Issue 007 [Spring 2013]
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The Like Magazine Team Jesse Alford: Photographer/Editor Maryanne Alford: Writer/Editor Victoria Melshaw: Layout/Editor
Staff Photographer: Tetty Simeonova Album Reviews: Philly the Drunk Fashion Writer: Katrina AlĂs Vaca
On The Cover IO ECHO [ photo ] Jesse Alford
Spring is in the air! Change is in the air, or maybe that’s just my allergies talking. Either way, shit is happening! I love this time of year, at least on my side of the equator. Yes, I am a walking, talking, writing clichÊ, singing the praises of spring and sunshine. Proud of it. The air reminds me to bring it back to basics, de-clutter because less is ALWAYS more. Potted plants and lavender lemonade, cut-offs and 100% cotton. Screen doors, sprinklers, and glimpses of childhood...pure and untainted nostalgia. Issue [007] is all about capturing this feeling, peeling away the layers and getting back to our happy place. So take a peek and let the breeze turn the pages for you. Maryanne Alford The Like Team
Cash Crop Clothing is a Los Angeles based men’s organic apparel brand focused on fit, construction and sustainability. Taking it back to basics with timeless color palettes and traditional staple pieces for any man’s wardrobe. The vision behind our Organic Clothing was to create an ecofriendly, fashion forward men’s line. Where previously gentlemen looking for earth minded attire had as much variety as was available at the, ‘outdoors shops’. Even then the choices were of the non tailored, one sack fits all type. We realized this product void very quickly and set out to make a difference, leave a positive carbon footprint, and to look good while doing it. Cash Crop Clothing was born. Staying centered on the fundamentals of design, Cash Crop Clothing offers a concrete selection of pieces ranging from wovens, outerwear including neutral pea coats and trench coats, flat front bottoms, above-the-knee shorts, tees, sweaters and more. Staying true to traditional men’s wear using ginghams, Stripes, Solids, and a selection of earth tones. Focusing first on the design and filling it with a textile that is appropriate. Using recycled wools, Bleach free wools, Recycled plastic, Recycled Polly and of course organic cottons, Cash Crop Clothing is working hard to offera wide selection of everyday wear for the everyday gentleman. The team at Cash Crop Clothing looks forward to evolving and expanding our collection with the environment and fashion in mind. We appreciate your valued support and look forward to offering eco-friendly textiles at economically appealing price points.
www.cashcropclothing.com
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[ men ] Jacob Alford and Thom Rines [ photographer ] Jesse Alford
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Autre Ne Veut [ review ] Kalyn Kendig
[ photos ] Jesse Alford
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M.J lives! Joking!...At least somewhat, If you can picture a semi-gangster clad, although
admittedly classy king of pop in scruff and a backwards cap, you have found Michael Jackson incarnate. With Like’s Photographic Philosopher at my side, we geared up to see Ashin’s Autre Ne Veut on stage. The show begins with a smooth jazz/electro combination and the intro is a smooth mystical minus the nerdy connotations. Ashin begets Frank Ocean with deeper electro roots. On stage he glides about gracefully and when he reaches the limit of his voice he pulls his entire body towards the ground. You could confuse this moment for either extreme clarity or excruciating pain. Which suggests that the the way he holds the mic, like it’s the telephone to his last chance with the woman he loves, is more emotion based, than performance. The crowd was absolutely mesmerized, and in more unison than I have ever seen at even the most mainstream artist. The music produced was so sensual and ambient. It’s not a surprise when you looked left or right that people were grasping hips and touching lips. Ashin brought about a sense of vibrancy that could have left anyone breathless. Although Ashin ruled the stage, he made up for any doubt in musical abilities with live drums and a female backup singer/effect modifier. The drums allowed for a very real turn, that otherwise would have been missing.
One of the most captivating moments in Autre Ne Veut’s performance was exemplified in a moment when he hits Michael Jackson quality notes, the music stills, he slowly rises, and spreads his arms towards the crowd. The lights cool around him, his face becomes serene, as though he has accepted a gift from the heavens and for a few moments the crowd is just staring. His performance is so ethereal its hard to not gawk at him. If you’re not into the new wave sound of electro jazz, go see Autre Ne Veut to either change your mind or show you the blues version of new music. This is the music that tells you to dance in the middle of a crowded room like your body doesn’t perspire. So listen up, or better yet go out, see him, and dance.
