Yewth Issue 006

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ISSUE 006 - winter/spring 2016 tri-annual street magazine

Swirl Records The Coffee Pot Emmaline Zanelli Dinosaur Productions Cloak Room The Smith Street Band Henry Stentiford Kate Cudbertson Nick Phillips Umbrella Gig Guide

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Editor’s note Lately we’ve had a few newcomers ask us what Yewth is... Is it a magazine? Is it a blog? Is it a club night? Is it DJs? When I started this thing it was solely a magazine. I was, and still am, all about the satisfaction of reading something that is on paper. But now we are definitely more than just a little magazine.

Recently our state’s biggest music and culture platform carked it, and as Adelaide mourns the passing of Rip It Up, Yewth is here to let you know we’re going to continue to cover the Adelaide scene in new and innovative ways.

Expect more video interviews going behind the scenes with bands and artists; club and band nights that contribute to the scene and provide opportunities for new acts to cut their teeth in front of an audience. DJing at gigs as YEWTH DJs (shoutout to Lewis & Jack), and most importantly producing 84 pages of pure print goodness that allows writers and photographers to have the satisfaction of seeing their work in print.

We are striving to create a platform that is organic and allows us to create content that you want to consume and aren’t just fed.

So next time you see one of our cheesy faces around town - as seen opposite this page - come tell us what we’re doing right... Or even better what we’re doing wrong.

Left to right: Caleb Sweeting, Lewis Brideson, Courtney Duka, Dave Court Not in Attendance: Callum Parr, Patrick Martin

Editor in Chief Caleb Sweeting caleb@yewthmag.com Assistant Editor and Video Lewis Brideson lewis@yewthmag.com Creative Director and Design Dave Court dave@yewthmag.com Publicity and Advertising Courtney Duka courtney@yewthmag.com

cover artwork and inset backgrounds by Emmaline Zanelli

Shot by Baxter William

Contributing Writers Paul Maland Nathan King Freya Langley Contributing Photographers Paul Maland Bryn Taylor Wade Whitington Dylan Minchenberg Ryan Cantwell Stylist Chloe Miller Contributing Artists Emmaline Zanelli Henry Stentiford Bridget Fahey

talk to us www.yewthmag.com instagram @yewthmag facebook.com/yewthmag hello@yewth-mag.com

CAVLRY.BANDCAMP.COM CAVLRY.BANDCAMP.COM

The music scene in Adelaide is a weird beast. Incestuously linked through tightknit communities who foster their own, Adelaide’s laid-back culture and approach brings homely familiarity to both its visitors and expats. Ultimately, we all share the gift of being from a little big-city that boasts a population of over a million, yet that still won’t stop you from running into the same sets of faces for years — even across the globe.

For Tom Matheson and Gerry Bain, Swirl Records is all about honing that sense of community that holds the local music scene together, and refining it into something that showcases the fruits of everyone’s collective labour.

We caught up with the duo ahead of Music SA’s Umbrella Winter City Sounds festival to chat about what Swirl has to offer Adelaide for both the winter festival and beyond.

Starting when the boys were only just eighteen and nineteen, Swirl is a platform started to help new talent get their foot in the door, while building on something for the 10

local scene.

The label, formed in 2015, quickly amassed a roster of up-and-coming talent in both local and nearby markets, with acts ranging from Tom’s band Siamese to Druid Fluids, Goon Wizard, Astro Dad, thrash-monkeys King Latex, psych-wizards Somniun, all the way out to Canada’s Lust, UK’s Pet Cemetery, and Melbournites Meeks and Wars.

“Angus [Goon Wizard] was starting up a band, and I was starting up a band [Siamese], so I thought ‘why don’t we create a record label to give us some sort of base, and something to represent us?’” Tom explains.

In true Adelaide fashion, our interview kicked off with a punter asking our table for any spare change. In a sense, it’s not too unlike the mutual relationship bands and labels have, on occasion.

“You’d be surprised with the amount of bands that just come out from all over the world and go ‘can you give us hand, and we’ll give you a hand?’” says Gerry.

Before getting the exposure outside of Adelaide, the label kicked things off with humble roots, and, like most Adelaide bands, started in the cultural control-group of suburbia.

“We started with a house party; we had a bunch of friends starting up bands, so we thought ‘right, let’s do this’, and went from there,” says Gerry.

“For the house party, we did a Kickstarter campaign and got together about twohundred and fifty for just an amplifier we needed… I don’t think we pulled through with some of the Kickstarter goals, though.

We promised we’d do poetry, and stuff like that.” says Tom. Music is poetry enough though, surely. After selling-out two house parties, Siamese and other Swirl Records staples began to pick up steam and immediately started booking shows across Adelaide live-music staples intandem.

It was a similar tale of the everyman when

recording for some of the signed bands at the start, as well. Although Swirl Records is picking up steam now, it’s still a charity case for the boys.

“We started out recording at Angus’ house, in his garage,” says Tom. “All of our downloadable music is free — whatever money we make from shows, we just split it up equally for the bands. We don’t really

take any money out for Swirl itself.” he says.

“We’re just getting the ground-work that we need to do,” says Gerry.

