Disorder Magazine Issue 3

Transcription

George The Poet
VOTE
REVOLT
Hype
Young
Guns
Like
Clockwork
Nations
Don’t Vote For Him
Young
Guns
Katherine
Hamnett
Street Style
Kieran
Alleyne
9
17
20
27
29
3
7
9
19
Lion Babe
Greasy
Slicks
Wolf Alice
Benny Page
Alexander
Mc Queen
Futurists
Papa Roach
Streetwear Revolt
33
37
40
43
23
31
37
39
In Bed With
Gallows
Ghost
George The Poet
Oh You
Pretty Things
Rival Sons
From The Pit
Nothing More
45
49
51
57
47
49
55
disordermagazine.com 6
groups of guys and girls. There have been some truly
great moments that wouldn’t have been possible without
an amazing team of dedicated rockers, groovers and
fashionistas, and I am glad to be part of this team! With the
talent of these guys we will be smashing out many more new
issues so hopefully you’ll be there with us the whole way.
I’ve always loved music and have been diving in and out of
different genres for many years now, this has been a great
opportunity for me to delve even deeper into that. I think
you’ll like what you see and hear (Go online to see & hear
our exclusive sessions with some of the amazing bands
we’ve featured — disordermagazine.com) especially seeing
as we have just revamped our website and Facebook; there
is more content than ever available at the touch of a button
with tons of downloadable content from artists coming your
way, including exclusive tracks, photography and videos.
In House Ad
So a little bit more about music! It has been really hot for
music in the past few months, with some amazing emerging
artists from all over the world such as: Lion Babe, the happy
summer vibe duo, and socio-political metallers, Nothing
More – both courtesy of the brilliant USA! Then we have
the guitar driven, self-confessed ‘Cheesy’, pop-rock band,
Nations (we don’t think you’re cheesy!), the soulful and
emotive voice of R’n’B young gun, Rebecca James, drum
and bass addict, Benny Page, and grungy rockers, Wolf
Alice, all hailing from the UK!
Hey guys!
So it’s been a busy few months here at Disorder magazine; there’s been
loads to see and even more to do, there have been some brilliant-crazy
days with amazing artists such as Wolf Alice, Nothing More, Nations, Papa
Roach and Lion Babe to name a few! We’ve been tearing up the town
in true Disorder style and can’t wait to show you what we’ve been up to;
luckily it’s here now and in a page’s turn you’ll be able to see for yourselves.
We’ve been shooting, prepping and interviewing our way through a
glorious collection of artists, who are all absolutely amazing and genuine
EDITOR
Bobby Latter
So you may have noticed that, yep, that’s another doublesided cover! We’ve got the enigmatic and lyrically poised
George the Poet headlining this bad boy, with Jonny
Hawkins of Nothing More on the flip-side –
a unique and distinguishable pair not to be fucked with!
So if you haven’t yet, get online, like our Facebook, check
out our website and get involved! Massive thanks to the
Disorder team and everyone that made this issue happen.
Love, Bobby x
IN BED WITH EDITOR
Sufiyeh Hadian
COMMERCIAL DIRECTOR
Tony Webb
STREET STYLE EDITOR
Paul Bennett
SPORTS EDITOR
Mohamed Deen
FASHION INTERNS
Jade Ryals
Jillian E Phillips
Lydia George
Miranda Lopez
MUSIC EDITOR
Toby McCarron
PHOTOGRAPHY EDITOR
Joe Browne
[email protected]
SUB-EDITOR
Kamran Tanner
ASSISTANT EDITOR
Reyhaan Day
ART DIRECTOR
Benji Roebuck
[email protected]
[email protected]
ASSISTANT ART DIRECTOR
James May
CONTRIBUTING
MUSIC EDITOR
William Ralston
[email protected]
FASHION DIRECTOR
Rebekah Roy
[email protected]
HEAD OF DISORDER TV
Andrew Jenner
[email protected]
FASHION ASSISTANT
Hannah Crowder
HYPE EDITOR
Viktoria Erlacher
DISORDER TV ASSISTANT
Conor Bannon
PRESENTERS
Jessica Mpairwe
Georgi Simpson
FINANCE DIRECTOR
Mark Pauls
THANK YOU TO
Box Studios, Shoreditch; Phil & Sacha @ The
Wellington Club, Knightsbridge;
The Soho Hotel, Soho; Hoxton Bar & Kitchen,
Hoxton; The Old Blue Last, Shoreditch; The
Roundhouse, Camden; The Black Heart,
Camden; The Boogaloo, Harringay.
Kas Mercer @ Mercenary PR; Beth Heath
Netherton @ Impressive PR; Becky Bayles @
Cornerstone Agency/Converse; Ayinde ‘Index’
Gardiner @ Soundbox; Mikey Abegunde @
Edge Publicity; Chris Fraser @ Brace Yourself
PR; Michael Eastwood
@ Mastermind Promotion
PUBLISHER
Milestone Group PLC
WEBSITE
disordermagazine.com
PRINTERS
BDP Media
TWITTER
@DisorderMag
DESIGNED AT
Relative
INSTAGRAM
@DisorderMag
DISTRIBUTORS
Reach From Citipost
FACEBOOK
@DisorderMagazineUK
milestonegroup.co.uk
bdpmedia.co.uk
therelative.co.uk
reach-citipost.com
DISCLAIMER
Views expressed within the pages of Disorder UK magazine are
those of the contributors and not necessarily those shared by
the editors or publisher. All content is believed to be correct at
the time of printing. Unauthorised reproduction of any editorial
or images is strictly prohibited.
© Disorder Magazine UK 2015
7 DISORDER MAGAZINE
CLAIRE HARRISON
CONOR BANNON
DANIEL QUESADA
LAIS MARTINS WARING
MARIEKE MACKLON
MAXINE GROUCUTT
Claire Harrison is one of the beauty
industries leading cosmetics, hair,
skincare and beauty photographers.
