it
didn’t want it to be the same as we’d done before.
dawned on us that people getting the wrong end of the stick about us, it’s kind of our fault, and we actually just need to
I think it was from being a bit disappointed from where we
change tack a little bit rather than just being a screamy punk
finished up after the last album.
band who are like: “why doesn’t anyone get us?” Where it was actually us that made it hard to understand.
In what sense disappointed?
www.sacmagique.net
8
So Young Illustration Competition 3rd Place, Jolanda Jokinen (The Beatles), opposite, 2nd Place, Anna Sarvira (Grace Jones)
Amyl and The Sniffers To say Aussie trash punks Amyl and The Sniffers haven’t
Yeah good! We’ve always been hit up by, like, German
exactly charted a traditional course towards their current
guys, asking us to come over. This is really when we were
position would be a slight understatement. Having written
just starting out, playing to like 50 guys in Melbourne,
their first ramshackle EP Big Attraction in one 12-hour
which is pretty crazy. We’ve always had a decent following
shift before releasing it as a double EP through Damaged
over here really. We played in Moscow, and we had no
Goods in tandem with their second; Giddy Up, the band’s
idea whether anyone at all would turn up, whether we had
incendiary live shows quickly propelled them beyond their
any fans in Russia- but it went fine. So long as people are
Aussie base to non-stop world touring.
jumping up and down wherever, we’re doing ok. Same with
With a name part derived from vocalist Amy Taylor’s
Copenhagen the other night- we had to put a bit more effort
name, and part homage to inhalation of solvents, musically
into it to get the crowd moving, but we got there in the end.
speaking they are the exact embodiment of their moniker - around 120 seconds of furious enjoyment, followed by a
You mention playing to 50 guys a night in Melbourne -
vague headache and a need to indulge further. Having been
do you find it strange that it’s you guys that are really
described as everything from pub-rock to bogan-punk (and
blowing up on the international stage? Given the amount
of course, the obvious influence of 70’s Australian Rock is
of maybe more accessible music coming out of Aus at the
not to be understated), I feel a more apt depiction would be
moment?
imagining the juvenile crudeness of the Ramones informed by [70’s Australian Subculture] Sharpies, mullets and rural
I don’t think so. A lot of the really good bands in Melbourne
Australia.
are sort of just content playing to bigger crowds in
Still in the early days of a marathon 5-month tour from
Melbourne, and I think for us we put in a lot of hard
Europe to the US and back again (including a UK tour with
work- and even though we’re still a really young band, we
Slaves), Amyl and the Sniffers have both the energy – and
realised early on that if we really pushed it, we could end
in their frontperson – the starpower – to take over the world
up playing overseas. Having said that, sometimes I do have
gig by gig. Now with an album on its way, produced by
to pinch myself that us, as a band that never really intended
Joey Walker and Eric Moore [King Gizzard and the Lizard
to even play a gig, is now playing in places like the US and
Wizard], the world of Amyl and the Sniffers is only going to
Istanbul!
get more exciting. Reading through separate interviews you guys have As we speak, you’re currently in Norway, at the
done, it seems like you share a focus around not trying
beginning of a massive tour. How’s it been so far?
to affect pretension, with emphasis around having a genuine good time. Is there something in this particular
Pretty good actually – we’ve only been going since last
mindset that you think has really clicked with people?
Friday, and it’s been pretty cruisey, with no long drives yet. We’re doing a couple of festivals at the moment, but then
I think it’s more about the way we play the music rather
moving onto the headline stuff later.
than the music we play; do you know what I mean? We really put a lot more focus into the way we perform and
How’s the reception to you guys been, given that you’re
how the live shows go, rather than a recording process.
pretty much on the other side of the world from home?
The more catchy songs we’ve come up with have just been flukes, plucked out of the air.
11
Words by Dan Pare, illustration by Anna Rupprecht
You’re really building a reputation as being a crazy
Although you say you’re quite Melbourne focused, and
live band- is that intensity difficult to translate into
there are the nods to Australian culture here and there
recording?
through your songs. Still though, there is an element of more ‘classic’ punk. what made you want to play the
Yeah, lately. The first recordings we did, the ones that are
style of music you do?
out now, are just made with whatever we had access to, a $50 drumkit and the bass going straight into the laptop, all
I think it’s just that classic thing that our drummer is a
written and recorded in one bedroom. Now that we’re more
really good bassist, and he was teaching himself drums, and
accomplished, we have more idea what we want to sound
I was that classic tragic guitarist who couldn’t really play.
like, and the direction we want to take it in, so trying to
As for Amy, she was really good at like freestyle rapping
do that is a bit harder. I think we have the idea we’re quite
at parties and stuff - we didn’t know she had this power to
DIY, and obviously our fans now are into that that stuff, so
be this amazing frontperson. It was more just “I’m trying to
we don’t want to ‘sell out’ or whatever. We try and keep
sound like the bands I like- but I’m not as good as them, so
it fresh by like trying to get each song done in 3 takes and
it just came out as punk.”
then move on to the next one, then maybe come back to the How do you avoid going completely insane when you’re
previous one later.
on tour for months on end? You’ve got an album in the works - could you tell us a bit about the process that went into creating it?