T a m a r y n [ writer ] Maryanne Alford [ photographer ] Amanda Charchian
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amaryn is a trippy duo with evident trance roots, rock and roll stems, and dream pop blooms. There is something to be said for the beauty of tracks that not only allow you to disappear, but better yet encourage it. Tamaryn is my new disappearing act. Tracks like Violet’s In A Pool leave me utterly lost...the best kind of lost. The kind where time and space separate and leave you somewhere in the void, trippy. There is yet another dimension to this collaboration, one I may even slightly prefer to the other...something I like to call the time capsule effect. I’m Gone takes me to another era, maybe the 70’s, maybe the 80’s...hell, maybe even the early 90’s. Regardless, I’m wearing ripped tights, sipping a gin and tonic with a twist, and gazing around a venue that resembles the Viper Room...epic. Tamaryn is so much more than a band, rather a journey, or better yet, a voyage. Each song creates a difference place, a different time and a whole new set of emotions...and I am enthralled. Rainy day? Perfect. Sunny outside? Go for it. There is no wrong way to listen to Tamaryn, and no “special mood” needed...So go for it, because right now is perfect.
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IO ECHO [ interview ] Maryanne Alford [ photographer ] Jesse Alford
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Q&A IO Echo composed the score for the Harmony Korine + James Franco film “Rebel.”, how does composing for a film differ from composing for an album? Ioanna: Composing for a film is a great exercise, its more of a collaborative process. When we write for our band it’s just us involved. With film there are all different artistic mediums and when those come together in the right way it is a really great feeling. Leopold: If you’re writing a song, the music is the number one focus, in a film there are other things to consider, the music shouldn’t always take center stage. It is an artistic dance. Ioanna: Ya, you don’t want the music to overpower, you want it to enhance. Have you scored any other films? Leopold: I have collaborated on a few different scores, THE BOOK OF ELI and a few others. Ioanna: I composed a song for Snow White and the Huntsman. Your genre is very unique, given such descriptions as “New Orientalism”, what do you attribute your one-of-a-kind sound to? Ioanna: I think it is because we self produce everything, often times bands take their music to an external producer who has their own flare. We have sounds in our heads so we get together and represent that as accurately as possible.
IO Echo has a significant Asian influence, what inspired this? Ioanna: My mother used to live and travel throughout the far east, when I would visit her or when I lived there it definitely had an impact on the way that I saw things in that perspective. There is a multitude of beautiful cultures within Asia. I was really haunted by some of the sounds that were there. There were various reasons why it feels special to me, when writing I would often imagine myself in this far eastern garden, not literally, instead one with purple smoke and weird creatures. It is a form of escapism for me. Leopold: It really manifested itself as we were writing, we didn’t have a blue print or anything. It took its own shape. IO Echo has been compared to such bands as The Cure, how does it feel to be related to such musical icons? Ioanna: I think that bands are inevitably compared to others, so if thats the band we’re compared to then thats awesome. I would describe your music videos as “artistically and visually stimulating”, how would you describe them? Ioanna: I appreciate you saying that, ya, i guess we have... Leopold: I would just say that we kind of try and express...well, we have a particular vision within the album and within our artwork and we try to just create a world that you can connect the dots between each video with. Ioanna: the world we express in this album we try to extend to our visuals Leopold: Ya, exactly. Walk me through the process of IO Echo writing a song: Ioanna: In general, it varies from song to song; what happens is we bring an idea to each other then flush it out from there, usually starting with music then continuing to lyrics. Leopold: As much as we can we try not to have a blueprint or formula, if we’re generating ideas then something will inspire us, it may be a melody that she’s come up with or the sound of a drum or something like that. Ioanna: also we project photos onto a wall in the studio and these paintings and images often times inspire songs as well. How did you both meet? Ioanna: We met through a mutual friend in LA. We started talking not knowing the other one was doing any music, it took several times hanging out to know the other made music. When we started writing music it was very much a hobby, we got along like a house on fire. Writing music together still feels like a fun hobby. Describe your relationship: how has it changed since you met? Ioanna: Our dynamic has enriched, I think it is a lot more hectic now. We are both doing some form of work from the time we wake up to the time we go to sleep. We still learn about each other. Like this may sound cheesy but Leo had to write this account of his first kiss for a publication and I had never read his writing in that capacity, I thought it was so radical, it was totally inspiring for me that you can still learn about each other. but yeah, I’m also surprised that we haven’t killed each other yet. Leopold: I guess for me its more like, just our dynamic is what I kind of hold on to, like ok, we’re in this together and it feels good, because so much crazy shit goes on around us. We’re in this snowball of a band and it’s comforting to look over in the passenger seat and know someones there..because then I can use her as my human shield. When you perform your stage presence is contagious, are your rehearsals as energetic as your shows? Ioanna: We actually don’t rehearse that often, I know a lot of bands have a regimented schedule...like every Tuesday, or every Monday and Wednesday at 5, but we just rehearse like a couple days before the show usually, if that. I think in a way that lends to some of the chaos on stage. www.thelikemagazine.com page 22 | Issue 007
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Album Reviews By, Philly the Drunk.