Claire starting her artistic training in
fine art she constantly draws on skills
from this background in her striking
compositions and eye-catching use of
colour and lighting. She works across
both advertising and editorial, bringing her
creative flair to all of her shoots, resulting
in stunning work and ecstatic clients;
Claire is constantly in demand from the
worlds top brands and magazine’s and
her list of clients include L’Oreal, Garnier,
Nivea, Herbal Essences, and Rimmel.
“Yo. I’m not usually good at this kind
of thing, so here I go: I’m a big movie,
animation and video game buff, I enjoy
reviewing, editing and banter and
yes, my beard is mightier than Chuck
Norris’s beard”
Born and bred in Spain, living in London
for the last 11 years. I spend my days with
my family, dog walking and taking photos
and when I don’t take photos… I cook
paella for my friends.
Lais Martins Waring has been going
to gigs since the tender age of 13, and
her passion for rock music has led to
her writing for various publications (The
Telegraph, AOL, Punktastic, Big Cheese
and more). She has interviewed greats
like Motley Crue, Slash and Foo Fighters,
alongside reviewing countless live shows
and DJing various clubnights around the UK
A 21 year old Brighton based
photographer, who has a growing
collection of art prints and analog
cameras. Enjoys a good tumbler of
whiskey. Loves to travel, hike and venture
about. Has a huge love for big cities such
San Francisco and London. Dreams of
road-tripping through the states and
Canada. Enjoys dancing on 80’s tunes
and underground techno music.
An award winning visual marketing
director within the luxury retail industry,
I am an experienced designer of store
interiors, POS and window campaigns
as well as a notable stylist and visual
merchandiser. Currently working for
Prada as the Visual Director of Northern
Europe. Previously at Liberty of London
as the Head of Visual Identity for 10
years and I was the designer of store
interiors.
JOSEPH BROWNE
MOHAMED HABIB DEEN
KAMRAN TANNER
REYHAAN DAY
VIKTORIA ERLACHER
SUFIYEH HADIAN
Down and out in London mainly. Fresh
shoes, neon lights, late mornings, Guinness
and Boris bikes. Still trying to take off
skinny jeans and look cool about it.
I am a writer, blogger, and football
enthusiast. I have a keen interest in
current affairs, history and politics. I love
reading, travelling, movies, and living in
harmony with nature. I believe in equality
and regard every individual as a member
of an enormous human family.
Looks like a child, rants like a pensioner.
Dreams of retiring to a Scandinavian
cabin to chop wood and read by
candlelight. Ambitionz az a writah.
Writer from South East London,
discovering and covering the
underground music scene.
Austrian born and raised, sadly without
the charming Arnold Schwarzenegger
like accent though. Also a cheerful vegan,
obsessed with Gwen Stefani, pandas,
categories and on a never ending journey
of reinventing herself to fight boredom.
Unprejudiced of your beliefs, judgemental
of your shoes. Menswear enthusiast,
loves to write listening to 80’s power
ballads. Addicted to sugar. SW London
born, now resides in Islington. Ethnically
confusing to most people.
9 DISORDER MAGAZINE
IUTER SS15: HUMAN ENGINEERING
{One to buy now}
Fresh from the streets of Italy, IUTER have just come out with their SS15 collection
bursting with vibrant reds, hints of orange and grey and black. Their overall theme for this
collection is ‘Human Engineering’ so get ready for some epic patterns inspired by clock
works, motherboards and other delicate mechanisms. The classic army camouflage
was yesterday, IUTER reinvent the pattern with a Minecraft inspired makeover ensuring
you stand out rather than blend in. If you are, like me, a big fan of the book Things
Come Apart, you will want to get your hands on the ‘Exploited’ design which will fix
any OCD craving with it’s precise arrangement of nuts and bolts and other wonderful
things. Still feeling bored and uninspired? Then stay in touch with your inner child and
get your hands on the ‘Construct’ shirt featuring wonderful bright yellow excavators.
originalattire.com
11 DISORDER MAGAZINE
SNEAKER TALK
I’m your classic Nike Roshe Run and New Balance 620 girl –
what does that say about me in the trainer world? I play it safe
and rely on my kicks to get me through rush-hour journeys,
coffee runs and night outs in the typical unpredictable
London weather. My trusty trainers are heavy duty, they aren’t
strangers to getting dirty and certainly aren’t as crisp looking
as they were when first taken out of their boxes a few months
back.
But don’t underestimate your trainers, they may be your
bae for their high comfort levels and boost your coolness,
which are the the very 2 reasons that make us take them
for granted after a while, yet there is also a huge following
dedicated to preserving the endangered and rare species
- aka collectables. These will most likely never have to touch
the floor yet alone put up with everything that ours have to go
through on a daily basis.
When thinking of sneakers the first brands that come into your
mind are probably very similar to the ones I’m wearing but if
you venture out of your comfort zone you will see what else
has been happening outside this bubble. A good example
being the Adidas Superstar relaunch. The classic Superstar
seems to have been around for a while but can you remember
when they were huge the last time? Back then my cool older
cousin was rocking them with a stonewashed pair of bootcut jeans and Billabong T-shirts – effortless, urban and so
‘00. They have now just released a new collection giving
the popular Superstar a makeover. Got a favourite colour?
Chances are they’ll have a pair in various shades of it – 50
to be precise! Indulge in their vast colour palette and treat
yourself to a couple without regrets, as they are practically
pieces of art! They have been created in collaboration
with Pharrell Williams who described this collection as “a
celebration of equality through diversity”. Amen!
Has all that trainer talk made you get a craving to get into the
sneaker culture? Then get inspired: a brand new documentary
just launched in the Spotlight section at the SXSW festival,
it’s dedicated to the huge culture behind the trusty old trainer.