As an Australian band, you learn it on the national tours. From Melbourne to Sydney is about 10 hours, and then
We wrote the whole album in the basement me and our
another 10 hours to Brisbane. So you spend a lot of time
bassist were living in. We hadn’t really written anything
in a car with your bandmates, who are all really hungover
for a year, so we tried to just stick in every idea we’d had
and doing really bad farts. It’s hard, but it’s something you
for twelve months and that morning. We’ve been touring
learn. You learn to bite your tongue, let someone’s leg sit
non-stop since then pretty much, so we’ve been trying to
against you, carry their kit, whatever. I guess that’s what
find random places to record as we move around the world.
breaks up a lot of bands- the farts.
Especially in front of the King Gizzard guys, at first I personally was quite scared – because there’s a difference to playing in front of one person in the studio and playing live, where it’s all about the beer, hanging off the ceiling and making weird noises. But when playing to one person, they’re just judging you on your music, which is quite intimidating. How has recording your album in make-do spots around the world whilst touring influenced the way the album sounds? You see how you have geographic genres? Like Seattle grunge or New-York hardcore? Our music is very Australian and Melbourne oriented, so when recording in different spots we try and shut out wherever we are and just try and put as much Australian into the album as possible.
13
Opposite, photo by PAR
soyoungmagazine.bigcartel.com
So Young Illustration Competition 4th Place, Nada Hayek (Siouxsie Sioux), opposite, 5th Place, Andreea Dobrin Dinu (Fat White Family)
15
Words by Rhys Buchanan
Sleaford Mods Sleaford Mods are known for their abrasive sound that
The Roundhouse is just the right size, and it’s such an old
mixes urgent punk-grime tracks with hard-hitting lyrics
building and so many classic bands have played there. If
full of gritty realism. In anticipation of the release of their
venues aren’t very nice then you don’t feel connected to
new self titled EP, So Young had a chat with vocalist, Jason
the building, so going on stage is not as good as it looks
Williamson about songwriting, the effects of social media
in those cases. There are some places where you just hate
on creativity and why he loathes indie music so much.
playing because you just don’t like the building, I know it sounds stupid but it just has to feel right. You have to sit
So Jason, your songwriting has always been about
there and try to be relaxed, you’re anxious, nervous, scared,
accurately documenting the world around you. Do you
all these things you’re sharing with it, so if you don’t like
try to remain an objective observer? Or take on different
the building, then it’s no good really.
characters points of view? Are there any modern acts that you think are doing good Sometimes I do try to take on different points of view and
things right now?
communicate what other people are thinking, whether they be very narrow minded or fascist or whatever - to try to
There’s nothing in indie, forget it! It’s so horrible and tired.
explore what comes out of a homophobe’s mouth or anyone
Guitar led music is mainly done by white young lads, like I
else out there who can’t contribute in a positive way. Other
don’t wanna piss people off but that’s just how I feel about
times it’s just my own bitterness. I’m really bang into at the
it. I veer more towards hip-hop, grime, R&B. Just forget
minute conveying my own bitterness and flaws as a human
indie music right now, I can’t see it. It’s really in a dire state
being - jealousy and paranoia and completely unreasonable
and I do think a lot of people agree.
accusations that I make and why I make them, like accusing someone of being crap...For the next album I’ve really gone
What needs to happen for indie to be revived?
for that kind of stuff, an exploration of my own flaws. It’s good to get it out there and get it off your chest. Actually,
Tastemakers shouldn’t be tastemakers. Record labels just
social media can be good in that way too, to just say what
need to rethink the whole thing, cliche products are being
you think, to talk about something that hurts you. It might
pushed most of the time, mainly because they sell. If you
not be right, and it might come back ten fold and hurt you
get two-thousand pissed twenty-eight years old, they aren’t
afterwards but it’s about getting how you feel out there.
going to give a fuck about integrity, they just want to have a good time. That said, I don’t want to patronise people,
So you’re playing the Roundhouse in September, I
but there are so many radio DJs that are just saying shit to
read an article in The Guardian where you listed the
enable themselves, it feels like self interest to me. It makes
roundhouse as your favourite venue to play - why do you
me angry, it really does! There are a lot of people out there
love performing there so much?
who aren’t getting heard that are a lot fucking better. Maybe I’m just a mardy twat, who has a real singular vision, but if
We’re doing two nights their actually which is good! Big
you think to yourself, ‘This is shit’, it’s because it probably
gigs are great but at the same time they’re very daunting
is.
and you can feel lost, not because we’re that minimal but just because it’s hard to tell if the audience are really connecting with it.
