XO EDIT #3 | MAY 2014 | THE GOASTT

THE EDIT ISSUE NO. 3

MAY 2014

CHARLOTTE KEMP MUHL AND SEAN LENNON: THE GHOST OF A SABER TOOTH TIGER

XO EDIT NO.3

MAY 2014

LE'KEISHA SIMS FOUNDER EDITOR-IN-CHIEF

MOEIMA DUKULY DIRECTOR OF EDITORIAL AND BUSINESS DEVELOPMENT

JESSE ASHTON WEST COAST MARKET AND MULTIMEDIA EDITOR

JESSICA SCHINK COPY EDITOR

DIANE PAIK GRAPHIC DESIGNER

SHANNA FISHER GABRIELLE ASSAF CONTRIBUTING PHOTOGRAPHERS

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INFOXOMAG@GMAIL.COM CONTACT

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contents TH

S L A U S U E LS

A U S U THE 4 EDITOR'S LETTER 5 EDITOR'S PICKS

MUSIC

MUSIC

SOUNDCHECK: WARPAINT 6 XO LISTEN 8 #STUCKONREPEAT: MAY PLAYLIST 9 5 MINUTES WITH...BROODS 10

N O I H S A F N O I H S FA

12 LABEL OF LOVE: CATALAN 20 DOG DAZE

RADAR

RADAR

RILEY SMITH 17 THE GOASTT 25 GRACE MCLEOD GOES UNDER THE TABLE 28

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EDITOR’S LETTER "I was surprised, as always, by how easy the act of leaving was, and how good it felt. The world was suddenly rich with possibility.”

-Jack Kerouac, On the Road Welcome to the May 2014 issue of the EDIT. Summer is officially on its way, in fact, in some places, it already feels like it”s here. (We”re looking at you Los Angeles.) Now is the perfect time to explore and to leave behind what doesn”t serve you. Set the intention now to have your best summer yet -- go on that road trip, take that summer class, check something off your bucket list. Need a soundtrack to said summer? Look no further than our cover stars Sean Lennon and Charlotte Kemp Muhl of Ghost of a Saber Tooth Tiger. Their new album “Midnight Sun” serves as the perfect soundscape to your upcoming endeavours.

So get comfy, sit back and relax, flip through this issue and think about where this summer could take you; the possibilities are endless.

Le'Keisha Sims

Editor in Chief, XO Magazine

EDITOR’S P I C K S 1. PAMELA LOVE PATHWAY CUFF

http://pamelalovenyc.com 2. X-MEN: DAYS OF FUTURE PAST http://x-menmovies.com 3. POUND FIT http://poundfit.com 4. HERCULES LOVE AFFAIR: FEAST OF THE BROKEN HEART

5. CHANDELIER MUSIC VIDEO: SIA

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K C E H C D N SOUeisha SIMS

BY Le’K

WARPAINT AT TREES IN DALLAS, TX

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XOLISTEN

ROYKSOPP & ROBYN - DO IT AGAIN

TUNE-YARDS - Nikki Nack

lykke li - i never learn

THE HORRORS - LUMINOUS

LILY ALLEN - SHEEZUS

SAM SMITH - IN THE LONELY HOUR

#STUCKONREPEAT MAY2014 1. EMBODY - SLK 2. Problem (Feat. Iggy Azalea) - Ariana Grande 3. Slider - Bo Ningen 4. You Know My Name - Courtney Love 5. Gunshot - Lykke Li 6. Bridges - SeaChange 7. Welcome to the Jungle - Neon Jungle 8. Archie, Marry Me - Alvvays 9. Undercover - Nightmare and the Cat 10. Paris - Little Dragon

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5 MINUTES WITH...

BROODS

What's in the water in New Zealand? XO Magazine’s Moeima Dukuly kicks it with Georgia Nutt, one half of electropop brother-sister duo BROODS from Auckland, and digs into their quick rise to fame, the New Zealand music scene, their work with Joel Little (producer of that "other" New Zealander, Lorde) and how family comes first.

Moeima: I know you are from a musical family – was it a natural progression getting together with your brother and creating music?

Georgia: Yeah, it’s just kind of been happening all our lives. We started out with covers and just playing around in bars and cafes around our hometown. Then we just decided to start writing stuff together -- entered competitions with some other people, and did well…. and then it just kind of snowballed into moving up to Auckland and creating this duo Broods and it just all started happening from there!