Sneakerheadz is directed by David T. Friendly (Little Miss
Sunshine) and Mick Partridge (Seven Days in Utopia), they
have been all over the place from New York to LA and London
to Tokyo. They have also met with various collectors to portray
a real detailed picture about what is happening in this world
and how serious things can get! From queuing in freezing
temperatures to obsessing over eBay auctions, these guys
show real determination when it comes to growing their
collections.
Healthy obsessions or plain hoarding – judge for yourself! It’s
planned to be released worldwide this autumn in theatres, as
well as on online video streaming platforms.
ADAM CAMPBELL
Adam Campbell is a Brighton based Illustrator going by
the name Beardless. He creates work by hand, using pens,
pencils, ink and paint. As he says on his website, ‘Sometimes
I draw, sometimes I paint, and sometimes it isn’t awful.’ His
name comes from his frustration in being unable to grow a
beard, and after graduating from UCA in Illustration a number
of years ago, he has finally started to forge his career.
Adam derives pleasure from the act of drawing. He enjoys the
process of mark making and the journey created by putting
pen to paper, trying to keep a balance between loose playful
lines and shapes, and more intense, focused and controlled
detail. The work is more often than not a reflection of himself,
taking inspiration from his love of film, David Attenborough,
Lego, dinosaurs, skulls and turtles. His focus is on his line
making, dot work and cross hatching, leaving the subject to
come from a natural source of childhood inspirations and
nostalgia. It is almost an attack on over-meaningfulness that
takes up much of the art world; if he wants to draw a dinosaur,
then he will. Why not.
LOCAL HEROES
MIRA MIKATI
Not feeling the saving money thing at the moment? Don’t worry, for a more affordable
option which is still packed with edgy humour and happy pastel colours, check out
Local Heroes and get your cheeky-slogan fix to be “cute as fuck” – which is, btw, also
available as a sticker. Originally from Poland, their brand has recently been getting a
lot of attention when big names such as Rihanna, Rita Ora and Cara Delevingne were
spotted wearing the iconic slogan T-shirts. Local Heroes are big on their slogans and
cater for all moods from “Drama Queen“ to your friendly pastel coloured “Fuck Off“.
They also have your back when it comes to covering up. Their limited edition Neoprene
Moto jacket with pastel coloured blue clouds is a hot buy! It will not only keep you
warm but also keep your spirits up until the warm summer months have finally arrived.
If you have kept an eye on London and Paris fashion week street style you will have
without a doubt seen some of MM’s highly recognisable designs. She has partnered up
with comic artist Dar-cel (@dourdarcel) to achieve this fun comic/emoji inspired look
for her AW15 collection.
{One to buy now}
localheroesstore.com
{One to save up for}
But let’s not get ahead of ourselves and get excited for SS15 first! Originally from
Beirut, Mikati has spent her last few summers in California and the locals’ easy going,
unpretentious attitude inspired her Spring 15 capsule collection for the French fashion
house Ç x Façonnable. About what else has inspired this cool and effortless look she
said that, ‘’Venice Beach, surf culture, the shiny sun, and a healthy lifestyle are building
the guiding thread of this collection’. cfaconnable.com
TECHNOLOGY:
THE TOP 5 THINGS
TO SPEND YOUR
STUDENT LOAN ON
Words: Adrien Austin, Viktoria Erlacher
XM42
JIVR | BIKE
AMAZON DASH
Picture the situation, you wake up 2pm
Tuesday afternoon when you should
have been in a lecture at 10. You have
a dimension-bending hangover and the
taste of tequila, beer and regret in your
mouth. You quickly need to shovel some
grease down before you chunder all over
the bed sheets and actually going through
the process of cooking bacon is far too
much hard work before you need to leg
it out the door and get to wherever you
need to be. So, here comes the XM42
‘The world’s first commercially available
handheld flamethrower.‘ Nuff said.
When you are finally sick of public
transport and decide to brave riding a
bike to work, get a look-in on the JIVR
‘JIVR | Bike is the one-of-a-kind, hasslefree, urban electric bike. JIVR | Bike
offers the benefits of cycling without the
lifestyle compromises that come with
cycling. No more sweating or mud and
grease marks on your clothes. Ride in
style!’ - Their website. Whether you will
look stylish or not is another thing, and
some other car is just as likely to cover you
in shitty water as going through a puddle
but right now this crowdfunded bike has
raised 88k of its 70k target. Not bad.
It's easy to look back at retro games with
rose tinted glasses. Reciting all the hours
you spent saving the princess when
you should have being doing homework
sounds great, but in reality retro games
normally play and look horrific by today's
standards. However everyone knows
Mario always looked simplistic at best,
so if you hype it up and let yourself down
you know who you have to blame. In other
words, some purists will cry but Hyperkin
is the best way to fill your classic game
boy needs. New fads: Gotta catch 'em all.
HYPERKIN
GHOST DRONE
Whether you think of online shopping as time efficient or plain
lazy, Amazon have just announced a new gadget that makes
it even easier, especially for everyone who is not a fan of long
shopping lists. Stick these little, err, ‘things’ all over your stuff
and with one press of the button, another will be ordered and
sent to you. One can wonder if a chain of these were stuck
together they would self-order more Dash’s and spark the end
of the world. Who knows.
Hearing so much on the news about the evils of drones I
have finally decided to buy one, and my choice will be the
Ghost Drone. Branded as the easiest drone to fly it will make
spying on the neighbours even for a cack handed mug like
me possible. I’m hoping that after a few minutes practice I’ll
be good enough to fly it to the pub with a tenner, and guide
it back with a pint and my change. It’s also a lot easier to
maintain than a normal pet too, doesn’t bark like the dog and
doesn’t sit there glaring at me like the cat. What’s the word
for developing love for an object?