Words by Eleanor Philpott, illustration by Jonathan Vermersch
18
Ed Burkes, opposite Anna Skeels
FUR It’s one thing releasing a perfectly packaged, Buddy Holly-
I can tick off the bucket list that I’ve been mugged off by
inflected debut pop song so early on into your career,
someone from The Fall.
but it’s quite another when it starts amassing millions of views on YouTube and gathering a dedicated fanbase in
What did she say, again?
Indonesia… Brighton quartet, Fur, are treading an exciting path that even they can’t get their heads around.
She said it needed Viagra and that it’s too derivative of that time and I think that’s fair enough; its only an opinion on
The way I was introduced to the band was through ‘If
one song. Some of our music is a homage to that era so it’s
You Know That I’m Lonely’ which has got something
pretty obvious that it would sound like it, that’s kind of the
like 2.4 million views on YouTube, so I kind of just
point. Unfortunately, we couldn’t give her the Viagra that
wanted to know how that happened.
she needed.
It was really weird. It went fairly steady over three or four
What is your favourite scientific discovery?
months, it was at around 20,000 views probably, which was really sick for us and then yeah, it just started to get a little
I heard one the other day where this scientist was at a
bit crazy.
restaurant and there was a lobster in the lobster tank that looked really different to the others and he asked if he could
Where did you film that video?
buy it for a stupid amount of money to take it home and dissect. He did loads of studies on it and he found out that
The New Forest. It’s actually where Ed (Zorab), the
that particular species of lobster could regenerate its cells at
director’s from; it’s just round the corner from his family
such a perfect rate that they’re technically immortal and can
house so we’d spend every evening there, get fed pretty well
live forever unless they’re killed by a predator… penicillin
by his mum and then just go out to this amazing woods and
is alright, too.
fields. I’ve done soundtracks for some of his films. We kind of do favours for each other and I think his style goes hand
What have you got coming up next?
in hand with the music. The funny thing about the video is that it looks like summer but it was actually 7am and -2
I don’t know how much we can say. We’re working on
degrees with Murray getting water tipped over his head. The
something a bit more substantial; we’ve got a lot of music
new video we recorded was in the middle of summer and
that isn’t necessarily that new. The songs that people know
we’re all wearing jackets and turtlenecks.
of ours are not where we would see ourselves at. Uploading and putting out a new video, knowing how much people
I was listening to Steve Lamacq the other day and he had
loved the last one… you just don’t know how people are
you on his roundtable. Miles Kane gave you a glowing
gonna take it. We’re massive perfectionists as well so
review but then it came to Brix Smith… I just wanted to
we get super anxious to release any music and we just
know what you thought of her comments?
want everything to be perfect. We don’t want to re-record anything so when we put something out, we want to know
Josh messaged our group chat and he was like, fucking Brix
that it’s there and will stand the test of time.
from The Fall has just mugged us off, but you know what, I think it’s fine and I think being 21,
21
Words by Harley Cassidy, illustration by Josh Whettingsteel
15
Words by Rhys Buchanan
Crack Cloud Alberta, Canada’s Crack Cloud aren’t your typical post-
The political significance of that is up for interpretation. I
punk guitar band. Their unconventional aesthetic and
don’t think there’s anything wrong with being politically
constantly evolving cast of contributors lends their songs
arbitrary. If you’re finding solace in a creative outlet - if its
and shows a rare degree of raw intensity. Crack Cloud -
helping you to cope, to grow, to understand yourself and the
who refer to themselves as a multimedia collective - have
world around you - then thats a fucking blessing. Believe
just released their self-titled debut album and are playing
in yourself. Love yourself. Find your own climate and
two UK headline shows this November. We caught up with
cultivate from the heart.
singer-drummer Zach Choy and bassist Daniel Robertson to discuss their inspiration and the ‘historical trauma’ at the
Wow that’s inspiring! Which artists would you say
heart of everything they do.
inspire you?
Canadian artists such as Drake and Arcade Fire have
Zach: Artists like Erykah Badu and Kendrick Lamar that
spoken explicitly about their desire to create a new
allow themselves to be emotionally vulnerable and defiant.
notion of ‘Canadianness’. Do you feel like you represent
We identify with the narrative of Hip-Hop culture because
a challenge to what it means to be Canadian?
it isn’t exclusive to race, creed, class, or history: it’s often about coming-of-age: of making something out of nothing.
Zach: A lot of the subject matter is informed by childhood experiences of growing up in rural Alberta in the 90’s;
Daniel: Seeing someone investigating the boundaries of
where multiculturalism often felt like a pretext for the more
expression is inspiring; Midori Takada has been a longtime
insidious affluence of the oil industry. We felt dissociated
inspiration for me.
from our environment at an early age and in many ways our content is a reflection of that dissociation.
