ISSUE 11 // PARADISE by TEO Magazine

PARADISE W W W.T EO M AG A Z I N E .CO M . AU

I S S U E // E L E V E N

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THE SECRET TO SOILWORK SOILWORK VOCALIST, BJÖRN “SPEED” STRID, TALKS LINEUP CHANGES AND RECORDING THE RIDE MAJESTIC. AFTER 11, LEAVE BY 7 FASHION EDITORIAL HONEYMOON IN PARIS TRAVEL DIARY COAST TO COAST ARTWORK BY JAMES PACKER NEON DUSK

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COCKTAIL FOR BREAKFAST ARTWORK BY JEREMY COMBOT EL PARAISO ARTWORK BY LEWIS DALBY YOUR DEAD LOVER FLASH FICTION STORY A PURPLE BARONESS THE PAST FEW YEARS HAVE CERTAINLY HAD THEIR UPS AND DOWNS FOR PROGRESSIVE METAL BAND BARONESS, BUT THEY’RE ON A HIGH AFTER THE ANTICIPATED RELEASE OF THEIR FOURTH ALBUM, PURPLE.

ARTWORK BY DANIELLA CARUSO LOVE HOTEL, HIROSHIMA NONFICTION STORY ROCKING OUT WITH THE BABES THIS ROCK QUARTET PUTS THE RAD IN RADELAIDE. PARADISE FASHION EDITORIAL THE LAND OF LAS VEGAS TRAVEL DIARY

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FEATURED CONTRIBUTORS

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TSEGA ASSEFA

GABRIELLE BLESSING

Something most people don’t know about me is that I have mild OCD. I mean, it hasn’t been diagnosed by a professional but I’d say it’s definitely a thing I have.

The most beautiful place I’ve ever visited was Paris! The city oozes beauty. I was instantly seduced by the architecture and infectious culture.

I work best when I’m under pressure, sounds slightly corny but I function best when I’m up against it.

I would describe my makeup style as refined and versatile. Every face is different and there’s always an exception to the rule. If ever in doubt, less is best.

PHOTOGRAPHER

MAKEUP ARTIST

If I’m not photographing for TEO, I’ll usually be getting my social media on for clients. I’m currently a freelance Social Media Manager. My favourite hotspot in Adelaide is Beach Burrito Glenelg for their constant supply of icy Margaritas, $3 Taco Tuesdays and the staff are the definition of chill. My go-to hangout in Sydney is the Li’l Darlin in Surry Hills because it has a great vibe, good music and even better drinks! One song that gets me motivated for a photo shoot, depending on my mood, is ‘Do I Wanna Know’ by Arctic Monkeys. I would advise young people entering the media and arts industry to commit to the unglamorous work it takes to get to where you want to be; so what if it means you have to fetch a coffee or two? Do it with a smile because you never know who your next opportunity will come from so always try and make a good impression.

Working for TEO is the dream job because it allows me to express my creativity and work with some of the best artists in the industry, while being led by forward thinking creative direction. The best city I’ve lived in is a tie between Sydney and Los Angeles. Both cities offer an active lifestyle, abundant in opportunities. I feel equally at home in both. My go-to makeup look is fresh and clean. You can’t go past a flawless base, tailored brows, and neutral eyes and lips. Minimal makeup that enhances someone’s best features never fails! As a makeup artist, my favourite experiences have been assisting at the Grammy and Oscar awards! Those opportunities have been the highlight of my career so far, and have set the standards for the products I use and the quality of my artistry. There is no room for error in an environment like that, attention to detail is key! I’m currently listening to anything that makes me feel happy! I love Sara Bareilles, she has a great way of telling her story through song, often with an upbeat melody!