WORDS: BOBBY LATTER
PHOTOGRAPHY: DEE BRYAN
STYLING: LARA GRAYSON
D: What’s your name?
RJ: Rebecca James.
D: Where do you come from?
RJ: I come from a small village in South
Wales.
D: What style of music do you describe
yourself as?
RJ: Urban/Pop.
D: When and why did you start
performing?
RJ: I started performing at the age of 6.
I was doing theatre productions such
as Annie, Bugsy Malone; I was always
singing when I was really young so my
mum one day asked me if I wanted to go
for an audition and there was no thinking
about it, I just did it! Haha.
D: Which instruments do you play?
RJ: I play piano and guitar is my second
instrument.
D: Describe your first instrument, why did
you pick it up?
RJ: Again, I was having a lot of piano
lessons from the age of 6, doing grades,
my parents just asked if I wanted to do
it and thought I’d give it a go, ended up
falling in love with it and never gave up
since.
D: How did you progress to other
instruments?
RJ: It was when my younger brother
started playing the guitar and he really
inspired me to start learning, I just
thought it was a cool instrument to be
able to play so why not.
D: Is your family musical?
RJ: Uh, my dad actually has a beautiful
voice, and apparently my great
grandfather was a very talented pianist
so I may have got an eighth of his talent
passed down. Haha.
D: Describe your family members musical
interests and how they inspired you?
RJ: Growing up I listened to my dad
singing around the house, his favourites
were Luther Vandross and Stevie
Wonder. My dad’s singing inspired me
since I was little so it definitely stemmed
from that.
D: Who are you listening to a lot of right
now?
RJ: I’m listening to lots of different
people actually, more so: Jhene Aiko,
Taylor Swift, Drake, Old school Jay Z and
Billie Holiday.
I’ve been listening to a lot wow.
D: Which famous musicians have you
learned from?
RJ: Elton John was primarily my
inspiration for songwriting; I bought his
piano book and ended up just reading all
of the lyrics and thinking, “I’m sure I can
do this, maybe not as good, but I think
I could write a song” and that’s when
I wrote my first song. But Alicia Keys,
Christina and Mariah are just a few that
I have learned from.
D: Were you influenced by old records &
tapes? Which ones?
RJ: I wouldn’t say old records as much
as I’m only 19 so I didn’t grow up
listening to them or anything. I think my
first CD I bought was Girls Aloud and I
don’t think I was really influenced at all by
that unfortunately.
D: Who are your favourite musicians/
groups?
RJ: Ahh, John Legend, Lady Gaga. To
be honest I’m surrounded by incredible
musicians everyday of my life. I’m very
fortunate, I can be biased and say they’re
my favourite right?
D: How do you handle mistakes during a
performance?
RJ: Carry on. Just continue the best I
can. Most mistakes I’ve made no one else
has noticed apart from a couple people
in the team who spend almost everyday
with me and know my songs in and out.
I always ask for constructive criticism
before any performance, but best thing to
do is carry on.
D: What party would you choose and why?
RJ: I’m keeping that answer to myself at the
moment
D: What is the biggest mistake you’ve
ever made on stage?
RJ: Well I haven’t made a huge one but
it’s usually something like singing the
second line as the first. Just little things
but nothing so bad that the show can’t
go on.
D: Do you think it would make an impact if
more people were to vote?
RJ: Yes, it’s important; the more people voting
means that more people are awake to it and
taking an interest into how things are ran.
D: Do you get nervous before a
performance?
RJ: Yes. For various reasons. I like
to have nerves before a performance
though, mixed with excitement. I think
if you don’t have nerves then there’s
something just not right?
D: What advice would you give to
beginners who are nervous?
RJ: Not to think about it too much, the
first few shows I did (as a singer) I would
do this thing whilst waiting backstage,
go through the lyrics and the more I’d
think about it I would start forgetting the
lyrics. So, as long as you’re prepared
you haven’t got anything to worry about.
You’re the one on the stage performing –
the audience are going to respect that.
D: What makes a good session for you?
RJ: My favourite studio sessions are
when you’re working with someone/
people who you’ve got that good musical
chemistry with, you get each other… the
last couple of producers I’ve worked with
have been exactly that.
D: How often and for how long do you
practice?
RJ: Usually everyday. It depends… If it’s
band practice it’s for a good few hours,
same with vocal arrangements etc.
D: What do you think about voting?
RJ: I think voting can be good it gives
people the power. However, I can
understand why people wouldn’t vote as
so often there’s unfulfilled promises.
D: Do you think we should make it mandatory
for everyone of voting age to vote?
RJ: It should be, I feel like people complain
about the country a lot, there should be an
understanding of what the people want.
Although saying that, again, there has been
a lot of unfulfilled promises so sometimes
people don’t think their vote counts.
D: Do you pay much attention to politics?
RJ: I like to keep up to date by reading about
it but I wouldn’t say I know everything about
it. It’s good to have an understanding of it and
just educate yourself :)
D: Your new single On My Way is due out
May 25th, can you tell us what it's about?
RJ: It's about coming into your own whilst on
a journey, that hasn't always been easy for
me. But I was told to just enjoy the journey,
work hard and be kind. I feel like this song is
appropriate for that.
D: What inspired you to write this song?
RJ: So when I wrote On My Way I was kind
of reflecting on my past few years and how far
I've come. I'm definitely not there yet but I'm
on my way (hence the name) and I wanted it to
inspire others that, no matter what others tell
them, they can do it for themselves too.
D: Who produced this one?
RJ: Such an incredible talent, J.O, produced
it. He really pushed me to my best whilst
writing and recording this track and he really
inspired me. I'm very blessed to be able to
work with him.
D: How did you come to recording this track?
RJ: Well J.O actually played me the beat in
our first session together and straight away I
had this huge smile on my face and was
like, yeah, I like this one, the rest is history
I guess.
D: What plans do you have for the
future?