You’ve described Crack Cloud as your ‘rehabilitation outlet’, do you think the collective could become a
You’ve previously described ‘Crack Cloud’ as a
vehicle for rehabilitating other addicts?
multimedia collective. Do you feel limited by more traditional labels?
Zach: Crack Cloud does function as a vehicle of rehabilitation for people in our lives. I had a very negative
Zach: Our creative inclinations extend beyond the musical
impact on myself and the people closest to me during
content: our ideas can only be fully realized this way. All
my teenage years. It’s easy to associate my transgressive
musical and visual content is the conglomerative effort of
behaviour with addiction at the time, but what is easily
a fluctuating number of people that resonate with Crack
overlooked is the root cause of addiction to begin with.
Cloud as an artistic notion or entity.
Rehabilitation can only work through a deep understanding of yourself, and the historical trauma that influenced you to
Do you think welcoming differing viewpoints is
search for that quick fix. I think art is fundamentally about
important in the political sphere as well as the artistic
recovery. It’s meant to inspire growth and connectivity and
one?
engagement. This is what Crack Cloud strives for within our own community, and we aim to extend that invitation.
Zach: We are making art that is informed by our lived experiences and observations.
Words by Alex Mistlin, illustration by Josh Whettingsteel
26
2018 Jesus CHRIST! 2018 has been a fantastic year for the
Also not to be missed are Honkies, who share the
culture thus far. We’ve watched bands like Shame, HMLTD,
aforementioned split single with their track ‘Pagans’. Like
Sorry, and Goat Girl cast off the constraints being ‘new
Peeping Drexels, they too play some form of country-garage
bands’ can bring and start packing venues across this nation
at a ferociously fast pace, but recent single ‘Kicking and
and beyond. We’ve also seen the ‘South London Scene’ tag
Screaming’ highlights the capacity of the band to subvert
applied to any band to stick its nose into the Windmill also
this norm, as they veer blindly between mind-melting synth
seemingly slip into redundancy, as more and more venues
and guitar twang to create an effect I can only liken to what
seem open to taking a punt on the new and interesting. With
I imagine the sound a Texan barn-dance descending into an
this in mind, it seems maybe arrogant and Deja-vu-esque
orgy would produce.
to try and group bands together as a ‘scene’. But there is a new wave of stuff going down South of the river, with an
New Cross natives Blue Bendy are also definitely a band for
epicentre of New Cross’ Five Bells.
the future. The six-piece play a strain of strangely hypnotic art rock, with a frontman who smacks of a young Morrisey
First up is the brilliantly weird Jerskin Fendrix.
on a hefty dose of disassociates. With only a ‘Home
Immediately, the term that springs to mind is ‘glitch-pop’,
Recordings’ tape and a couple of live videos online, you’ll
but the electronic maximalism present on tracks like
have to be content with catching them live to truly partake
‘Onigiri’ seems almost secondary to the massively personal,
in the full experience.
massively autotuned rhapsodising on the banalities of heartbreak. Furthermore, latest single ‘Swamp’ is also
As anyone who’s watched British guitar music evolve and
without doubt the best song to ever contain an industrial-
mutate over the last decade will surely testify, often the
techno breakdown in the same breath as the line ‘I wish I
explosion of a ‘scene’ into a wider consciousness precedes
was Ezra Koenig’.
a cultural vacuum of blandness and self-indulgence. The emergence of acts like those mentioned above and the
Providing the soundtrack to the world imploding around us
growing popularity of venues like the Five Bells feels
are Peeping Drexels. Whilst as so prevalent with acts of the
symptomatic of the manner in which the current London
last few years, the country-sludge influence of bands like
music scene has evolved. No longer is there a sense of
Phobophobes can be heard, there is such a genuine sense
pathological boredom, a zenith of cultural desolation which
of violent, boiling sleaze behind them that in keeping with
only a handful of venues held the antidote to. Nah. The way
the great tradition of rock’n’roll-intelligent-plagiarism, the
the yoof [sic] engage with our culture has expanded beyond
sound becomes exactly their own. Standout track ‘Bills
this- maybe we’re older, maybe wiser, or maybe this is just
Drift’ (recently released on Permanent Creeps as a split
the logical continuation of what has come before. Just watch
single) is barely more than a chugging bassline overlain
out for the occasional bloke with a machete.
with bouts of guttural howling - but oozes an allure of danger which captivates as it repulses.
27
Words by Dan Pare
www.annakskeels.co.uk
Sports Team Sports Team first got people talking when their rumoured
Alex: We’d have wild line-ups, lots of cover acts, rap acts.