“Building an empire — check in with us in twenty years or so.” he laughs.

If you’re thinking of joining the empire, there’ll be plenty of time to get caught up in the Swirl across Umbrella Winter City Sounds — the label is set to host four showcases of local talent, combining their own roster as well as a host of other local collectives, across four weeks (every Thursday) at the Colonel Light Hotel for the winter festival.

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The boys also have a few tricks up their sleeves planned for the months following, including slots in the upcoming Vision Festival at Jive, and a big compilation release showcasing singles from each band signed to Swirl Records all on one album, launched with a gig of equal proportion sometime in the not too distant future.

“There’s some sort of movement now where there’s a hell of a lot of support… All these little projects starting up, including Yewth, that are just building, and building, and building.”

Live music is a collective articulation of cultural taste and passion. It’s a living, breathing facet of a city’s culture — going to shows, buying tickets, and supporting local record labels all contributes to shaping a narrative, which ultimately exists to reflect the voices of its creators and inspire newcomers to keep the scene alive.

You can catch the first installment of Swirl Records Presents, featuring Masco Sound System, Slick Arnold, Somnium, and Terrapin, on Thursday, July 21st at The Colonel Light Hotel. Umbrella Winter City Sounds Festival runs July 15 to August 7.

“There’s something happening — and it’s awesome to see everyone getting involved,” Gerry and Tom explain.

@swirlrecords

For a record label with roots in our fabled city of last-minute ticket buyers and lackadaisical arts engagement, there’s momentum on the horizon — and not just for Swirl.

artwork by Pia Gynell-Jörgensen

Pot

Close your eyes and delve into this daydream for a second if you may‌ imagine a bar that encapsulates everything in the Adelaide bar scene yet has so much more to offer, imagine a dashing sense of style not seen since the 60s intertwined with $4 South Korean tinnies. Now open your eyes and pirouette down James Place off Rundle Mall and you have arrived at The Coffee Pot, Adelaide’s most well kept artistic hide-away/bar.

Bryan Lynagh, co-owner and founder of both The Coffee Pot and Tuxedo Cat, sat down on some red leather clad booths to discuss Kate Bush, felt art shows and Laura Palmer.

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So how did you come to acquire this fine establishment?

Cassandra Tombs and I had heard rumours of its previous existence, and then we had found out a little bit about the owners, who their real-estate owners were, etc. [We then] put a proposal together which was heavily influenced with our work before, with Tuxedo Cat, and that got us in the door.

So obviously being a founder of Tuxedo Cat you know this city in and out. With all the Fringe festivals that have been, and by obviously opening a bar and managing it, it would be a natural thing?

It never was just a bar, it’s always been a cultural hub, a licensed cultural hub, the bar is by the way. There is usually something on offer here for you to meet your cultural dietary requirements. And the fact you can wash it down with a $5 beer, $4 on Thursdays.

What I have heard about the history of this place is that it actually used to be a very famous coffee bar in Adelaide from about the mid60s. Any thoughts of returning The Coffee Pot to its former glory years?

No, it’s come and gone because coffee was a unique thing at one point, now every place sells it. [The Coffee Pot] was originally a Nan and Pop place where you came for coffee and cake after shopping at David Jones, that’s how it worked for decades.

What is with the Kate Bush fetish, why is there a night dedicated to Ms Bush?

Yeah and that’s building to a peak, we will have our last one for a while on the 31st of August. We are in the midst of our ‘Kate Bush Wednesday: Kate Bush Drawing Jam’ where people come in and enjoy a drink, enjoy some Kate Bush, draw a picture of Kate Bush and we will exhibit all the drawings that come across the bar on August 31. We had her on the playlist when we first opened and more than once people would walk in and say: “Wow look at this place and Kate Bush is playing, what a perfect fit”.

I inherited this record collection and it had a whole bunch of her albums, so I thought let’s have a Kate Bush night.

So I have noticed that you seem to cater for a lot of genres of people here. Tuesdays are an easy listening night?

The Sugarcanes and Kenny [Rodgers] gets a run. Then Thursdays are metal, Fridays are ‘Rad ‘n’ 80’s’, Saturdays anything goes and then we have a few special nights like movie nights and ‘Black Coffee’ is coming up. That will be our 4th ‘Black Coffee’ night for all you goths.

So in regards to the future plans of The Coffee Pot, are there any upcoming nights planned?

We are having ‘Christmas In July’ which will be a great party, we are having more live music with Lance Lazer & The Taliband,

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also The Tuff Boys are playing here, a lot of the culture here comes from the people that come here. Once a week we have ‘Spoke ‘n’ Slurred’, which is where touring poets come here and do one off shows, so it’s really great for the spoken word scene. Also Josephine [Trudinger] is doing a felt exhibition here for SALA so check that out.

So there will be a SALA felt exhibition here at The Coffee Pot with a local artist called Josephine?

It’s called ‘How I Felt’.

Why has she not called it ‘How I Felt Your Mother’?

Interview her and next time you come to The Pot don’t forget to check out our ‘Laura Palmer Book/VHS Exchange’, it’s always open when we are open.