NOT HALF BAD “Good People” nothalfbad.bandcamp.com
“Taco-core” punk rock from Texas! “Hey Phil, what does taco-core sound like?!” Like a cross between bands the Briggs and Flatfoot 56. Kinda street punkish with bouncy beats, gravely vocals and some folk flavor. A few acoustic jams which act as sort of cool down periods from all the jumping around. Punk numbers such as “Phil Collins,” “Thin Crust” and “Newports” are really raucous ditties that you wanna pump your fist and shout along with. Really thuddy bass lines, hard hit snare and sweet meedley-meedley-meedley guitar leads. The folk tracks, such as “Punk Rock Is A Full Time Job” and “It Really Sucked, Actually,” are pretty cool. They work banjo into a couple which is always wicked awesome dude! Songs of keeping it real and the bad and good that comes with life. Listening to “Good People” is a hell of a way to let out any pent up aggression from a crappy day or week of school or work. Well worth (ONLY!) five bucks. Not Half Bad?! More like really damn good!
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The Haxan Cloak “Excavation” Tri-Angle Records haxancloak.tumblr.com
Random noises layered over a beat. Who would’ve though that’s all it takes to create the soundtrack to shit about to go DOWN?! I don’t mean like getting mugged at the cash machine or a barroom brawl. I mean like someone’s about to get abducted. Bound, blindfolded, thrown into a trunk. Taken out to an abandoned shack in a remote, wooded area. Only TO BE………. well, one can only imagine. Definitely not gonna be watching Gossip Girl on Netflix over some wine and cheese. Each track is like a slow burn. There’s never really a big crescendo letting you know it’s over, so you can exhale with relief. The first track I listened to was “Excavation (Part 1)” and the whole time I’m sitting there wide eyed, heart pounding, breathing constricted to the point of stopping… just waiting….. waiting for that BOOM! BANG! CRASH!!! But no. You’re left there constantly wondering what evil is about to pop out and from where. As for the “random noises,” it’s not that at all. It just blows my mind how some well formulated pops, clicks and hisses can make one so paralyzed with fear. I GUESS this can be classified as goth/industrial (??). More captivating and spooky than anything Trent Reznor’s put out. The Haxan Cloak is Bobby Krlic from London, England. He surely should be composing movie scores or something of the sort. Get on that, Hollywood!