‘beefs’ started circulating ‘the scene’ with many not seeing
We did like three of them, still got the poster pinned in the
the funny side, something the band relished and often
kitchen in Harlesden from the first ever one. People found
played up to. A year later, the outlying mockers of ‘the
it endearing if not good. I think people just thought we were
scene’ are now forging their own way with no obvious
joking for so long. I think they still do now, people are still
peers. Their satirical indie hits have opened doors to a
like, “are Sports Team real?”
pathway to greatness not seen in these parts for some time. We caught up with the band at their local to talk
We then graduated and had a bit of a wilderness year where
Poundland beginnings, Britain’s bridleways and not being
we played the odd gig. It was probably only last year when
too Partridge…
we all ended up in London with everyone living together, we’d play The Old Blue Last a lot and had a good moment
Take us back to beginning…
where we met our manager about a year ago and have been working with him since. And it’s become serious since
Alex Rice: We were all at Cambridge together living on the
then…
same corridor and before we’d go out we’d sit and listen to Pavement, Family Cat and we always had this implied
Rob: And then we met Dave McCracken.
want to be in a band that no one ever really spoke about. And at about Christmas time that year, we wrote ‘Stanton’
Alex: We just got amazingly lucky and he was like, “come
and thought “OK, this could work”. We had two acoustic
round to my old timber yard in Hammersmith… you can use
guitars, that was about it…
this for free for as long as you want.”
Who was in the band then?
Alex: Then we did ‘Winter Nets’ in about a week and the reception that got spurred us on a bit… So that’s where
Alex: It was me, Rob, Henry and a guy who left quite early
it’s at now… there’s been some mad moments along the
days. But I remember it being around Christmas time and
way, bizarre little things have happened, like the festivals
we played what was kind of a gig in one of the bars and we
in France for me have just punctuated it… Then we played
played our ‘Christmas Song’… It really pissed people off.
Moth Club and that was our best ever live gig. We didn’t
’Herod’s Men and The One That Got Away’ was the first
know how it was going to be and we walked in and a
name we played under… But it felt good and right. Putting
hundred people had to be turned away, packed out room,
‘Stanton’ on Soundcloud pretty early on was for our own
just seething.
benefit and to be able to listen to it, but we got loads of approaches actually. When we first starting putting on gigs
We saw you a few days after that and you were still
we put on a night called Poundland where you’d get in for
buzzing from it.
a quid and we’d get all our mates down to a social club by Rob: It was just after we’d released the EP as well and it
the river.
was the first time people we singing along, there was like Rob Knaggs: It was a staff and student bar, the sort of place
15/20 kids we’d never seen before, singing along to the
that would hold flamenco lessons, but it was cheap to rent.
words.
29
Words by Sam Ford and Josh Whettingsteel
www.annakskeels.co.uk
You’ve all moved to London as graduates with pretty
What direction are you taking things next, musically?
decent jobs and now you’ve made the decision to leave those jobs, which is pretty brave. What led you to make
Alex: I think we’ve always known the place we want to
that decision?
come from with songs. Suburban England, to an extent. Rob got me into Betjeman recently which has resonated.
Alex: I think we all had that moment where we realised you’d be mental not to give it a go and you really need to
So Rob, you write the lyrics that Alex sings…
give it a full go. You’ve got to be able to sit down and spend a lot of time writing. It’s pretty finite as well, we don’t
Rob: Me and Alex have known each other for so long and
know where we’re gonna be at in a year’s time. If you never
it’s always been the way we’ve done it.
gave it your all you’d get to thirty and feel horrible. Alex: It feels completely natural, he’ll be like, “give this Al Greenwood: You only have a limited window where
verse a go” and I never find anything jarring…
people actually give a shit. Have you ever had a ‘beef’ with someone that you Rob: There’s the tours aswell. At the end of the year we’re
haven’t realised until someone tells you exactly what
doing two months touring and there’s no way we could have
you’re singing about?
done it. Alex: (laughs) Why do I keep getting hit?! People keep We’re in September now, what’s the live plans from
punching me.
now? What are you working on now? Alex: We’re doing The Magic Gang tour, there’s some unbelievable venues on that. That’s with The Orielles too
Alex: Set piece gags, slapstick stuff, just sketches really…
so I reckon it’ll be brilliant. The Magic Gang are one of our favourite bands… After that we’re heading to Europe…
Al: Got a good mockumentary in the back pocket (laughs).
Portsmouth to Paris.
We’ve actually got a great one but our manager said it was too Partridge.
Where has your front man approach come from, Alex? Rob: We do get told that though, people go to us, “you Alex: I think it just kind of came naturally, it’s not very
can’t be too Partridge”, I think Rice’s personality is quite
considered, you’ve seen it! It’s very much like, can’t really
Partridge, where on stage he’s got a certain persona and
dance, what do you do? Flail legs. Yep.
then you meet him in any other context and he’s an idiot.
Rob: And it’s also like, what do you do if you’re not an
Do you ever vary that Saturday Kitchen line?
amazingly gifted, natural singer, not an amazingly gifted musician, you haven’t done it before and you need to hold
Alex: Yeah, change it quite a lot, I’ve got a lot of fishing
an audience.
chat at the moment. I had a bit about Britain’s bridleways for a while. That’s the documentary we wanted to make.