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EDITOR’S LETTER We’d like to take a moment to appreciate all the cheap motels around the world and the artificial oases that often accompany them. Balmy nights by the pool, neon signs and rainbow cocktails with an abundance of palm trees to admire – who wouldn’t want to check-in for the night? Some of the best movies bring us back to scenes of short stays in motels of this description. Think back to Pulp Fiction’s motel scene with the nostalgically pink bathroom, or all the best road trip and on-the-run films such as Thelma & Louise or National Lampoon’s Vacation. Sure, cheap motels have their fair share of cockroaches and dirty bedspreads, but we’re tough! We’re inviting you to check-in for the night and set your eyes upon pages of pink walls, palm trees and an overall trashy yet alluring oasis! For the metal heads – we haven’t forgotten you. Check out the latest on Australian outfit, The Babes; America’s heavy metal band, Baroness; and Swedish death metal boys, Soilwork. It’s all in here, we have you covered. Welcome to Paradise. Susannah x

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FOUNDER & EDITOR

SUSANNAH IOANNOU

CONTRIBUTORS JOURNALISTS Ebony Story

DEPUTY EDITORS

ESTHER REYNOLDS-VERCO VANESSA LOCAMPO

Himanshu Goel Lydia Heise

Melina Scarfo

PHOTOGRAPHY Adam Stanley

ART DIRECTION & DESIGN

COURTNEY ROBINSON

Bensley Media

Candice Carlin

Hannah Verbeuren Jesse Mullins Lydia Heise

MARKETING CONSULTANT

OLGA WINTER

Mia Rankin

Tsega Assefa

ST YLING Susannah Ioannou

LOGO DESIGN

JANICE CUI

Yi Ng

HAIR AND MAKEUP Charlotte Mitchell Gabrielle Blessing

ARTISTS Daniella Caruso James Packer

Jeremy Combot Lewis Dalby

MODELS Chic Management

The Agency Models

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COVER MODEL HAIR AND MAKEUP

Gabrielle Blessing STYLING

Susannah Ioannou MODEL

Chic Management Riley PHOTOGRAPHER

Jesse Mullins RILEY WEARS

Molly and Polly Marble One Piece

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Melina Scarfo 10 PHOTOGRAPHY Hannah Verbeuren WORDS

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THE SECRET TO SOILWORK

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SOILWORK VOCALIST, BJÖRN “SPEED” STRID, TALKS LINEUP CHANGES AND RECORDING THE RIDE MAJESTIC.

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Soilwork defy the unwritten rules of being a band. Formed 20 years ago by vocalist Björn “Speed” Strid and guitarist Peter Wichers, the Swedish six-piece have endured numerous lineup changes. Strid is now the only original member of the band but they are still going strong. In 2015, they released their tenth album The Ride Majestic, which was met with continual praise. We caught up with vocalist Björn “Speed” Strid to discover the key to their success. Soilwork adjust easily to change. The constant shifting lineup may look chaotic from the outside, but it has been a natural process for the band. Bassist Ola Flink was the latest member to leave, however, Strid assures us there is no bad blood between them. “He [Ola] gave it 20 years of his life and he came to a point where he felt like he needed more of a normal life with daily routines,” Strid says. “That became really important to him and I can relate. It gets harder with age in many ways. Back in the day you were fine with sleeping two hours but now sleep is super important. You need your routines.” After Ola’s departure there was a feeling of hopelessness for Soilwork. But this period was short lived with the addition of new bassist Markus Wibom. A good friend of the band, Wibom has been their guitar technician since the mid 2000s, so it was a natural transition. You would be wrong to assume the vocalist feels any pressure to maintain a certain sound. “Maybe people out there think, ‘oh that Bjorn “Speed” Strid must be hard to work with,’ but I’m not. I’ve never been the leader type.” It is not about hiring a gun that can play Soilwork music. When there is a new member coming in, Strid believes it is important to give them space, however, he doesn’t lack vision. “I know what I want and I know how I want Soilwork to sound,” Strid says. Each addition brings something new to the band’s melodic death metal sound. Strid says when current guitarists David Andersson and Sylvain Coudret joined the band they challenged him as a singer and encouraged him to step out