Ah yes, as you walk into the left in a dimly lit corner there is a slew of old VHS, books and a photo of Laura Palmer, and that’s it.

There are old coffee cups from the original Coffee Pot as well, so there is still that old world charm. Actually most of the interior is the same as it was when it opened in the 60s, these are the same red leather booths.

These seats have seen some things.

If this panelling could talk it would probably cry first.

Facebook /TheCoffeePotSA Enter through James Place off Rundle Mall

Some are a bit torn and distressed, but it adds a charm, and quite frankly other establishments pay a fortune for the ‘authentic’ distressed look. We have the real deal here.

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uctions

Dinosaur Productions are local cult legends, whether you’ve followed their Mediterranean marvel adaption from the start, just dived into their excess-soaked stack of neon lights and ninja fights on Netflix, or ever found yourself entranced by that TV at the Grace Emily churning some whack reinterpretation of WWII set in a bizarre 1960s cosmos.

Dario Russo and David Ashby (Dinosaur Productions) are responsible for Danger 5, Italian Spiderman and a bundle of other online offerings. They’re also making a special appearance at the 2016 New Screen Makers Conference at the Mercury Theatre on July 15 and 16, to talk trends, opportunities and pathways for young filmmakers. Before their big appearance, I decided to chuck a few questions their way about the important things – cocktails, Jimmy Fallon and dinosaurs…

To kick things off, when did your love affair with film begin? What universes, eras and heroes are responsible for you picking up the pen/camera/ prop gun/kitebow?

DA: I guess it began when we were kids. Growing up, we both sucked at sports and found solace in the ritual of the video shop. My staples were 80s/90s action films and science fiction, and my family introduced me to The Three Stooges, Eastwood and James Bond. I just knew I wanted to be a part of it when I grew up.

DR: For me I guess early on it was Jurassic Park and Aliens then later 80s VHS trash and 60s Italian movies. My dad showed me Monty Python and The Young Ones at an early age, which really inspired me to make comedy. David and I mutually worship RoboCop, the Coen Brothers and Steely Dan. You guys grew up in what can be considered the ‘YouTube Generation’ and got considerable attention from Italian Spiderman. Do you have any words of wisdom for young filmmakers trying to develop a unique and entertaining voice and get it out into the public realm?

DR: When you’re just starting out, just make stuff for no money and get it out there, then repeat, until somebody gives a shit.

D A : Don’t ever use ukulele, handclaps, xylophone or minimalist piano in the soundtrack. It’s bullshit. Just make something that makes you and your friends laugh. That’s what we try to do.

Sometimes people seem to disregard the talent that comes out of Adelaide. How did your hometown foster or inspire your creativity, and are there any local projects you recommend people get around?

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DR: The MRC [Media Resource Centre] and the SAFC [South Australian Film Corporation] have been incredibly supportive along our path. Not to mention Flinders Uni. Also, Adelaide’s generally a no bullshit kind of place. Having a constant stream of people telling you to ‘get a real job’ is a good test for tenacity. Which is an important virtue in this business.

DA: Adelaide keeps us hungry. It’s incredibly important to stay hungry so you don’t waste your time making something vapid or banal.

Jimmy Fallon took some interest in Italian Spiderman recently... if you could, what sort of superhero would you cast him as?

DR: Hollywood Man. DA: Hollywood Sandwich.

Danger 5 is available worldwide on Netflix (yay!), what do you think of the changes in consuming film and TV? How should/are filmmakers adapting to the way they create, fund and promote successful video content?

DR: Just focus on honing your own thing, and see if it has an audience. Then go from there.

What is your spirit-dinosaur?

DR: Koolasuchus (though not technically a dinosaur).

DA: Ankylosaurus.

You guys are on the line-up for the New Screen Makers Conference, what do you think will be revealed about the current trends and struggles for filmmakers in Australia, and how does this vary to the global market?

DR: There are no fool-proof pathways in this business. The conference will be a great opportunity to hear about all the different ways individual practitioners have managed to break in.

What is your #1 should or should-not for upcoming filmmakers?

DR: Don’t blow stacks of your own money on your first film. If you can convince someone else (who isn’t a friend or family member) to give you the money then that’s different.

DA: Don’t try to be somebody else, be you.

You two have quite a faithful cult following, can you give us some insight into Dinosaur Productions’ next mission?

DR: Latvian Summer – 3pts Vodka, 3pts Scotch, put in microwave for 3 minutes, and serve in the skull of your fallen enemy.

DR: Our big missions are top secret.

Though we did just release an online short for fun called COMPUTER MAN. Look it up. And if it all turns to shit, we’ll just open a chicken shop.

DA: The Modra – 2pts West End, 2pts Scrumpy, 1pt Snow Drop over ice in a high ball glass, can only be consumed in the presence of Tony Modra.

DA: A drive-thru bottle-o chicken shop. I’m actually really looking forward to when our careers die, I would really like to open a drive-thru bottle-o chicken shop. Spending all day hanging out, eating some chicken.

www.dinosaur.pizza @dariodactyl @divadybhsa

And finally, what cocktail will you whisper on your deathbed?