Alex: It’s also because initially people were turning up and
We wrote an episode… Britain’s bridleways. Me and Rob
not wanting to see guitar music, that was the first point.
going round in a classic car meeting local historians talking
People were very sympathetic and came down to see us so
about the history of bridleways… No we’ll probably have
they needed jokes and whatever it is to make it entertaining.
an album out next year at some point. We don’t really know
It’s always been about putting on a show, it hopefully comes
though. It’ll be ready when it’s ready… When we’re happy
from a place of trying to entertain people rather than putting
with it.
on some high concept art.
www.joshwhettingsteel.com
32
Who are Krush Puppies Can you tell us who you are, where you’re from and about the music you make? Blue Bendy We are five mates from South East London that make scrappy, grungy, catchy pop songs.
We’re Blue Bendy, a six-piece group from New Cross in South London. We get described as discordant pop, art rock
What led you to form a band?
or post punk depending on what gig we’ve just played.
It makes us less embarrassed of our days jobs.
Can you tell us something that you collectively hate? Carrying equipment on the tube.
Jacob Slater What’s special about where you’re from? Has it inspired
Sons of Raphael
your music? We are two brothers from North London, our throat is an Maybe it will one day but I find its normally people, not
open grave; we use our tongues to deceive.
places that spark something off. What led you to form a band? What led you to make music? Ronnel: I was writing a lot in boarding school, I’ve turned I started making music because at its best its as close to
my room into a studio and started recording, but it wasn’t
magic as you can get. I didn’t think I’d be happy doing
until the ‘Eating People’ video that it became apparent we
anything else.
were going to form a band together.
33
The Murder Capital
The Talk Show
We are The Murder Capital. We’re from all corners and
We’re a proper pick n mix of ideas and styles, I guess
stretches of Ireland.
you could say it ends up feeling somewhere in the wiry hinterland between post punk and new wave, but I think
The music we make is informed heavily by our
there’s plenty of things in the music that’s just us.
surroundings, experiences and our drive to affect those that become a part of what we are creating, including ourselves.
Can you tell us something that you collectively hate?
Can you tell us something that you collectively really
Seagulls. The bullies of the seaside.
love? The poem ‘When I Have Fears That I May Cease To Be’ by John Keats is a great source of love and inspiration for us.
Guru We are collectively known as Guru, but you can call us Tom, Kieran, Ferg & Ivan to our faces.
Squid What’s special about where you’re from? Has it inspired How did you find each other?
your music?
Me and Ollie met through a mutual friend from Bristol and
Living in a cultural cul-de-sac like Maidstone forced us out
used to make some electronic music together in each other’s
into the high rent utopia of Brighton, East Sussex.
bedrooms when we moved to Brighton. Can you tell us the story behind one of your songs? Let’s talk about Norovirus... Leeds Norovirus. One of our forthcoming singles has a lot to do with the time we all went to Leeds and Arthur had Norovirus but didn’t know. 2 out of 5 Squid boys were infected whilst the rest of us lay dormant. There was lots of moaning, groaning and lying on the floor in the studio.
34
Our Girl Our Girl are enchanting everyone with their heavy yet
Yes, it is!! And they’re always about someone which is a
ethereal guitar tunes that take queues from both nineties
scary part of it. It’s funny when you hear a song by someone
grunge and catchy modern indie. They’ve just released
you don’t know and it’s about something personal, to think
their impressive debut, ‘Stranger Today’, produced by
about who they may have written it about. But if you’re the
The Coral’s Bill Ryder Jones, which is as impactful and
person who’s being written about or the artist who’s written
as glorious as the band’s live sound. We had a chat with
the song, it’s a pretty intense thing... I don’t feel scared
singer, guitarist and songwriter Soph Nathan, as she took
about it anymore though. A lot of these songs I’ve been
some much needed time off with her family in the South of
playing for a while and I guess I stopped thinking about it
France.
in that way. They still mean things to me, but I just see them as songs now. When a song is fresh and new it’s more nerve
With Our Girl being a Brighton based band, I’m
wracking in that way, but when you’ve been playing it for
interested to know, what led you to move to Brighton in
a while, it just becomes what it is, and you start thinking
the first place?
about it from a musical point of view - how you can make it more impactful or sound a certain way, which adds more to
Well I was actually studying music there. I mean, the music
the sentimental side of it and gives it another level.
scene is amazing but I had no idea how great it was until I was there and part of it, I just moved there because I liked
With the recording of the album, did you arrive with
the town. The best part about studying there was the people
ideas of how you wanted it to sound? Or did you go with
that I met from all different unis. I made so many friends
the flow? It was produced by Bill Ryder Jones of The
that play music! I lived with a lot of bands like The Magic
Coral which must have been very exciting!