M: What instruments do your parents play? And what music did they play when you were growing that might have influenced you?

G: Dad plays the guitar and Mom plays guitar, piano, and flute and sings! [laughs] Yeah. She loves it, she loves her music. We listened to a lot of Cat Stevens when were kids. And Neil Diamond and the Eagles. All that kind of stuff Mom and Dad really loved… and so we grew up playing acoustic, funk influenced covers and then moved into electronic [music]. Just over a year ago we started to love that kind of music.

M: So what was the catalyst in terms of creating an electronic sound?

G: We just loved it so much and wanted to experiment with it. Electronic music is so limitless; there are no boundaries to what you can do. You can just go into the studio and whatever you want to make, you get a sample of it and you bring out and…you basically can do anything in the studio with electronic music. That's what drew us to it, just the lack of boundaries that you have.

XO EDIT NO.3

M: Tell me about your experience with [producer] Joel Little.

G: Ah, amazing. We've known him for like 3 years now. We get along with [him] so well. It's very natural being in the studio with him and creating stuff. It's so comfortable, it just feels like a really good creative space, and it brings out the best in us when we're writing and the most potential. He draws it out of you and makes you feel like you can give any idea or try anything in the studio – that you're never wrong. That's the best thing about working with him. He doesn't try and control it. He's just so good at collaborating with artists and he's just so good at what he does and always knows what sounds good. His ideas are always amazing. We're pretty lucky to have him produce our stuff.

M: How did you get to this point? You've been involved in music for a fairly short time. How did you end up getting signed?

G: We started working on the EP and we created the song "Bridges." We felt like it was the song to start off on. We released it on Soundcloud and it ended up getting an amazing response… that just blew us away. We ended up getting signed off the back of that, to Capitol Records and Polymer Records in the UK. It just all happened from that one song! It was kind of amazing. And very surreal. Soon after we released that song, we were flying to LA to sign a record deal!

M: Whoa.

G: [Laughs] I know. When you put it like that, it sounds ridiculous.

It was our first time in America as well. So our first time in America was pretty amazing.

M: That's the stuff people dream of. So. Spill. What's your favorite thing about America so far?

G: Best thing about America is the crowds. The fans are so, SO amazing. They're just so enthusiastic and you can just tell that they wanna be there. It's the best feeling to know that you played and people had a good time. It's awesome. That's my favorite thing – the people.

M: You think you'll move to LA or NY anytime soon?

MAY 2014

G: I don't think soon. I think we'll give it a bit of time and absorb what's happening…but the way it's going, it seems like we're going to have to start thinking about those things. But right now, we're taking it as it comes.

M: You guys are riding on a great wave of music coming from New Zealand. What's the music scene like in New Zealand?

G: It's interesting and doing all right! It just keeps evolving and people are being a bit more confident. They want to take it [music] out of New Zealand…New Zealanders kind of get into this habit of being a little too conservative. They need to back themselves a little more and be more confident. It's happening now, that people are seeing [New Zealanders'] music out there and having the confidence to think of a musician as being a proper career and not something that only happens every so often in New Zealand and it's getting a bit more common, which is such a cool thing to see because there's so much talent.

M: Any favorite spots in Auckland – or other parts of New Zealand – that you can let us in on?

G: There's some really cool smaller suburbs outside of the central city. There's some great venues. One of our favorite places is Kingsland. Kingsland is where it's at. That's where we live and where the studio is. We literally live two minutes away from the studio.

M: Tell me what else you love – besides music.

G: Caleb is very artistic visually. He's an amazing artist and studied design before we started to really get into Broods. For me, my whole life is really revolved around music and basically it goes: family, music, friends. My family is super important to me.

Whenever I'm not making music, I'm eating, sleeping, or hanging out with my family or getting in touch with my family or friends.