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IO ECHO “Ministry Of Love” ioechomusic.com
Echo is there name (Io Echo, actually) and echo is their game. Every part of each song (drums, vocals, guitar etc.) has some echo on it, but it makes this rock and roll a real tranquil, kind of ambient experience. Like a moth to a porch light, you get sucked in. You’re hooked! The late, great Huey Lewis once said: “I want a new drug.” Here ya go… pop a tab of Io Echo’s “Ministry Of Love,” my friend. A mind altering experience with no gnarly repercussions. The album starts off with “Shanghai Girls” which has a nice beepy-boopy keyboard part over a somber, somewhat industrial rhythm and beat. Ioanna Gika’s warm, silky vocals are the ray of sunlight that cut through the haze and mist. Turning what could have been a track to smear your eyeliner over into something you can listen to while taking a long walk and being enlightened. I really like her voice. Like a cross between Dolores O’Riordan and Kathleen Edwards From there, “When Lillies Die” starts to get things hopping. It’s more upbeat, something you can get your shadow dance on to. You could find it on a playlist somewhere in between tracks by Berlin and Tones on Tail. It has an 80’s new wave/alternative/dance sound to it. The whole album is a throwback to the sounds of that era. As a whole, “Ministry Of Love” is pretty chill. But you keep bobbin’ your head. More towards mid album is “Draglove,” something with kind of a techno beat and more of a rockin’ guitar part. “Tiananmen Square” is also a little more on the rockin’ side. Each of those tracks have lead guitar parts that have an effect that makes it sound like flute or something. I don’t know, I think it’s pretty ti-i-ight. “Ecstacy Ghost” has a bit of a hip-hop/Rn’B feel to it, keeping things funky. Always focused on the music, anticipating what’s next, I get a little bummed when each track ends. No track is under three minutes, but they just end too soon! Anyways, this album is perfect to groove to while harnessing your inner chi, brah.
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Charles Bradley “Victim of Love” Dunham/Daptone Records thecharlesbradley.com
Do you like good music?! I mean, that sweet soul music! Spotlight on Charles Bradley y’all. Although influenced by James Brown (he even made a brief living impersonating him), Bradley has a vocal quality closer to, let’s say, Arthur Conley. Bradley has an “UNGH!!” similar to Brown’s. Backed up by the rhythm & blues/soul stylings of the Menahan Street Band, this record sounds like it was actually cut in the early 70’s Songs like “Strictly Reserved For You” and “You Put The Flame On It’ feel like something Motown could’ve released in the mid 60’s with bluesy, almost funky guitar and bass rhythm, horns blowing and doo-wop vocal harmonies. Kind of like the Four Tops or Temptations. Bradley’s vocal delivery on “Victim of Love reminds me of Marvin Gaye’s “Let’s Get It On.” But he’s not singing about getting down and dirty, he’s just letting the object of his affection know that they should just give love a chance. Some tracks have an almost trippy early 70’s vibe with some delay effects and organ here and there and FLUTE! You wanna get funky, gotta add that flute. Songs like “Love Bug Blues,” “Dusty Blue” (and instrumental to vibe out to) and “Confusion.” The James Brown in Bradley really comes out on “Confusion,” a social commentary on all the bad news being broadcast to us on a daily basis. Charles Bradley’s got a lot of love to give and just wants to let everybody know. He also proves that with musical trends coming and going, good music never goes out of style.
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Album Reviews By, Philly the Drunk.
Well Hung Heart “Young Enough To Know It All” wellhungheart.com
Well Hung Heart is for the most part a duo: Greta Valenti on vocals and Robin Davey on guitars and most everything else I think. They have drummers when they need them. But they’re a duo that play that good ol’ alt-blues-rock. You can probably compare them to the Black Keys and White Stripes, but they’ve got more BALLS! Yeah. Leave to a woman on vocals to give shit more BALLS! Things are pretty funky throughout. “Young Enough To Know It All” is a good blend of funky, punky and twangy. ‘I’m calling out your bullshit! I’m calling out your bullshit, bitch!’ Is how things start on the aptly titled “Bullshit.” Fierce punk energy with fuzzy guitar rhythm and twangy leads. Things aren’t as raucous throughout the rest of the album, but it’s got a good bomp to it. Make you wanna get your shitkickers on and go cut a rug. Maybe do the electric slide. Throw in a country ditty about having to ‘get the fuck outta California,’ this’ll definitely put a smile on your face! : )
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Have an album that needs to be reviewed?