Gang and Abattoir Blues. We had this basement downstairs that we called the Dungeon - because it was really gross
He’s so great, he’s amazing at guitar! We went into the
- that everyone would practice in, so even if you were
recording, thinking “okay, we’ve been playing these songs
chilling in the living room you would just constantly hear
for a few years now, we know what we want.” We basically
music as there was always someone playing downstairs.
wanted to be how we are live but sound bigger and be able to experiment with more sounds and more percussion and
That must have been so inspiring! All that creative
extra guitar lines - because that’s stuff we can’t do live but
energy must have spurred you on to write more and
we could do in the studio, stuff that we heard in our heads
more songs…
that we couldn’t do live. But it felt pretty straight forward really. Bill added a lot in terms of ideas, guitar lines and
Definitely! It made me feel confident, because everyone
drones, that I actually think transformed the songs and made
around me was making music and encouraging me to do the
them a lot better. Bill was perfect for us. It was such an
same. So yeah, I might have done it anyway, but I would
intense experience though!. Since it was a residential studio
have been more shy about it.
we were there 24/7. We’d go till one or two in the morning and start at like nine. I felt very wired and drained - but in
Your songwriting is so personal. Is it ever frightening
a good way! It was like this is our chance and I want to put
to put your personal thoughts and feelings out there for
everything into it. I think it suited the album to get lost in it.
everyone to hear?
25 35
Words by Eleanor Elly Watson, Philpott, illustration illustration by Josh by Taylor Whettingsteel Benson
26
Fontaines D.C. From Dublin, Fontaines D.C. are a band on the rise. The
People talk about Lennon exposing his flaws on tunes like
Irish quintet have been causing a stir in the UK as well as
‘Jealous Guy’ as a big brave artistic sacrifice but Jesus
Europe. Shows with the Likes of Metz and IDLES have
Christ he hasn’t a patch on MacGowan for that. The Stones
treated those with a punk persuasion to a view of the future.
harnessed the Blues which gave them a corner to fight and I
Nodding to the likes of Girl Band and Iceage, Fontaines
reckon we do the same with Irish trad to a degree. Girl Band
D.C. will take their raucous show on the road with Shame
are just a reminder that you can still be original and that
later this year before heading off on some headline dates in
you should be, for God’s sake. What the hell are you doing
December (most of which have already sold out). Having
otherwise?
recently signed to Partisan Records, it is expected that new output is on the horizon and we caught up with frontman
You must be about to or be in the midst of album
Grian Chatten to talk about signing a deal, their love affair
recording sessions. As a band who has spent so much
with Shane MacGowan and what we can look forward to
time on the road playing live, do you enjoy the change in
from the band.
pace? What do you aim to capture?
Since we last spoke, you’ve signed to New York and
We’re going to London for the album’s recording in
London label, Partisan Records. Can you tell us how
September. Being on the road for extended periods of time
that all came together and what you hope that they can
can make putty out of your character if you let it. Your body
help you achieve from the band?
anticipates the gig for a couple weeks after too. We’re not making Pet Sounds here though. We’re just going to do
They came to see us at the Victoria in London around
what we do in front of a desk. So I don’t think the spirit of
March. They liked what they saw and we liked them, so
touring has to die entirely.
we decided to sign with them pretty much straight away. We think they’ll help us put out the music we really want
You’re about to join Shame on tour before heading out
to make. The label is built on the good spirit of humanity.
on your own UK headline dates in December. You must
When you really love someone you don’t try to change
be excited? Are there any venues which particularly
them. Partisan aren’t interested in changing us. I reckon
whet the appetite?
that’s rare enough. Writing tunes with these lads is all I need. So I’ve already had success. Whatever happens next is
Yeah we’re looking forward to it. Of the Shame gigs we’re
a beautiful bonus.
playing, I’m looking forward to Bristol. We played there recently and it was one of our favorite shows ever. Of
You’ve spoken regularly about the importance of The
our headline dates, I’m probably looking forward most to
Pogues, MacGowan as a lyricist, The Rolling Stones and
Manchester because my Nan’s coming.
Girl Band to you as a collective. What is it about those artists, their sounds and their output that makes them so
What can we be excited for from you before the year is
influential?
out?
MacGowan pulls your guts out without being pretentious.
We’re releasing the lead single off our album. It’ll be
He’s a dirty bastard sometimes but can also be as clean and
recorded very soon in London itself.
romantic as Yeats.
Words by Sam Ford, illustration by REN
38
Sistertalk Mysterious quintet Sistertalk are hard to find online. A
It’s hard to find your music online and your SoundCloud
Google search offers up a Facebook page and an empty
is, sadly, empty. How come you’re yet to upload?
SoundCloud account, but despite the lack of online media presence the London band are being tipped as one of the
Dan: It’s important for us to do things on our own terms.
next one’s to watch.