It's just important to keep that closeness. They've done so much for us and wish they were here with us. But, you know – this is our job now! [Laughs] ■

XO EDIT NO.3

MAY 2014

LABEL OF love #LABELOFLOVE: David Catalan SS 14 For this month’s Label of Love we’re smitten with David Catalan’s S/S14 collection, Print Voltage.” Wondering where the name for this collection originated from? Well, David was heavily influenced by the elements and symbology of power stations which are evident in each design’s print. Each design is symmetrical and geometric, bringing to mind hazard signs or electrical fields at said power stations. The colour palette reflects these elements as well and features bright blues, oranges, sunset pinks and neutrals. For more information check out: http://davidcatalan.es

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LABEL OF LOVE

SHIRT BY ALTRU; PANTS BY VOLCOM; SHOES BY VOLCOM

RILEY SMITH

HBO's True Blood may be approaching its home stretch, but we're pretty sure they aren't lacking in surprises, action and more to make this season their grand opus! We hang out with Riley Smith – True Blood's latest edition to their seventh and final season, who is sure to shake things up and steal a few hearts. Season seven premieres this summer in June, so look out for Riley - we can't wait to see how bloody the drama gets!

Words | Le'Keisha Sims Photographer | Shanna Fisher Stylist | Quentin Fears Groomer | Bethany Johnson

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SHIRT BY ALTRU; CARDIGAN

BY SWEET AS VINTAGE BOUTIQUE; JEANS BY 3X1; SHOES ARE STYLIST'S OWN

BASEBALL TEE BY VOLCOM; JACKET BY LIFETIME; PANTS

BY VOLCOM; SHOES ARE RILEY'S OWN

SEE PG. 17

SEE PG. 18

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PHOTOGRAPHER: GABRIELLE ASSAF MODEL: DANIELLE OF JE MODEL STYLING: STEPHANIE CORBRIDGE MAKEUP & HAIR: INNA MATHEWS

Dog Daze SILK PRINTED ROMPER BY CHLOE; SILVER WOVEN TASSEL LOAFERS BY PRADA

SILK HEMP CROPPED TOP BY 2X3; YELLOW HIGH WAISTED SHORTS BY CHLOE; JEWELRY IS STYLIST'S OWN

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NAVY SAILOR SWEATER BY CHLOE; INVERTED PLEAT SKIRT

BY ALEXANDER MCQUEEN; JEWELRY IS STYLIST'S OWN

SILK HEMP CROPPED TOP BY 2X3; YELLOW HIGH WAISTED SHORTS BY CHLOE; JEWELRY IS STYLIST'S OWN

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DOG DAZE

LEFT: SEE PG. 20 RIGHT: SILK FLORAL BROCADE TOP BY STELLA MCCARTNEY

GOASTT STORIES AND THE

LEGEND OF THE MIDNIGHT SUN WORDS & INTERVIEW | MOEIMA DUKULY

Ever wondered what it's like to go through a wormhole? Colors. Shapes. Animals and eyes blur and float by and a decidedly soothing pair of voices guides you to the other side, far far away from reality. Be easy, kids. I'm high on nothing but The Ghost of a Saber Tooth Tiger's (also known as The GOASTT) latest album, Midnight Sun. You need only press play to join in on the kaleidoscopic magic. Comprised of Charlotte Kemp Muhl and Sean Lennon, The GOASTT delivers a musical passport into whatever worlds your mind dares travel. Their latest album Midnight Sun's cover is an obvious nod to the prismatic tracks that await you – and awake you. The opening track, "Too Deep" does exactly that with lively drums and bass that seem to say, "come hither." The album is twelve tracks that feature Sean's signature heady vocals married with Charlotte's velvety coo and an interesting instrumental ensemble.

Sean: I wouldn't use the term duality, but I know what you mean. It has to do with unexpected juxtaposition and the tension of certain polarities. But there in fact is a Midnight Sun in many parts of the world, like the Arctic Circle. That's a good example of the kind of ideas we like

ing things that don't make sense together and hoping that it sounds cool…I know it sounds really pretentious, but that's just how we think!

Moeima: To quote Sean, we know Midnight Sun managed to contain, "unexpected juxtaposition," "polarities" and a "tension in art." Charlotte can you see yourself working with other artists to further your exploration of these themes -- bringing together socalled opposing genres and birthing something completely new?

Charlotte: Juxtaposition. Polarities. Ha, those words out of context seem a bit pretentious and meaningless. We do love mashing up disparate genres like Metal and Bossanova, Psychedelic, Classical and Folk. But yes, we're very open to collaboration! So far it's just been me and Sean though.