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of his comfort zone. “It’s been a musical exchange and we’ve managed to stay true to our roots but still develop our sound,” Strid says. “We’ve managed to find new ways of expressing ourselves musically. I’m really proud that we’re not slowing down. We’re one of the few bands from the Scandinavian scene that are still being this energetic.” The Ride Majestic is a fast, dark and melodic voyage. On their 10th album, Soilwork are sounding better than ever. Strid’s screams are controlled yet ferocious and the guitar work is intricate, but recording was a long and gruelling process. During the four months, the band experienced some tragic events; but from dark times magnificence emerges. “We had four band members losing family members during the actual recording. So it was really rough,” Strid says. “But I think the music became a huge comfort. I’m kind of glad that we were in the studio together, we had something to look forward to and we had so much faith in those songs.” This time affected how the band approached performing and recording, as Strid says, it made it feel more real. “I know for a fact when I started recording the vocals it was a very special moment for me. I gave it my all and I think you can really hear that.” This complex energy is something Soilwork aim to translate to the live stage. Strid says the band push themselves technically but then wonder how the hell they will be able to perform the song live. “We’re a very technical band but that doesn’t mean we’re just focusing on that, it’s about the songs,” Strid says. “I feel like I’m in a band where we can do whatever we want and it’s a great feeling.” For a band that has been touring for years, performing live is important because the stage is where Soilwork spend most of their time. Soilwork will hit Australian shores once again, this month for The Tour Majestic, playing at clubs around the country. Expect a high-energy show of Swedish melodic mayhem. After two decades as a band, they are more consistent and energetic than ever before.

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AFTER 11, LEAVE BY 7 HAIR AND MAKEUP

Charlotte Mitchell STYLING

Yi Ng

MODEL

The Agency Models Morag PHOTOGRAPHER

Mia Rankin

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HONEYMOON IN PARIS

Lydia Heise 30 PHOTOGRAPHY Lydia Heise WORDS

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If I had to use one word to describe my first ever adventure overseas it would be honeymoon. By a random and unexpected, but perfectly timed, series of events, in July of this year I found myself living in Paris with my best friend. Being a place I had spent almost my entire life dreaming of, I was initially overwhelmed by it all, but somehow comforted by the fact that it was exactly how I imagined it. Returning to summertime, my long days were mostly spent trawling through streets and going from metro line to metro line, immersing and attempting to familiarise myself with the overwhelmingly beautiful landscape. While my best friend spent most of her days at university, I spent much of my time in numerous expansive galleries; finally coming into contact with artworks I had spent years admiring through a screen. However, it was on the streets that I mainly found solace, photographing everything and anything that

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I saw beauty in. Paris especially seems to welcome a sense of leisure, where spending hours with just your little camera and a park or a river or an unexplored neighbourhood is perfectly acceptable. While Paris was amazing, my favourite time from this period was when we travelled to stay with a friend in the south of France. Passing through fields after fields of sunflowers, colourful tiny towns and green mountain ranges, which we were told in a few months would be blanketed in snow. Life was simple, ancient and warm. As a whole, I will always look back on this time of my life, and the photos I took there, with immense happiness. I can still see the tower sparkling when I close my eyes sometimes and I feel overwhelmingly grateful and lucky to have experienced all of the great things I did in that month. After everything I had experienced in my first 18 years of life, Paris was my own personal honeymoon.

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COAST TO COAST

by James Packer

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NEON DUSK

by Daniella Caruso

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LOVE HOTEL, HIROSHIMA The four silver coins slip from between my fingers and make that metal scraping sound only coin slots can make. We lie on our stomachs on the bed waiting in anticipation, only to be ultimately disappointed â&#x20AC;&#x201C; there was no vibrating. It was such a waste of ÂĽ400. Although, in hindsight, the lack of a vibrating bed did add to the slightly but not completely crappy feel of the love hotel I found myself in during the winter of 2012.