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Photographer / Wade Whitington Stylist & Words / Chloe Miller Models / Sam Lavers, Whitney Castree Location / Fat Controller When the nights get a little colder (and we need more than a few rum, dry and limes to stay warm), what better way to rug up and get out for a night on the town than dressing fashionably, and most importantly, ethically.

With so many sustainably sourced Australian fashion boutiques and labels readily available, like foolsandtrolls, SWOP, Lunawolf Vintage, and Vege Threads, dressing ethically, uniquely and creatively is simple. It won’t break the bank - and you’ll get a killer outfit.

Dress: Vege Threads / Socks: foolsandtrolls

T-shirt: foolsandtrolls

T-shirt: foolsandtrolls, Jeans: Phable, Socks: foolsandtrolls, Boots: Rossi

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Dress: Vege Threads, Jacket: Luna Wolf Vintage

Longsleeve tee: foolsandtrolls Jeans: Phable Socks: foolsandtrolls Boots: Rossi Dress: Vege Threads Jacket: Luna Wolf Vintage

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Tee: foolsandtrolls Jeans: Phable Socks: foolsandtrolls Boots: Rossi Jacket: Luna Wolf Vintage

Longsleeve tee: foolsandtrolls Jeans: Phable Socks: foolsandtrolls Boots: Rossi Dress: Vege Threads Jacket: SWOP

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don’t forget your jacket

Street Band

Backing up last September’s national tour with a slot on the St Jerome’s Laneway bill, followed by another huge US/Canada tour earlier this year, it seems that The Smith Street Band is on a bus that could never slow down. With barely enough time to sleep off the massive USA jet lag, Wil Wagner and the boys just finished yet another cracking national tour. We had a lil yarn with frontman and king of humble Wil Wagner about tour life, which Prime Minister’s face is more punchable and what we can expect from the band in the next few months.

So you toured North America and after this national run, you’re off to play some sweet looking shows across the UK and Europe.

How’s that been for you?

Fucking awesome! The North American tour was really crazy and insane. It was our first headline tour there so I really didn’t know what expect and the shows were awesome and people were coming out and people were really excited. It was a very inspiring and beautiful thing. And yeah, the Australian tour coming with Luca Brasi, Joelistics and Jess Locke… We should have toured with all three of those bands years ago, I don’t know what took us this long to finally get around to it.

Europe is just the biggest weirdest party of all time – I love going there. We’re playing a bunch of cool festivals. We’ve got some shows with Refused and all these cool bands that I really fucking love – which is really exciting. We’re playing our own headline shows in the UK, which will be a lot of fun.

I’m all excited just thinking about it!

Are you guys just as surprised as everyone that your distinctly Australian sound has taken the world by storm?

Yeah, one-hundred per cent! I’m still surprised that anyone has ever even listened to us. I feel like that always sounds ingenuine, but every time we put a tour or release a record I’m just like ‘I hope people come. I hope people buy the record’, and then whenever anything happens it’s always so cool and exciting – I really don’t take any of it for granted. I’m just as surprised and as dumbfounded as I’m sure a lot of people are.

It’s really cool because it’s ongoing, it’s not just hype.

I think that’s been something with the way we’ve done it. We’ve never really tried to get hype. Everything we’ve got has kind of come naturally, through touring and working and the whole Fugazi, Minor Threat jump in

Tony Abbott just had the definition of a punchable face the band kind of method. That’s been the sort of thing that sits more comfortably with us, rather than trying to get a single on triple j or support. If that stuff happens, it’s cool but we’re just a touring band that’s just trying to work hard and play shows ahead of trying to blow up overnight.

One of the core themes that resonate strongly with your audience is mental health, with the lyrics being deeply personal. The raw vulnerability and openness on stage is enough to trigger a drunken tear. Do you deliberately aim to lyrically address these issues, or does it just sort of pour out accidentally?

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‘Wipe That Shit-Eating Grin Off Your Punchable Face’ was a certified political banger (and you raised a tonne of money for the Asylum Seeker Resource Centre, the Refugee Council of Australia and Oxfam – which is very cool). It was and remains a really powerful message for a predominantly young audience to hear, especially considering the strong disillusionment many hold with our government. Hypothetically speaking, with it being an election year, what other issues do you think deserve another song? Do you think that Uncle Malcolm Turnbull’s face is more or less punchable?

Yeah nah, I’m just a sook. Nothing in my lyrics is very intentional [laughs]. I think some song writers are different, but for me, if I sit down and say, ‘I’m gonna write a song about this, or this topic, or that topic’, I just can’t really do it; it sounds like I sat down and said ‘right, I’m gonna write a song about this’. Whereas, if I don’t really think or filter myself and sort of let it all pour out of me and it always ends up being first rate and lyrics that I’m far more interested in using . Compared to if you sit down and say, ‘I’m gonna write about love’ and like ‘love, love, love, love, love’ then it’s a bit like engineered. For some people that works really, really well, but for me it’s not the way I can write music.