Moeima: Where you record the

did album?

Charlotte and Sean took some time to talk to me and dig deeper into the thought process, production and spirit of the album.

Sean: Most of it was recorded in upstate NY in my recording studio there. A lot of the pre-production, a lot of the songwriting was done at our house in New York [the city].

Moeima: Let's dig into this album!!

Most of the songs were recorded What immediately struck me with upstate except for, "JohnannesMidnight Sun was whether or not the symbol- to play around with. It has to do with tension burg" and "Last Call" which are older… We'd ism I was seeing was purposeful. There seemed in art – whether it's a minor chord sequencing written them in a sort of earlier batch of songs. to be a lot of duality, starting with the title, Mid- what you'd expect a major chord to be. Or if One studio I call, "The Farm" upstate and then night Sun, but also with the music. It was spa- it's pairing words that don't often go together, the studio in our house in New York, I call "The tial and vast but laden with so many odd and but then finding an actual harmony in that Library" because… it's in our library. [Laughs] layered musical elements and arrangements. - and a purpose and a meaning that makes sense. It's something separate from just shov-

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Moeima: Tell us about differences in recording at The Farm (their upstate NY studio location) versus The Library (their East Village studio). What setting proved to be more impactful/inspiring and in what capacity? How much does the country versus the city environment play upon your creative senses?

Charlotte: That's a smart question... Actually, Sean and I always wondered if city rats developed different personality traits from country rats, and thought David Attenborough [BBC natural history narrator] should make a documentary specifically on city animals. Of course it changes you; our attention span is chopped up like a Picasso painting in the city, and in the country we can stay awake till sunrise recording drums and chamberlain. There's a lake near the Farm studio, and a womb of trees all around. It's a much more hospitable environment for creative focus.

Meanwhile, in our city "Library" studio, you can hear the car horns outside and our dogs barking downstairs. But it is super convenient.

rative or do each of you kind of retreat and it is better to abandon a work that you can't then come back together to compare notes? agree on, than push the issue? Does the tension of constantly seeking to find common Sean: I would say most of it is collaborative, ground weigh on your personal relationship for sure. There are rare circumstances, like in – causing lines to blur in terms of your creathe case of "Johannesburg" – she was there tive relationship versus your personal one? writing a poem – and then in the case of a few other songs, she'll be busy doing some- Charlotte: Yes, democracy is no walk in the thing else and I'll go and finish off another park! We bicker like Roman senators and part. Sometimes we do tag team writing but have come close to cannibalizing each oththat's very rare. 99.99% we do just sitting on a er. But it's an incredible exercise in ego and bed with two pencils, two notepads and you empathy. I recommend collaborating with know… a bottle of tequila. [laughs] That's the your lover to anyone with the balls to do it. formula. The whole point of the band was for us to see if we could share ownership and con- Moeima: We know you wrote lyrics, Charlotte, for trol of the same project in a 50/50 way, 'cause "Johannesburg" – why were you in South Africa? most bands eventually have an alpha/beta And was it just the city that inspired the song? dynamic. But we were very conscious of that and tried to do it another way. We've man- Charlotte: I wrote that when I was 19, on a aged thus far. It's a lot more challenging be- trip to the wilderness just outside of Johancause every decision has to be approved by bot nesburg for a Pirelli calendar shoot with Peter Moeima: Since you guys set out to en- Beard. The oppressive heat and Dr. Seuss-like joy a balanced collaboration for this pro- wildlife and the charismatic Peter inspired ject in which "every decision is approved by the lyrics. I jotted it down very quickly in my both people" – how often do you struggle to leather journal on the way back to the airport.

Moeima: In terms of your writing – how does reach a happy medium? How do you handle that go down? Is the process totally collabo- that? Have you decided between you that

“ […]99.99% WE DO JUST SITTING ON A BED WITH TWO PENCILS, TWO NOTEPADS AND YOU KNOW… A BOTTLE OF TEQUILA"

Moeima: Sean tends to sing a lot on the album, Charlotte, but your vocals on the aforementioned “Johannesburg” are stellar! Tell us about your feelings toward singing – are you keen to do more of it? We encourage you to do so!