We’ve started playing shows at a time of heightened interest in London bands, but with that comes this expectation that
Made up of Gabriel, Seth, Tom, Dan and James, the
we need to capitalise on a movement before it dissipates.
five-piece are consistently hailed for their electric live
We’re not interested in releasing anything in a rush.
performances, dark soundscapes and impeccable outfits. Currently working on, well, we’re not quite sure what, we
Even though there’s no music online, your live
caught up with the guys to (try) and find out more.
performances are consistently championed and, from the sets we’ve seen, you guys always put on an incredible
There are a quite a few of you in the band. Well, five to
show. What’s your secret?
be exact. Can you tell us a bit about each of yourselves and what you do?
Dan: Thank you. We know that besides the live show, people don’t have a means of engaging with us. We
Seth: We all work or study in London. I play keys, Tom
therefore work to ensure our sets are memorable.
plays bass, Dan drums, James guitar, and Gabriel is the chief.
James: We just approach each one as if it’s an occasion.
How did you all meet?
Obviously if we’re talking about your live performances, we have to mention the impeccable suits. What’s the
Dan: Gabriel and I are brothers, and Tom’s our oldest
story behind that?
friend. I shared a bed with James for a year, and Seth we found in the cistern of London’s toilet circuit.
Tom: We all just arrived at our first show dressed formally and continued on from then. There’s no contractual
Was it “let make music together” at first sight?
obligation.
Tom: Dan, Gabriel and I have always played music together.
James: If I were to rationalise it, it reflects the sense of
James and Seth we adopted last year.
occasion mentioned earlier. When this band started, feigning indifference seemed to be in fashion. We put a lot into
Where do you find inspiration for your music? A lot of it
this, and we’re unable and unwilling to pretend otherwise.
has a really intriguing dark quality…
Dressing smartly embodies that for us.
James: I’m not sure we could name any specific inspirations
Finally, what can we expect from Sistertalk this year?
- Gabriel writes the majority of the music, I wouldn’t want to speak on his behalf.
Gabriel: Don’t expect anything and you won’t be disappointed.
Seth: Bowser’s Castle.
25 39
Words Words by Elly by Elly Watson, Watson, illustration illustration by Josh by Aga Whettingsteel Giecko
26
So Young Illustration Competition 6th Place, Tjasa Cizej (Courtney Barnett), opposite, 7th Place, Alex Ram (Grace Jones)
So Young Illustration Competition 8th Place, Zachariah J. Stuef (Johnny Rotten), opposite, 9th Place, Agate Lielpetere (King Krule)
So Young Illustration Competition 10th Place, Gemma Fontanals Guxens (Hinds), opposite, 11th Place, Marie Watanabe (The Libertines)
So Young Illustration Competition 4th Place, Nada Hayek (Siouxsie Sioux), opposite, 5th Place, Andreea Dobrin Dinu (Fat White Family)
So Young Illustration Competition 12th Place, Vitoria Bastos (George Harrison)
So Young Illustration Competition 14th Place, Yauheniya Pirahova (Joy Division), opposite, 13th Place, Kingston Poplar (The Raincoats)
So Young Illustration Competition 15th Place, Grant Phillips (Kate Bush), opposite, 16th Place, Ursi Tolliday (The Kinks)
So Young Illustration Competition 17th Place, Immy Fooks (Haim), opposite, 18th Place, Gabriel Hollington (Sleaford Mods)
So Young Illustration Competition 20th Place, Octavia Inns (Jarvis Cocker), opposite, 19th Place, Emma Louise Rixhon (Dev Hynes)
Artists
Josh Whettingsteel
Antonio Giovanni Pinna Marcus Oakley Sac Magique
Anna Sarvira
Jolanda Jokinen
Anna Rupprecht PAR
Nada Hayek
Andreea Dobrin Dinu Jonathan Vermersch Anna Skeels Ed Burkes
Taylor Benson
Editors Sam Ford
REN
Aga Giecko Tjasa Cizej
Josh Whettingsteel
Alex Ram
Writers
Agate Lielpetere
Zachariah J. Stuef
Sam Ford
Gemma Fontanals Guxens
Rob Knaggs
Vitoria Bastos
Eleanor Philpot
Yauheniya Pirahova
Alex Mistlin
Ursi Tolliday
Josh Whettingsteel
Marie Watanabe
Dan Pare
Kingston Poplar
Harley Cassidy
Grant Phillips
Elly Watson
Immy Fooks
Printed By
Emma Louise Rixhon
Gabriel Hollington
Ex Why Zed
Octavia Inns
Photos for Collage
info@soyoungmagazine.com
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www.soyoungmagazine.com
News
Julia Nala
April Arabella
Art Direction
www.joshwhettingsteel.com
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Cal McRae
SoYoungMagazine (Facebook) soyoungmagazine.tumblr.com
Samuel Huxley Jamie Ford Opposite, photo by PAR
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