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How long is this interview? [Laughs]. That [the refugees] is something that to me is in my mind is so simple – I know it’s not but it’s just like ‘FUCKING HELP PEOPLE’. At the end of the day you can argue every political thing but it’s like people are dying and we have a way to stop those people dying, so why aren’t we doing it? It’s so simplistic but at the end of the day that’s it.

I’m very passionate about LGBT rights – it’s so fucking weird and stupid that some of my friends can’t get married. I would love to write songs about stuff like that, but it just hasn’t happened yet. If I sit down and force something like that I wouldn’t want it to seem like some sort of ‘jumping on a cause’ or even trying to get cred for it.

In a day and age where everyone is shooting each other on the internet to make themselves look better, I really don’t want to seem like I’m trying to jump on causes or seem like I’m cashing in on like twenty political opinions – which I feel like a lot of people do. If something comes naturally and something comes up, there’s a million things I would love to write about and I would love to lend my voice to a cause. I would never want to force it.

I think that the big problem with Malcolm is that he is less punchable. Tony Abbott just had the definition of a punchable face, he’s just the smuggest looking fuckboy in the whole world, he’s just a dickhead. But I feel like Malcolm Turnbull has equally barbaric political opinions but he’s less of a moron than Tony Abbott; he can actually express himself. In my opinion he’s probably more dangerous than Tony Abbott. When Abbott got booted out, that was a cool victory for a day, but then there was actually someone who people would vote for not just a complete fucking moron. He’s not my mate.

It’s been almost a couple of years since Throw Me in the River, which was notably heavier than your previous records. The rumour mill is churning out a good one about a new record soon. True or False? And what can we expect next from The Smith Street Band?

True. We’ll have a new record out at the start of next year. We’re recording in America in September – that’s all being booked at the moment, which is very exciting. We’ve been writing the songs too and I feel like this one might be a bit poppier. By the time we’ve recorded I feel like it’ll be a bit more polished and poppier than Throw Me in the River. I feel like with Throw Me in the River I had a lot of shit to get out around that time.

I feel like this is gonna be ‘depression pop’.

It’ll be a bit more polished and a bit more shiny, but the songs are probably as bleak as they’ve ever been.

Facebook /TheSmithStreetBand Instagram @thesmithstreetband Twitter @smithstband

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iford

It’s a sunny winter’s day in North Adelaide, as I stroll up the driveway that leads to the heritage listed Carclew building that stands proudly on Jeffcott Street. The reason I’m here is to interview one of my favourite Adelaide artists, Henry Stentiford – I ask the admin desk for directions to his studio, she kindly says, “You’ll find Henry in the old stables.”

Things have been looking mighty fine for the 23-year-old, whose quirky illustrations look like they could feature in a children’s book – but actually hold darker connotations. Recently, Stentiford took out the Design Institute of Australia’s Graduate of the Year Award for graphic design in SA and this year he was selected to be one of two resident artists at Carclew House.

I knock on the old stable, which sends echoes off the concrete floor inside. Stentiford eventually opens the door after running down the stairs. Wearing a Beyond Killa hoodie he invites me upstairs to his half of the space. “Help yourself to a Jatz if you want one,” he says.

We spend the next 60 seconds cackling, because there was literally one cracker left in the packet.

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For those who don’t know, Stentiford explains that Carclew is a youth based, arts run initiative which caters for people under 26. Every year they have their studio space up for grabs, for one whole year.

“There’s this urban legend of this dude that was so good, that he got it for two years – but that may just be a myth you know,” he says.

When I ask Stentiford if it was competitive he replies as any humble Adelaidean would: “I don’t know! They never had like, ‘there was this many applicants.’ So, I could’ve written a really good application and beat fifty people, or I could’ve just been the one dude who applied along with Chels [the other resident artist for 2016] and they’re like, ‘wooo we got someone,’” he laughs. “But there’s been some other good names in here

before, so I make the assumption and pretend that there was like one hundred dudes [who applied].”

Yewth can confirm this esteemed residency program didn’t just fall into Stentiford’s lap… years of busting his balls in the studio and curating a number of solo and group exhibitions has landed him where he is today. His most recent group exhibition, ‘1LOVEADL’ featured work by local artists, who were tasked with selling Adelaide to someone who had never heard of Adelaide.

“The ‘1LOVEADL’ idea is, in a non-serious way – just basically to pay homage to this pride that I feel a lot of people have about Adelaide,” he says, explaining the story behind the exhibition at Sugar.

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“It isn’t like some sort of nationalism, like America – I think it’s more just a way of saying that a lot of young people have a good time here and we can sort of like use Adelaide to embody that – I think it’s a good place for young people and I’m sure old people will find out in a couple of years.

“It was sort of like just a big shout out to young people, you know we really like ya and this show is for you to come and have a good time at – not so much we want you to come and fully look at our artwork and fork out for a painting or something like that. So it’s been a good project.”

But, I wonder if ‘1LOVEADL’ is just a project, it actually seems to have become Stentiford’s alter ego, I mean you only have to check out his Instagram @1loveadl. “Is ‘1LOVEADL’ your persona I ask?” To which he replies, “Oooooh… That’s a good question… I mean yeah, all my artwork has ‘Henry Stentiford’ on it, but I think like, it is a persona [1LOVEADL] I use, you know it’s recognisable and now that we’ve had these shows it sort of embodies a certain message,

the name and because heaps of people got the t-shirts they can kind of take pride in that name.”