Charlotte: Ha, you're very kind. Those vocals are actually from a long time ago, I recorded them when Mark Ronson was producing the early stages of that track, and was just too lazy to redo them years later. “Johannesburg” reminds me of our Serge Gainsbourg phase from back then... I used to sing more back then, but quickly discovered my passion lay with production and arranging (which was originally Sean's forté) and stepped aside to let him be the front man he always deserved to be. He's so shy and self deprecating, you have to literally shove him in the spotlight, but he is an incredible lead guitarist and singer/ performer. [editor’s note: they are adorable.]

every possible combination of everything. In terms of which instruments…both of us collect instruments. I have a really large collection of vintage synthesizers and chamberlains and all sorts of bizarre toys. She had made for herself a glass harmonica…if you can imagine 12 wine glasses spinning, with water poured over them and you just sort of touch those glass bowls together and they sing beautifully.

Charlotte: I love talking about our little collection of instruments! They are our babies!

I've spent all my modeling money on them, ha! Sean already had a million cool synths, mellotrons, drums and guitars/basses... But I got an 1800's circus calliope organ which is painted red and is powered by a huge diesel engine, a glass harmonica that is hand blown and made in the style of Benjamin Franklin's, a C3 hammond organ, a 60's electric baldwin harpsichord, marimbas, vibraphones and a bunch of other little weird Moeima: What instrumental elements were things. We also play a lot of circuit bent chilyour particularly attracted to for this album? dren's toys which sound really spooky and evil.

Sean: We benefit from working at home in our own studios. We don't have to worry about the clock and don't have to worry about another band coming the next morning. We got to really experiment and indulge [with this album] in terms of trying every [sonic] possibility. I mean, we've done everything from like hitting paint cans, pots and glasses and then mixing that with a delay pedal and then running that through an amplifier and then miking that down the hallway or in the shower. We tried

it seemed to fit the lyrics of the song. It was supposed to be more silly than scary, I was trying not to laugh, actually, when they were flapping their arms behind me. Sean jokes that he sent them to 6 months of training with Baryshnikov for that performance.

Moeima: Tell us about your style aesthetic.

You guys seem to sartorially almost mirror the juxtaposition found in your music – in terms of accessories, layers and vintage pieces. Do you have a certain look/influence in mind?

Charlotte: Influence wise: Hendrix, Aleister Crowley, Leon Russell, Syd Barrett, Jowdorowsky.

Tim Burton and Fellini. Accessory wise: bones, military coats, feathers, top hats, Victorian dresses, combat boots and candy necklaces.

Moeima: To wrap it all up… What challenges did you meet when creating Midnight Sun? What did these challenges teach you personally/professionally?

Charlotte: The biggest challenge for both of Moeima: Your recent Letterman perfor- us was figuring out how to be more 'pop' withmance of "Animals," included humans with out "selling out." It took us years and dozens Donnie Darko-esque animal masks joining of writing sessions and arguments to morph you on stage. Do you plan on incorporating into a psychedelic pop butterfly from the this aspect in all your shows? What made awkward cocoon of our nerdy complexity. you decide to include these dancer/actors?

Moeima: Well, nerds rule the Charlotte: It was a last minute idea, to be hon- world. So that works for me. ■ est. The night before, we invited our friends to come hang and dance on stage in handmade animal masks (by Launa Eddy) since

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WHEN POLITICS MEET REALITY: WHAT’S UNDER THE TABLE Words | Moeima Dukuly

Sometimes there is nothing more political than a family dynamic.

resentment after a semester of finding herself.

Family is where we begin our ‘formal’ education of life and, from that vantage point, shape our perceptions and build our truths. Each family member undoubtedly has his or her own needs, interests and opinions, bringing each to the table for much discussion and debate. Recently screened at the world renowned Tribeca Film Festival, Grace McLeod’s short film narrative, Under the Table, offers a glimpse into a particular family gathering on New York’s affluent Upper East Side on a Thanksgiving Day when an estranged daughter returns home after her first semester in college with a dinner guest that raises more than a few eyebrows.