Anonymous PHOTOGRAPHY Candice Carlin WORDS

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I had gone to the love hotel after meeting up with this Australian guy (let’s call him Guy) that I had previously met in Kyoto. I was travelling the South East of Japan with my little sister Mei; he was travelling with a friend’s family. We had arranged to meet late on my second night in Hiroshima at the Atomic Bomb Dome. Mei and I had spent the day in this order: crying our eyes out while walking through the Peace Memorial Park and Museum, eating at the only vegan restaurant we ever managed to find in Japan and frolicking like small children through the giant and amazing Christmas light display set up through a main street in the city. Needless to say it had been a long and emotional day and I had not really expected that much more out of it, even as I snuck past my sleeping sister and out of the hostel. After we met up, and the initial awkwardness faded, Guy and I walked around. We looked at the lights, he took a lot of photos and we found ourselves wanting to spend more time together. There was, however, the problem of where. I was staying in an all female dorm and he was staying in a dorm with the people he was travelling with, therefore there was no chance of any privacy. I got out my map of Hiroshima and jokingly pointed out how the love hotels on the map were marked out, not by name, but instead with pink love heart emoticons. I had seen love hotels depicted in Japanese movies and anime and so my impression of them was that they were essentially a place people discreetly went to have sex. I don’t remember exactly how or who made the decision that we should go to the nearest one marked out on the map, although it was probably him, but minutes later I found myself in the darkest of hotel lobbies. As we entered, on my left was a huge light box with pictures of rooms; each one was themed: traditional Japanese, French, African safari, etc. The illuminated pictures meant the rooms were still available; the darkened ones meant they were occupied. On my right was a small heavily curtained window through which you could just make out the receptionist; a man wearing a surgical mask. Guy worked out with him how much we would have to pay for how long. In love hotels you have the option of a short stay (hours) or a long stay (overnight). We chose the short stay option; two hours with additional payment for every hour after the two. The man pointed to the light box and

gestured at us to choose a room. I chose the traditional Japanese theme. The man nodded and then pointed towards the stairs, drawing our attention to a red flashing arrow. There were several of these arrows and it was eerie how they each lit up in time to show us which direction we needed to go. The halls were dark and there were muffled sounds coming from each door we passed. Eventually we got to a door that buzzed loudly at us and had a bright red flashing light above it. We heard the lock slide open and assumed that this must be our room. It wasn’t until a week or so later, when I stayed in a traditional Japanese house in Nara, that I realised just how tacky this Japanese themed love hotel room really was. The room was about the size of an average hotel room, and mostly white. It gave off more of a motel or cheap apartment feel than a hotel and the only tatami mats were on the platform where the bed was. Guy decided to have a shower in the not so clean bathroom while I looked around and tried to make myself comfortable. There was a small square Japanese coffee table upon which were three porn magazines. These magazines I remember vividly, as all the heads of the lingerie cladded women in the pictures were either half cut off or completely cut off by the edge of the page. Also, if there was any nudity it was blurred, which, in my mind, kind of defeated their purpose. Guy and I chatted, laughed about the porn, decided we were too poor to take anything from the mini fridge, tried to get the vibrating bed to work and eventually fulfilled our purpose of being there. Looking at the time, we realised we were in our third hour and decided it was probably time to go. We descended the dark staircase and Guy slipped I don’t know how many ¥10,000 notes through the curtained window. We said goodbye at my hostel door, and I quietly unrolled my bed next to my sister’s and laid awake, unsure of whether or not the whole experience boosted my confidence in myself and my body, or just made me feel that little bit dirty.