While Stentiford’s love for Adelaide is obvious, he also agrees that basing his work solely on the city of churches would limit him as an artists. “My day to day work really doesn’t have anything to do with Adelaide – there might be references to it throughout, but you know, not everyone is going to be from Adelaide. You want to have a wider potential than just like, having a Foodland logo and…

I guess that’s why ‘1LOVE’ works so well because all the paintings there were Adelaide themed, so for everyone who came, who was an Adelaidean – they were like, ‘yep, I get it, it’s gold.’ But, you know you can’t do that for everything.

“It’s so much fun to do that because locals love those Adelaidean inside jokes… but you know, you can’t be having a big show that you want people in Melbourne to sus and have like the ‘Mall’s Balls’ – they’ll be like ‘what’s this?’ he laughs.

Stentiford reminisces on his true inspiration and influences such as children’s books and art journals that he read as young lad.

“Now I look at this stuff and l can see where it all comes from.” He continues, “As you get on, you start to kind of realise or think about more critically what you want to communicate and what it does communicate already, and like what’s the message in that, and I think once you sort of work that out, your voice becomes a lot clearer.”

Stentiford talks with pride about his latest design work for West Thebarton Brothel Party and in particular the ‘Red Or White’ single cover. “Our relationship came pretty naturally… they came to me, which was sick you know,” he says with a grin. “I love to see a local band doing well, it’s a sick feeling and then it ties back into ‘1LOVEADL’ with that sense of pride and community.”

Stentiford is currently hard at work in the studio on his next show for SALA Festival at Carclew and the focus is on another passion of his: youth culture. “This show is called Millennial in Residence because Chelsea and I are both under 26 and the theme is sort of based around like a reflection on Gen Y culture, which we’re a part of.” Stenitford makes it clear that this won’t be a third party outlook, which you might get in traditional media. “It’s not like Fairfax giving their synopsis on what it is… So it’s just a chance for us to express that idea ourselves and then also it’s sort of like a low key promotion for Carclew, because their whole thing is a youth based art initiative, so you know if the show is about youth it all ties in nicely.” www.henrystentiford.com @1loveadl

e Cudbertson

When it comes to starting a career in the music industry, minds don’t exactly jump to Adelaide. I know mine initially didn’t, despite the city’s sparkly UNESCO City of Music label. It’s a common occurrence that people see the only option is to pack your things and head east. However Adelaide’s boss-ass-bish-bandmanager Kate Cudbertson disagrees with this mentality.

“I think it can always be a bit of a shame to see people benefit from the support that we’ve got here, and then take those skills away to benefit another city when they move, thinking it’s a necessity. I would like to see people grow here.”

From humble beginnings, and like so many before her, Kate’s foot in the door of the music business began with a collection of work experience and internship positions in Australia and overseas spanning some years. After kicking things off with public relations work in London and moving back to Australia to continue building experience and contacts, artist management grew to be the natural fit for Kate.

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The roles in-between included tour management for the likes of Crooked Colours, and on site roles such as artist services on some of Australia’s leading music festivals. Including very many beers, I can only assume.

Bringing it forward to last year when interning with Adelaide’s 5/4 Entertainment (Tkay Maidza, City Calm Down & LK McKay), Kate decided to take on local act Pines as a “just for fun, trial based agreement”. However, this quickly led to being approached by Auguste, Melbourne-based trio Stonefox and more recently SKIES being added to her roster.

“In less than a year I went from one band with two people, to four bands and eleven people… I have a lot of time for myself.” She tells me with a sarcastic grin.

So, four acts under her belt as a solo manager. What about all those difficulties surrounding Adelaide’s music scene? Yeah, nah. While based in Adelaide she earned the Robert Stigwood Fellowship Program for industry fellows, receiving priceless mentoring from the likes of Stuart McQueen and Dan Crannitch, as well as a wealth of other support.

“It’s actually been a really great city to get a leg up, and I don’t think I would have had that anywhere else. Yes the scene is a lot smaller, but that’s the benefit. There’s support from people like Arts SA and Music SA that’s like nowhere else in the world. There is no way I would be where I am at the moment if I had started anywhere else.”

Let’s not get too pro-Adelaide here though. Taking opportunities anywhere is a good move, and as Kate explains it’s an important part of growth in the business, especially when other cities have larger volumes of people and bigger companies to get your phalanges on. You can even get these opportunities without three Bachelor degrees and one million years of experience. In fact, Kate did it without any degree, but still recognises the benefits for other aspects of the industry versus on-thejob training.

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“For roles within PR and marketing, yeah it’s going to be beneficial, but if you know you want to manage and you’re willing to put in the hard yards, I don’t think you really need it.”

repeating them. Use the supportive network within Adelaide’s music scene. Last but not least, be aware you will have to work for little or no money to build that experience.

Embrace the internship.

No matter where you decide to base yourself there are key aspects to band management, and the music business as a whole, that will boost your chances of building a career.