RJ: I may have something coming out real
soon. It's not another E.P but something
similar. That's all I'm saying for now.
D: What’s the best way to follow your
progress?
RJ: The best way to follow me on my
journey would be through any of my
social media sites mainly Twitter, they are:
Twitter: @rebeccajames_
Facebook: rebeccajamesmusic
Instagram: @rebeccajamesmusic
Website: rebeccajamesmusic.com
There’s no ‘I’ in Juce…
Throughout 2014 and into this year, there appears to be a wave
of female bands finding success – you just have to look towards
HAIM or Warpain, two bands comprised of three women, to see
an increase in the interest of female-only pop groups.
But these aren’t female acts like the ones that saturated the
pop charts in Britain and the US throughout the 80s and 90s,
discharging sheen, shimmer and glitter all over the mainstream.
These bands have integrity, a desire to create something lasting,
and also have talent and skill – each member playing their own
instrument and writing their own music. Juce are surely one of
these bands, and I can only see them, and bands like them,
infiltrating the mainstream more and more.
It’s clearly a problem for these bands – and perhaps indicative of
how little society has progressed on the gender front – that they
are forever judged on the fact that they are female. You can see
why the gender issue is prevalent in each review or profile piece.
It’s mainly because the number of female-only bands is dwarfed
by the sheer amount of groups stuffed with testosterone. Even
here, I’ve not been able to stop myself discussing Juce without
noting their womanliness. But despite these potential minefields,
it’s hard not to tie a band like Juce to their gender, because, like
any other band making it in the industry, they have created a
product based around it.
The fact that the band comprises of three, beautiful, diverse
women is a huge selling point. Not to mention the fact that the
members of Juce – Georgia, Chalin and Cherish – all proclaim
the phoenix-like resurgence of ‘girl power’, propagating their
own image and attitude. They are all over Instagram, Facebook
and Twitter (like the majority of bands looking to break in the
ONES TO WATCH: AMIEE DUNN
WORDS: REYHAAN DAY
PHOTOGRAPHY: BONNIE WALSH
year 2015), and they certainly look the part: all 90s fashions and
cartoon colours, hair styled out strikingly hip, with choreographed
dance moves and shiny, polished music videos.
It’s a relief, then, that Juce have released songs that are more
than just a vehicle for slick pop videos starring on trend, edgy-asknives women. Luckily, their songs solidify the band’s image: a
disco-groove dance party made for late nights and long, burning
summer days.
Already impressing on showcase stages such as SXSW, all
three band members come from London, and were all involved
in music before the band first started jamming, bonding over
the legendary Sly and The Family Stone. Forming in 2013, the
following two years saw Juce take on supporting slots with
arena-fillers Basement Jaxx, become band of choice for savvy
music bloggers and even left-leaning national newspapers like
The Guardian.
Juce’s debut EP, ‘Taste The Juce’, is packed with incessantly
danceable grooves, such as on their anthem of a first single,
‘Call You Out’, its jittering beat steadied by heartbeat bass and
echoed handclaps; soulful vocals, most impressively employed
on ‘6th Floor’; and immediately recognisable, but originally
treated pop melodies. Juce come across as equal parts TLC and
Erykah Badu, but with sharp-as-a-tack, fat, funky beats bumping
underneath. Imagine a ‘Black Sweat’-era Prince jamming with
recent success story Jungle.
When their debut record lands, Juce will be stratospheric; their
songs are spectacularly catchy, yet they retain integrity through
their talent. As well as this, they are a band that is intrinsically
linked to today’s pop climate, creating a thoroughly post-modern
music that takes from the present; hints at the past; and in the
process, forms something that looks to the future.
PHOTOGRAPHER Dani Riot
FASHION DIRECTOR Rebekah Roy
JUNIOR FASHION STYLIST Hannah Crowder
GROOMER Zana Moses using MAC & Label M
MODEL Carl King @AMCK MODELS
FASHION ASSISTANT Jade Ryals
ALL CLOTHES Amiee Dunn
SHOES from Swear
UMBRELLA from Ledbury Hotel
CANE from James Smith & Sons
HAT from ASOS
FROM THE CLASSROOM
TO THE BOARDROOM
WOMEN IN SCIENCE, TECHNOLOGY,
ENGINEERING AND MATHS:
NOMINATE. CELEBRATE. ELEVATE.
The 2015 WISE Awards celebrate the individuals
and organisations that are leading the way for
women in Science, Technology, Engineering and
Maths-related fields and careers. If you or a
colleague, your business, or someone you know
is working to inspire young women to pursue
their dreams in STEM, we encourage you to visit
us online to make your nominations:
wisecampaign.org.uk
You’ll find awards categories honoring role
models and established influencers, rising young
tech stars, organisations and corporate entities,
campaigns, innovators – and more, all sponsored
by leading companies.
WORDS:
JADE RYALS
PHOTOGRAPHY:
JENNIFER MCCORD
Beginnings hold multitudes – excitement
intermixed with nerves, pride allied with
impatience, the potentials of failure and of
success. This was the palpably charged
environment I walked into when I entered
the Blackheart: the start of the line for
Nations. As I stood at the back of the
venue waiting for a chance to speak with
the band, I watched the sound check with
a small smile plastered on my face; it was
impossible not to. The boys were balls
of energy, bouncing around on the small
stage, sporadically switching between
cheeky grins and dead serious stares.