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Ebony Story Bensley Media

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ROCKING OUT WITH THE BABES

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THIS ROCK QUARTET PUTS THE RAD IN RADELAIDE. Home grown Adelaide band, The Babes are emerging in the forefront of the Adelaide music scene. TEO caught up with two of the members, Johnny and Donna, to have a chat over chamomile, cappuccinos and chocolate. This past year has been a hell of a ride for the foursome, consisting of Johnny Snakes (vocals), Donna D (lead guitar), Moni Lashes (drums) and Mr Hell (drums). On top of releasing an EP and shooting a music video for their latest single ‘Bad News’, they scored touring opportunities with some well-known names. The Babes first burst onto the music scene three years ago, after forming in a somewhat unexpected way. Sisters Moni and Donna had put out a flyer in a music shop and Johnny ended up giving them a call, “It had a KISS logo on there and so I thought I’d give it a go, because I like KISS…and we gelled musically straight away.” After a few lineup changes, bass guitarist Mr Hell joined and thus formed The Babes. With a multitude of influences, including: KISS (of course), Elvis, Nirvana, Mötley Crüe, Poison, ACDC, Frankie Valli and The Four Seasons and Skid Row, The Babes have that classic rock sound; gutsy vocals and sexy music. All of which is very apparent in the new music video for their single, ‘Bad News’. Smashing it out in just half a day, there was a lot of fun to be had, Donna says. It was a little bit easier than their last clip where they hired a warehouse, crashed cars and pulled the GoPro out for some action shots. “We’ve connected with people all over, particularly in America, where I think they have a big market over there for denim, leather and old school rock ‘n’ roll,” Donna explains. “We’re hoping to get over there soon, next year sometime.”

One of their biggest achievements yet would be supporting the former Skid Row’s Sebastian Bach on his 18 and Live tour. “When we opened for Sebastian Bach, it was like a dream. They’re the biggest band we know and we were playing with them!” Donna says. “It was so cool that we got that gig, because one of the only songs Moni and I could play together when we were young was ‘I Remember You’ by Skid Row!” They played to a sold out crowd at The Gov, in Adelaide and one of the stars onstage would have definitely been Moni’s drum kit: a Harley Davidson. Yes, a motorbike fused with a drum kit; definitely something you don’t see every day. Their manager Don (also father and drummer) and Moni came up with this incredible idea and they motorised it. The front of the bike is attached to the drum kit and there’s an exhaust at the back, so while she’s making beats, it smokes. “It’s got a fan engine, and when that turns on it hits the front wheel of the motorbike and makes the wheel spin,” Johnny explains. That same drum kit also made an appearance when The Babes supported Ace Frehley on his Invading Down Under tour earlier this year. “He’s one of our idols and we just felt so privileged to stand in the same spot on the stage!” Donna says. With the New Year, The Babes are eager to work on a new project – an album. Greg Clifford (Sound Engineer for The Angels) and Jared Nettle, who recorded and mixed The Babes’ EP, are on board for the upcoming album. Now all that’s left is for the band to put their heads together and write some songs! One thing they tell us is that it will be along the same rockin’ style as ‘Bad News’. With their easy charm and great live shows, The Babes are a band to watch closely for they’re about to take off.

FOLLOW THE BABES

facebook.com/thebabesrock/?fref=ts instagram.com/thebabesrock thebabesrock.com

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PARADISE HAIR AND MAKEUP

Gabrielle Blessing STYLING

Susannah Ioannou MODEL

Chic Management Riley PHOTOGRAPHER

Jesse Mullins

LOCATION

Grand Hotel Rockdale

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RILEY WEARS

Mink Pink Joshua Tree Tee Mink Pink Why So Blue Denim Shorts

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T E O M AFOR G BREAKFAST COCKTAIL

by Jeremy Combot

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by Lewis Dalby

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Himanshu Goel PHOTOGRAPHY Candice Carlin WORDS

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YOUR DEAD LOVER

Darling, when you die, make sure it’s in an open area, like a football ground or an open field with no trees. I have come to the realisation that souls can’t pass through walls like everyone seems to believe. I learnt this the hard way, of course. When a heart attack befell on me in my own house, I realised my soul couldn’t escape my place. I tried to fly up but the ceiling stopped me. My soul endlessly banged on the ceiling like a mad man. Fortunately, the real estate managers were quick to sell my house. In a couple of weeks, a new family called the Suzukis bought the house. A pleasant lot they are; they redecorated the place and I got my chance to escape.