“There is a lot of me in the Nell character,” says, Grace. “With her character, I really wanted to explore what her motivations were. It was unclear when I was writing it -- whether or not she was bringing her girlfriend home to push everyone’s buttons to get a reaction, or if she was doing it to be sweet and bring a girl home to meet her family. I think in the final product, it was a mixture of the two of those. She wants to make amends with her family, but she also wants to point out to them all the things they’re doing and all the things they are saying and what they’re NOT saying – that aren’t ok. There are a lot of people who think they are liberal or subscribe to certain liberal beliefs because they think it;s cool or the right thing to do, not necessarily for the right reasons. I made a film about a family that everyone thinks would be ok about their daughter coming out to them and the reality of what actually happens. I think for people my age, it;s easy to learn about new causes and get behind certain things, but it also trivializes a lot of real issues. You know, liking a cause on Facebook or joining a group, it means something… but it doesn’t mean all that much when something real happens. I wanted to put things into perspective and make a film about the reality.”

Under the Table is the very definition of an awkward family gathering.

In twenty minutes you are introduced to the family: the mother Meredith, blonde, a bit uptight and tireless in her liberal beliefs, but rusty when it comes to living them out in reality; Janie, the outspoken and somewhat obnoxious younger sister who provides comic relief when she says what everyone is thinking regardless of political incorrectness; David, the father permanently attached to his Blackberry and detached from his family’s melodrama; and Nell, the alienated daughter returning home (with her girlfriend in tow) to face long-held tensions and

Grace herself is a born and bred New Yorker, raised on the Upper West Side and recently graduated from the prestigious NightingaleBamford School and currently residing in Tribeca until she attends the University of Chicago. Upon her acceptance into the Tribeca Film Institute or TFI, Grace began writing the script for Under the Table and, through the program, learned the ins and outs of storytelling and producing a film. “I was very surprised. A lot of the kids who apply to the program go to public arts schools in New York and have been formally trained in filmmaking or screenwriting. I had never taken a formal film class in my whole life – that was not something that my school offers. So I thought I was a little bit behind… I was very happy to be accepted and surprised.”

Tribeca Film Institute is an affiliate of the Tribeca Film Festival and is a nonprofit organization started by Robert De Niro, Jane Rosenthal and Craig Hatkoff. “The program that Grace was able to participate in was our formal education program, Tribeca Film Fellows,” says Anne Becker, Tribeca Film Institute’s Director of Marketing. “That’s sort of the crème de la crème of [New York City’s] most promising young filmmakers,” she continues. “Every year, about 20 high school juniors and seniors (mostly juniors) go through an application process similar to a college application process where you submit recommendations and reasoning as to why you want to be in the program. [Acceptees to the program] experience a year-long fellowship that starts in March for the Tribeca Film Festival with a spring academy of Basics of Storytelling 101 and extends into the festival… each Film Fellow gets a mentor from the film industry,” Becker explains. Like Grace, “Each Fellow comes up with a personal media project of their own (usually a film) and they work on it throughout the next year. Then, at the [next] Tribeca Film Festival, we have a premier celebration of a handful of those students’ final projects.”

The chosen Fellows come from both public and private schools in New York City “to increase the diversity in the program, and have students from all different backgrounds learn from one another,” Becker adds. In a metropolitan area like New York, organizations like TFI can introduce ample amounts of talent into creative industries while educating and providing students with the tools they need to navigate the often thorny, involved world that is film. And it won’t stop at

Grace McLeod (3rd from right) with the cast of Under the Table

New York. TFI is slowly moving out into international territory with a recent endeavor in Korea with its Tribeca Teaches program and is just one step toward expanding the brand education program around the world.

So what becomes of the young filmmaker thrown into a daunting industry like film? From McLeod’s perspective, “It’s exciting. It’s intimidating. I’m just turning 19 and haven’t been to college yet and am in the middle of a gap year after graduating high school. People are asking, ‘Is this your career? Is this what you want to do?’…I feel a bit thrown out into the world [laughs]. But it’s something I love to do. I really love screenwriting. I love film. I want to keep on doing it. But, I’m not ready to be a professional, just yet.” ■

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THE XO EDIT IS A MONTHLY NEWSZINE THAT DELIVERS ALL OF WHAT WE LOVE, NONE OF WHAT WE DON'T. WE REVIEW/PRESENT GOING-ONS, PEOPLE, PROJECTS, PLACES IN TERMS OF NEW MUSIC, FASHION, ART AND THE WORLD AT LARGE.

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