Stepping up to the plate and asking can be half the battle, but be sure to be assertive and direct about what you want to get out of any roles you can muster up. You will 100% make mistakes and you are, in fact, encouraged by Kate to do so – but avoid

“Multiple internships are a vital step into the music industry… if you don’t need them then seriously well fucking done. Everyone needs to intern, I think. Reach out to the people already doing what you’re interested in. Ask questions.” Go get ‘em, tigers. @kate_cud

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hillips

I recently had the opportunity to catch up with Nick Phillips who, if you ask what he does will reply with ‘graphics’. A deceptively simple answer for a career and work that spans decades, countries and some very prominent art and design work, from music and video games to corporate identities.

You’ve just recently moved to Adelaide from Sheffield to live, how has that change been?

Has it had much of an effect on your work?

It has been a big physical move but the effect on my work has been minimal, having relied on a good internet connection in the UK, it’s more or less the same in Australia although I have to factor in the time difference. Being ahead of Europe is a bonus. I can work while Europe sleeps and they wake up to new designs.

So you’re maintaining a lot of European clients? I guess your work has been pretty international for a long time anyway?

It’s a wonder of the modern age. I am still working with clients I have been working with for a number of years, but also lost a few who were scared of the distance.

With that sort of increased connectivity, how do you see the role of a local scene - art or music or whatever it may be? It seems like your start was in a pretty tight music scene?

I think the role of a local strong art scene is integral for progression in all art forms.

I was in numerous bands from my teens creating music and art, and it’s a time where there are no constraints and you are free to experiment and do what the fuck you like.

When I started The Designers Republic in Sheffield it was during a lull after the split of The World of Twist. It seemed a logical step moving from creating music to creating art for other musicians, and there were a lot of musicians in Sheffield in 1986.

What was that process of starting The Designers Republic like? Had you studied design?

I was studying fine art sculpture in Sheffield while I was in World of Twist and had been creating posters and stage sets for the band.

Myself and a friend, Ian Anderson, started The Designers Republic from his living room, we got a job to create the sleeves for a band called Picnic at the Whitehouse on Warner Records [I think]. Our big break was when friends in Sheffield who were in a band called Chakk signed to MCA and we designed their album 10 Days in an Elevator, which was a gatefold sleeve with a pull out poster.

I made some wood blocks to print the design on my kitchen floor - no studio in the early days!

The money we got from this work bought us a Photo Mechanical Transfer machine so we could create our own artwork.

All pre computers so everything was hand drawn, photographed or photocopied.

That’s awesome, and the rest is history - what were some of your favourite projects you worked on through TDR? The work we did for Age of Chance, Pop Will Eat Itself, The Orb, Pulp and our own promotional material.

What happened when you left TDR? After six years non-stop I think I got burnt out and just wasn’t enjoying it anymore, so I went travelling for a year and moved into the games industry. I left TDR in 1991.

Oh yeah, what sort of stuff were you working on then? That must have been an exciting time to be around that sort of stuff...

I

initially started with graphic design work for game packaging etc., but the opportunity to work with 3D software, 3DS Max, Softimage and Maya so my work shifted into modelling in game assets, characters and environments.

I know my degree in sculpting would come in handy one day.

Haha, what was some of your favourite things you got to work on in that area? Anything we might have played?

My favourite was Wip3out, I created the tracks Manner Top and Mega Mall & Wip3out Special Edition where we recreated our favourite tracks from Wipeout, Wipeout 2097 plus all Wip3out tracks all in hi-resolution, this was probably Sony’s last release on PlayStation 1. We won a Bafta for Wip3out too, which wasn’t too shabby.

Nice one, are you involved with games at all now?

Some of the old Wipeout team are creating a new hover racing game as Sony is not continuing with the Wipeout series. They can’t call it Wipeout, but that is what it essentially is.

photo: Ryan Cantwell

The new game is called Formula Fusion and TDR are on board creating the graphics and I am designing a couple of tracks, should be out later this year.

What do you think is the importance of formal education for young/aspiring designers?

It must be great to have the time to learn the tools of the trade. I never studied graphics so all my learning was on the job. Learning how to solve problems and implement your ideas under real work deadlines makes you pickup stuff very quickly, I’m not sure you get that pressure in college education. I suppose it comes down to having the ideas in the end.

Who are some of your favourite visual artists/ designers right now?

Patrick Janssen Ong at Indoro Graphic Design, Mike Plaice at Build, Oscar Raby, Red Paper Heart, Nick Bax at Human, Mick Marston at Dust, TDR of course. I’m sure the list could go on and on.

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What about musicians you’re into? Does music still play a big part in your work?

I like so many musicians old and new listening to Aphex Twin, Syro, John Grant, Grey Tickles Black Pressure, Bowie Black Star, all on vinyl of course!

Still loving my funk and soul, Curtis Mayfield, Jack McDuff, Issac Hayes etc.

I am still designing sleeves, I have just

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done Richard Hawley’s 8th album Hollow Meadows and am currently working on Ming City Rockers new album and the Baker Suite new album.

What is your advice that you give to people starting out?