It was their first opportunity to headline
their own show, it was the release date
of their new self-titled EP, and it was the
culmination of a hell of a lot of time and
effort to get to this point. “Oh lord; it’s
taken us what... a year... a year and a bit,”
Oli Ellis tells us. “We used to be a heavy
metal band. We wrote a whole EP, you
know, we planned coming out with loads
of shows and then we’re like... We’re not
going to do this anymore.” Hailing from
Croydon in the South of London, the four
guys – Ellis on vocals, CJ (Carl) Johnston
and Tom Pope on guitar, Mike Watson on
bass and Luke Keast on percussion – set
out to make a new sound, turning to what
they laughingly called, “synth-based” and
“cheesy” rock-pop. Regardless of their
joking, Nations’ sound is a lot smoother
than their heavy metal roots, with their
new EP showing a true understanding of
musicality yet punches of grit and grime
that steer it away from “cheesy.” The guitar
riffs and soaring tempos trailing through
songs like Give and Take, Ageing Signs,
and Collide show a heavier, high-energy
side of the band coupled with the throaty,
raw vocals by Ellis. They’re what get the
audience moving, with Collide possibly
being the carrying anthem for the entire
album: it’s the song I’ve been listening on
repeat since the show. The music comes
across as emotional and unprocessed, an
impressive feat considering what it took
for the band to get there.
The process to making this EP shows
the band’s dedication to creating a good
product, something that people like. They
chalk up the main writing contributions
to the Nations EP to guitarists Johnston,
Pope and Ellis. They form the “trifecta,”
wherein “we get together, Carl comes
up with an idea, and we just branch off
from there,” Ellis tells us. What they’ve
presented us with then is a new and
handwritten sound; it all lends itself to the
new image they’ve created as Nations.
As we chatted outside of the Blackheart
before their gig started, we joked around
about the writing for the EP and the amount
of liquor it took. “I know it sounds lame,”
Pope divulges, “but it’s [the process] less
getting drunk, more writing good tunes...
focused, eh, semi focused.” Speaking to
the band, I realised that their movement
from the heavy metal genre was not
merely a step out of a subculture and into
a more commercial style, but an attempt
to diversify their sound in order to touch
and inspire a larger audience. “We’re
trying to create something that everyone
will like, you know even my mom likes it!”
laughs Ellis, “We wanted something that
everyone can listen to.” Fundamentally
then, the band was looking to move into
a more commercially acceptable genre.
This isn’t your average pop music though;
it’s more of a reimagining of the typical
radio mixes within the pop genre. After
listening to the EP, you can see that they
haven’t left their heavy metal roots entirely
behind as they incorporate aspects of the
electronic and pop with the instrumental
features of a darker rock style.
The translation from one genre to another
was something that they didn’t take
lightly, as Pope acknowledged that there
was “obviously some trepidation, you
know, going from a heavy metal band
to... writing these types of songs. For
me anyway it’s been a bit hard to really
gauge a reaction.” In all honesty though,
they haven’t had to worry about a positive
reaction. As drummer Keast put it, “We’re
quite lucky to be headlining so soon really.
People have just responded so well; we
put out our single, did a few shows, put
“We’re trying to create
something that everyone
will like, you know even my
mom likes it! We wanted
something that everyone
can listen to.”
out a couple videos.” And here they are.
“Today’s day one; we’ve got the EP out.
Now we’ve got something to send people
and show people... It’s very exciting.
From here, we’ll book the shows and the
festivals,” Keast voiced, mirroring the rest
of the band’s exhilaration. Their show at
the Blackheart perfectly embodied this
attempt to further their reach as they
present audiences with an extremely
diverse set list with some song covers
that drummer Keast had never heard of,
“because I’m old.” The comment seems
off hand, but it really personifies how the
band performs on stage. They don’t take
themselves too seriously, but they take
the music very seriously. Plunging into
their first song Collide, the introduction to
their EP, you could feel the pure electricity
pouring off of the stage despite its small
size. As they plucked out their first chords,
the audience immediately started bobbing
along – drinks in the air, heels tapping the
worn wooden floor – and kept moving as
they dove through the rest of their EP. The
climax of the night came when they started
pulling out the covers: their rendition of
Zedd’s Clarity is one of the best ones out
there. Sweating and smiling, Ellis’s big
grin while belting out the lyrics spread as
the rest of the audience joined in. People
were fully dancing now, waving their hands
and phones in the air, innocently dropping
a bit of their drink on their neighbour’s
feet. Pope, Johnston, and guest bassist
Sam Christmas jammed on, even adding
in a bit of their roots with some heavy
head banging with Keast going mad on
the drums in the background. While their
EP sounds great, their use of covers
proved to be the greatest connection with
the audience as well as a great way to
showcase how they truly own their music.
The guys of Nations were excited for their
new beginnings; with that they made their
audience excited to be there with them,
drinking, dancing, and celebrating the
night away.
WORDS: KAMRAN TANNER
It’s around about this time in the political
calendar that my blood reaches boiling
point. I like to think of myself as laid back
and calm, like a placid ocean gently
bobbing ships along on their merry way.
But every so often, when my bullshit
senses begin to tingle, the waves ferment
into a raging tempest and I burst forth in a
veritable eruption of fury, flinging hapless
sailors into the heavens.
It’s during the run-in to an election, when
the political narrative in this country, ever
the stuff of fairy tale, starts to subsist on
the petty – character assassination, name
calling, contrived platitudinous slogans –
that I want to start pulling my hair out. If,
in their attempt to bowl over the public,
our political parties contrived to attach any
more spin to their bowling balls of tactical
subterfuge, they’d miss the gathered
skittles completely, fly over the gutter and
smash through the window into the
face of whichever constituent
happened to be passing by.
Which is about as subtle as
running up to someone in
the street pinning a badge
directly over the one already
plastered to their bleeding
forehead and screaming,
“NO, DON’T VOTE FOR
THAT PRICK – VOTE
FOR ME!”
Let’s face it the political
pandering in this country
swiftly becomes a
pissing contest when
an election looms. With
our
representatives
turning into knife juggling
madmen
committed
to a sickening circus
performance – terrifying and
weirdly entertaining all at once. Though if
you’ve ever had the displeasure of watching
Prime Minister’s Questions, you’ll know
that this is not something contained to preelection mayhem.