Submit to: Philly the Drunk www.thelikemagazine.com
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Spring Breeze
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[ mua/hair ] Erin LeBre [ model ] Olivia Jordan [ photographer ] Kevin Chu
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Transitions [ model ] Leslie Gray [ styling ] Lexie Tiongson [ mua/hair ] Jennifer Toy [ photographer ] Dan Rappa
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Spirited Away [ model ] Hannah Fugazzi [ mua/hair ] Shawna Goossens [ photographer ] Danielle Rueda
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Wild Child [ model ] Kim Flink [ photographer ] Roy Mun
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Ain’t nothin but sunshine
[ model ] Angie Menze [ mua/hair ] Jazzmene Ellison [ wardrobe stylist ] Jen Summers [ photographer assistant ] Ryan Kim [ photographer ] Derren Versoza
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BALBOA TEMPLE [ model/hair stylist ] Candace Campbell [ wardrobe ] KT Cewe of the Gypsy Den [ photographer ] Danielle DeBruno
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From Galaxy to Galaxy [ models ] Danielle King and Morgan McKinnon [ photographer ] Jesse Alford
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Parking Permit [ model/mua ] Phoebe Woodhead [ wardrobe styling ] PhoWoods Styling [ photographer ] Jules Szoke
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"She needs no permission. She's free and liberated. Free to be who she is without the constraints of the world. She's parked herself comfortably in society. Careless or carefree? However she is interpreted, she needs no permit."
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Dress Affair [ model ] Emmalee Froehlich [ mua/ hair ] Jennifer Toy [ styling ] Farnaz Dadashi [ dresses ] Danielle Pettee [ photographer ] Dan Rappa
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Tropical Serenity [ model ] Ukushu Khrystyna [ mua/hair ] Jennifer Toy [ styling ] Lexie Tiongson [ article ] Katrina AlĂŒs Vaca [ photographer ] Dan Rappa
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T
ake it off, peel it off , strip it off. No matter the gesture you choose to do the job, the bottom line is that skin is your greatest asset, come summertime, and this year, it’s OK to bear some personal pieces. Let’s get the uncomfortable business by the wayside and address the trend that some of us are at least slightly uneasy with: the exposed undergarment. Take a deep breath and just let it go. If that minimalistic approach doesn’t work for you, and a bit more coaxing is necessary for you to flaunt your personals, turn on any TV program, re-watch the Superbowl half-time show on YouTube, and come to understand that there are far more shocking things out there than a little intentional exposition of your brassier. We spend so much money and take so much care in how our undergarments look, why not grant them the occasional cameo they deserve every once in a while? After all, it’s only “in” this season. So invest in a super-cool muscle tank with exaggerated arm openings, a little see-through top, or pull on a highwaisted skirt from last season and put that bra to use outside the bedroom! Another, less scandalous way to go about your approach to summer dress is the crop top, the exposed brassier’s modest cousin. They are popping up in stores rather prolifically now, but you can also find them in your closet when you take a pair of scissors and update some of the t-shirts and tank tops that need it. Viola! Now they are current. The fine folks at Like magazine have taken the time to procure some fashionably innovative images to help you achieve this concept, so show your gratitude by owning this trend as you step out your front door. That’s all the “thanks” we require.
S TR APPED [ model ] Lia May [ mua ] Franziska Gr端nwald [ fashion lingerie ] Mania Lingerie [ photographer ] Alexei Bazdarev
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[ model ] Shemmai Torres [ mua ] Christina Chen
[ hair stylist ] Bobbie DeBoe-Chavarria [ photographer ] Roy Mun
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When Marissa tends to step out of her mane, mascara laden mansion She pulls apart the wisps of wind that gathered round it You can tell by the way she ascends her feet don’t touch the pavement without a crackled companion
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WhirlWind [ model ] Lisa - Marie Bosbach [ mua/hair/photographer ] Alexandra Evang
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Casual Decorated [ model ] Cinthya Sanchez [ photographer ] Christopher Nagy
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SKY’S THE LIMIT
[ model
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] Naira Fragoso [ mua ] Bobbie Inniss [ hair ] Lydia Abou-Assily [ stylist ] Asha Carty [ photographer ] Kaja Tirrul
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w w w.f re e birdd bb.com
[ models ] Danielle Birum and Amanda Nicole [ hair stylist ] Lea Buehler [ mua ] Courtney Carmack
[ fashion stylist ] Simone Vianna [ jewelry designer ] Freebird dbb [ photographer ] Jesse Alford
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