Design or die. @losnikos

ADELAIDE LAKSA

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wade polaroid

We love the satisfaction of printing magazines for your reading pleasure and creating sweet videos with bands that you probably froth over. But, as our mates, we need your help.

As you know, printing isn’t cheap... We here at Yewth are striving to offer the best content possible and are in need of your spare change so we can continue to print free magazines, produce videos, interviews, reviews and throw parties for you.

We believe in keeping print culture alive, but frankly it’s expensive to deliver those tasty physical pages to the streets. So we’ve created a Patreon page through the world’s largest crowdfunding site for artists and creators.

Pledge with us and the money will directly fuel the printing of content you can pick up and hug. If we are lucky enough to exceed this high cost of printing, any extra dough will go to the time our contributors spend filming, writing about, and promoting fellow hard-working local creatives.

We’re not asking for an arm and a leg - it can be as little as $1 a month, and in exchange we have some cheeky rewards to share with you along the way.

If you want to find out more, head to www.patreon.com/ yewthmag where your donation will help us support Adelaide music, art and culture. And if you have any ideas feel free to send us a Facebook message or email.

photo by Dylan Minchenberg

I shot this cover using a muslin chroma key background and a jar of green body paint, initially envisaging a statuesque bust shot of a woman’s glowing green face, kind of like a clumsy, futuristic shell of a Venus bust dissolving into the background.

My studio was dark and icy and the sun was real good, so did the shoot outside- with both sunlight and flashlight, helping to make the blue sky look like a tacky backdrop. My model was shy, so I replaced her face with a glossy 6 x 4 scab, and wrapped her in faux fur, these both quickly gave her authority in front of the camera.

She is both unearthly- a reptilian alien queen, gazing down upon us with her open, hot-red cut - and she is very much earth-bound- a paint-rolled body acting as a lumpy, cracking green-screen ready to be blocked out and replaced by something more exciting.

emmalinezanelli.com @emmalinezanelli

BIG THANKS:

If you wish to join these legends as a supporter of Yewth, head to www.patreon.com/yewthmag 75

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Gig Guide

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July 15, 17, 18, 19, 20- The Gov: So You Think You Can Sing Along?

For every secret car/shower/toilet singer.

July 16- Jive: Vision Festival featuring Horror My Friend, Maids (NSW) and more.

Jonty Czuchwicki presents a smattering of local and interstate slacker rock, manic heaviness and cathartic grunge to create a night worthy of combating the winter gloom.

July 17, 24, 31- Adelaide Zoo: Shopfront Presents Adelaide Zoo Matinee Series Shopfront brings music to all sorts of unusal spaces - and this time its the zoo.

July 18, 19, 20- The Jade: Winter Jams A school holiday music workshop encouraging kids to get out of their winter jammies and into some winter jams with a three-day induction to music production.

Wednesday, July 20- Cinema Place: Electro Live Fresh 92.7, Futuresounds and Yewth present Electro Live, where cinema place transforms into a public lounge room and some of Adelaide’s best electronic singer-songwriters perform, along with exclusive behind the scene video interviews to be premiered on the night.

Friday July 22- The German Club: Hot In The City Adelaide’s hottest cover bands will be warming up the city with nine themed nights.

Saturday, July 23- Crown & Anchor: Wintersteady Curated by Azz Shaw and Adam Vanderwerf at Going Steady, Wintersteady is a celebration of pure psych rock.

Saturday, July 23- The Ed Castle: Golden Era Presents The Warm Up Session Australian Hip Hop royalty hit the stage, featuring Funkoars DJ, Trials.

CURATED PROJECTS:

find out more at wwww.umbrellaadelaide.com.au

SPECIAL PROJECTS: The Tram Sessions Guitars In Bars Coming to a tram near you...

Adelaide Guitar Festival bringing more guitars to more Railway Tracks bars, just for you...

Music in the station...

Rundle Sounds Musical hide-and-seek...

Friday July 29- The Jade: AMC Sessions & SA Music Hall Of Fame A celebration of industry heroes from the past, present and future.

Saturday, July 30- Hyde Street: Root Down Root Down celebrates Adelaide’s hip hop roots both past and present.

Featuring Sampa The Great, Oisima, Abbey Howlett.

Friday August 5- Z Ward: Hypothermia A Scandinavian metal tribute. Enough said.

Saturday August 6- Nexus Arts Centre: Globo Musica Bringing the world to Adelaide - Persian, Chinese and European music, all in one place.

Saturday August 6- Ancient World: Tokyo Attack Tigers and the No Love Anthropomorphic Blues Three six-foot tigers playing rockabilly-punk music. Be there.

Saturday August 6- ASO Grainger Studio: Page, Sheens & McHenry Adelaide jazz composer and performer Ross McHenry will present a recital of a very different nature.

Saturday August 6- Wyatt Street UPark: Pop Punk Party Time Relive the gritty days of ‘90s warehouse parties with an exclusive, all-ages event showcasing the best local emerging pop-punk bands and DJs .

@actualmontaigne / #yewthpresents / 22.4.16 Polaroid by @wadewhitington

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by Henry Stentiford @1loveadl