This is a lifestyle. A culture. Of pretence
and farce, of squabbling and bickering and
one-upmanship. Not to suggest that there
aren’t politicians who possess a genuine
desire to improve society, rather that the
soul-sucking, bureaucratic sandstorm of
British politics quickly crushes all utopian
dreams.
It’s not merely a fault with the system but
one with a culture that substantiates it –
a culture that rewards the egoism of its
adherents. It’s not a fault of the individual
but of the cultural ideology. Its sway is
deep-rooted. The actions of our politicians
are a microcosm of how our society
coexists as a whole. It’s ‘us vs. them’, ‘me
vs. the world’. “My party are better than
yours!” Why? “Because you’re a bloody
idiot with a large nose, that’s why!”
Like a child out after dark, any sincere
approach to tackling issues is lost in the
disingenuous murk of pseudo-politicising.
I often picture a raised platform or stage,
where below, a swathe of sweaty, suited
twats swing elbows into faces and knees
into crotches, their febrile arms tugging
down the trousers of forerunners as
they race to surpass them. Behold as
one fool, more simpering than the rest,
manages to deliver a swift, fatal kick to
the head of their fiercest opponent and
heave themselves into the spotlight.
Watch in bemusement as they brush their
shoulders down, stroll to the middle of
the stage and, brandishing a microphone
round their wrist like nunchakus, launch
into a hilarious opening gag about further
public sector cuts.
What sort of example do they set to the
rest of us? And how on earth can we
ever take them seriously after witnessing
their immature histrionics? It’s not a case
of everyone sharing the same beliefs,
getting along and dancing butt naked
round the maypole – but it would be nice
if, in their pursuit of absolute power, they
could attempt to work alongside each
other civilly.
Perhaps readopt a bit of that old British etiquette: ‘I say –
good job old sport’; ‘what a top chap’; ‘No hard feelings old
boy, you did your level best’ etc. I have heard it argued that
the coalition have performed amiably together, and I suppose,
in a dominatrix sort of way, they have. What’s that Mr Prime
Minister? You want me to bend over and shove my abolition of
tuition fees where?
Perhaps the most infuriating thing is how everybody’s to blame,
and nobody’s at fault. With both major parties consistently
refusing to accept culpability, forever linking failures back to
bygone days when their opposition were last in power, and the
keys to No. 10 are thrown around like a hot potato, we’re left in a
constant flux of stilted progression – It’s two steps sideways and
a hairsbreadth back. What the hell ever happened to diplomacy?
“In the studio, Pharrell [Williams] told us that our songs have
the weirdest structures ever,” says Jillian, one half of this R’n’B
experimental soul duo. Lucas, the other half, nods his head in
agreement, smiles, and then explains how working with the
eleven-time Grammy award winner has given him ‘a far greater
understanding of how to make music.’ It is a strikingly natural
and understated remark for a pair of artists who only produced
their first track together in late 2012 and whose back-catalogue
consists only of one single and a solitary EP. Over the course of
just 24 months, their minimal, jazzy beats have seen them work
with some of music’s leading names and quickly become one of
the industry’s most exciting young duos. With their debut album
scheduled for release some time in 2015, Disorder took the
opportunity to discuss their journey so far and plans for the future.
WORDS William Ralston PHOTOGRAPHER Claire Harrison
HAIR Ranelle Chapman using Aveda MAKEUP Claudia Savage using MAC
PHOTOGRAPHY ASSISTANTS Angela Dennis
Lion Babe are Lucas Goodman (26) and Jillian
Hervey (25), two friends originating from and
residing in New York’s Lower East Side. Hervey,
or ‘Jill’ as she is referred to by Goodman, is the
daughter of singer-songwriter Vanessa Williams
and once harboured ambitions of becoming a
professional dancer. “I have always been supermusical but it has always been through dance,”
she says. I don’t think I would have gone into
music if I hadn’t have met Lucas. It was really
only when I broke my wrist that I started to sing
at all!” She fronts the band with her charismatic
personality, gorgeous, wild hair and smooth,
silky lyrics while Goodman, a highly talented
multi-instrumentalist, arranges the ‘vibe and the
groove’ of each track. “I try to make beats that
will inspire Jill to write something great,” he says.
“We’re maybe on different sides of the creative
spectrum but we both take so much pleasure in
just creating stuff.”
Following a chance meeting at a college party, the
duo began working together when they started
hanging out together in New York City. “We didn’t
properly meet as people until we were in same
group of friends in Manhattan,” says Hervey.
The pair’s first collaboration was a dance piece
that Goodman scored for Hervey, soon followed
by the official formation of Lion Babe, the name
stemming from Lucas’ horoscope sign (Leo) and
Hervey’s mane-like golden locks. “[The dance
piece] was the first time we worked together
creatively,” says Hervey. “It was cool – then one
day we were walking together in the city and I told
him I could sing. And we just decided to give it a
go,” she says, laughing. And that was enough.
Things quickly changed for the pair following
the YouTube release of their highly infectious
and acclaimed debut single, Treat Me Like Fire
[December 2012]. “It was the first one [song] we
made and we were definitely really proud of it,”
says Hervey. “But we really didn’t think we’d get
this far on just one song.” It didn’t take long for
the record labels to come calling, the band signing
deals first with Outsider Music in London, and then
Interscope Records in the U.S. Lion Babe quickly
became a full-time project; Goodman finished
his internship with Truth and Soul Records and
Hervey left her dancing behind to commit all her
energies to the band. “This was a great moment,”
she says. It was our chance to make the jump and
focus completely on our music.”
Since then, the band have been keeping the world
waiting. Only in December 2014, a full two years
after their debut release, did the pair finally expand
on their musical catalogue with the release of their
widely acclaimed debut self-titled EP.
“[Following our first release] It was clear that
we needed to hone our skills,” explains Hervey.