Unfortunately for me, I escaped during rush hour. Typical foolish me, instead of going upwards I went straight into the traffic. I can’t die again, but when a pick-up truck coming at full speed hits you in the middle, it hurts like a kick to the balls. Regardless, where was I? Ah yes, dying. I have been watching you from up here. You look quite unhappy and the new lover you have found seems like a lost cause to me. I hope he dies somewhere underground, in a building with no elevators or stairs. His soul would be forever stuck. Maybe you can kill him someplace like that before you die and join me here. It is really quite good up here; there’s unlimited Wi-Fi and free food. I have stuffed myself on roasted salmon all day. The only thing missing is you. Suicide is really underrated, I tell you. Our life will be much better up here. You can have the option to have a painless death too. Just slip a deadly poison into your system and have a nice cozy sleep to death. Just remember to avoid any ceilings or trees. I hope you’ll die and join me soon. Your dead lover.

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T E O M A G

A PURPLE BARONESS Ebony Story PHOTOGRAPHY Supplied by Baroness WORDS

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THE PAST FEW YEARS HAVE CERTAINLY HAD THEIR UPS AND DOWNS FOR PROGRESSIVE METAL BAND BARONESS, BUT THEY’RE ON A HIGH AFTER THE ANTICIPATED RELEASE OF THEIR FOURTH ALBUM, PURPLE.

It’s been three years since Baroness’ last album Yellow & Green and the progressive metal band from Georgia, US are back stronger than ever. Their brand new album, titled Purple, was just released on the 18th of December. TEO had a good talk to band member Nick Jost about making new sounds and pushing the band forward. Baroness’ with new Sebastian joined in

fourth album is the first musical production members Nick Jost on bass guitar and Thomson on drums and percussion. They 2013 after the band was involved in an

unfortunate tour bus accident, which left frontman John Baizley with a broken arm and leg, among other serious injuries to the other members. With Allen Blickle (drums and percussion) and Matt Maggioni (bass guitar) parting ways with the band, Jost and Thomson stepped in and made their debut for Baroness’ 2013 US tour, joining John Baizley (lead vocals, rhythm guitar) and Peter Adams (lead guitar, vocals). “…It was a responsibility to push it forward after having to completely stop and start over. But these guys are very enthusiastic and positive people, so there was never a sense of a heavy burden over the band in general,” Jost says. Dave Fridmann, who worked with bands like The

Flaming Lips and MGMT, produced Purple and had a major influence on its sound. Along with ‘If I Have to Wake Up’, ‘Kerosene’ is one of Jost’s favourites. “…That one’s really fun to play, and I really like all the different changes that happen throughout and the different sounds.” A song where the band went for a totally different production on the drums is ‘Fugue’; they put towels over the heads of the drums, which created a standout from the rest of the album. The writing and creation process wasn’t difficult according to Jost, but it was a learning curve as new

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influences and different ideas found a way to come together. “When we got to writing, they’d had a process for years; they’d been writing in a certain way for over 10 years. And Sebastian and I have ideas, we have our influences and the way we want to play and things we want to put into the band.” Everybody has strong opinions but they’ve found a way to work things out, and the result proves it. The title, Purple, follows suit with the three previous albums: Red, Blue and Yellow & Green. “It’s a lot like a

series, they’re all connected. And before, with the EPs, they’re all numbers, but then he [Baizley] ran with the theme of colours for the albums,” Jost explains. As to the progressiveness of Baroness’ music, they draw inspiration from a multitude of genres including jazz, hip-hop, house music, pop, and everybody’s favourite, classic rock. For those who are fans of Baroness’ previous albums, stress not. They’re still the same band with a bit of extra something. “It has been completely positive in joining up with them, and it’s because they’re obviously dedicated to music; to exploring and trying to make adventurous music. They put themselves out there, musically and personally. That’s a big part of the essence of Baroness,” Jost says. So have a listen to this amped album, and catch them on tour.

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