“As amazing as it was that we had such a jump
start off one song, a lot of bands will have one
gone through a lot of independent development
time before they are signed – and we
needed to take some time to mature.”
Goodman, the quieter of the pair,
agrees, adding that it’s easy to
forget that they were signed
when they had only made one
song together. “We needed
to focus on the music, write
some more and practise our
craft,” he says.
Quizzed on how they are
adapting with the new-found
expectation that now surrounds
them, it becomes clear that both
Goodman and Hervey are enjoying
their time in the limelight. “It’s really
liberating,” says Goodman. “When I
make a beat now I know that it might
just turn into something. We want to
make more because we can do so much
more now.” Hervey agrees
before adding: “A lot
of people feel
pressure because they are trying to be the next
thing – but we are just trying to be us and that
is different.
We were Lion Babe before any of these people
and if they all leave then we are still the same.
She pauses, before continuing: “The creativity
has only grown for us [since
we signed the record
deal], there are
always some
challenges to be faced but fortunately all the work is fueled by
what we love to do, so it’s worth fighting the battles.”
Following a year’s worth of writing and some time to reflect, Lion
Babe are now ready to share their new work with their growing
number of fans – and this begins with their first UK tour, currently
scheduled
for May alongside Seina Bosey. But perhaps the most exciting
news is that of the debut LP, something that the duo are
extremely exited to release – although there is no confirmed
title or release date as yet. As to what we can expect: “The
album is going to feel like we have grown – on every level,”
says Goodman. “We have really been growing as musicians
and artists since Treat Me Like Fire so you will definitely get a
sense of that growth in the album,” he adds. “We always have
our supporters from the beginning in the back of our minds
and hope that people will want to share it and connect it to
their own lives and stories,” says Hervey.
And this growth to which Goodman refers is of little surprise:
The pair have enjoyed the privilege of working with an all-star
cast in the studio including Jeff Bhasker, Andrew Wyatt, Mark
Ronson and Childish Gambino. “The studio sessions have
been great; you learn a lot about yourself and other people’s
processes,” says Goodman, who normally forms the basis for
a track by just ‘jamming and coming up with a beat.’ “We now
have a far greater understanding of how to make music,” he
adds. “Although it’s good to be experimental, as we were with
our earlier material, learning song structures has definitely
helped us.”
But despite the generous guidance and support that has come
their way, Goodman and Hervey are aware that it is important
that they remain true to their sound. Lion Babe, as becomes
apparent, is still very much a work in progress and this stage
of their development will be key in both finding their place in
an already saturated market and ultimately in their long-term
success as recording artists.
“We aren’t looking to create music that is already out right
now, or that sounds like someone else,” says Hervey, clearly
passionate about defining the band’s identity. “We want to fill
the void away from the saturation towards something that feels
fresh,” she adds. Goodman, similarly eager to add his thoughts,
continues on from Hervey. “We do take all that people have
to offer, wisdom, advice, tips on song structure, etc. but have
also learned that the Lion Babe sound is more realized than
even the two of us thought. At the end of the day only the
two of us can feel if it’s right or not.” He pauses, reflecting on
what he’s just said, before adding: “We still feel like were are
trying to figure out our sound, but it’s important to remain in our
channels and maintain our identity – because a lot of music
today sounds the same.”
It’s a strong statement from the pair, and one that is
both strikingly true and reflective of the duo’s developing
maturity and understanding. In a world where modern music
technologies combat individuality and mould vocals into
one universal sound, it’s refreshing to meet a pair of artists
so willing to be different. LION BABE’s new single ‘Wonder
Woman’ is out May 3rd on Outsiders Recorded Music
Meeting while studying music at university, Jack, Nathan and
Rian started jamming at the end of 2011, discovering a shared
appreciation for Led Zeppelin’s ‘light and shade’ (their name
taken from the Houses of the Holy song, Trampled Under Foot);
Pink Floyd’s musicality and experimentation; and The Hoax, a
British blues group who the band have stated as being particularly
influential on their sound. Playing their first gigs in 2012, over the
next three years The Greasy Slicks developed a following the old
fashioned way: through gigging and word of mouth. What really
sets the band apart from other bands on the scene is indeed their
live show, which is mesmerising, invigorating and entertaining.
WORDS Reyhaan Day PHOTOGRAPHER Joseph Browne
“The live show is the most important thing,” say the band in
unison. “It’s the reason we do this,” continues Jack. “When we
do shows, it’s just us having fun. We’re just trying to break a
sweat and make a fucking racket!” As Nathan says, there is a rich
history of performing live with blues and rock music. “This music
has such a groove and a feel to it live. It’s always been about that;
if you take the blues right back, it was about performance – it
wasn’t about making a polished record.”
“There’s so much energy on stage, or so we’ve heard; it’s more of
a performance than sitting and just listening to the music,” says
Rian. “Coming to see us live, that’s what we’re all about. The live
show is everything we work for.”
And hard work is something the band isn’t afraid of. Selfproclaimed perfectionists, constant rehearsals and gigging have
helped them become a tight, powerful unit, one that has won
over ever-swelling crowds at venues including The Garage, The
Brooklyn Bowl and the Jazz Café, where the band played to a
packed room for Time Out London’s Rising Stars showcase. But
despite the rapturous applause the band receives when they
leave the stage, they’re not one to rest on their laurels. “Pretty
much every show we’ve played, we’ve come off stage and gone
‘Damn – there was that little bit, and that little bit,’” says Rian.
“You’re thinking about minor things when no-one else is probably
hearing that – and you watch a video back and think: ‘oh that
actually sounds pretty tight!’” Jack confesses, “There is nothing
worse, though, than making a mistake and looking over and
seeing these two smiling, going ‘You’re not getting away with
that one!’”
It’s January 2nd 2015, and I’m stood right down in front of the stage
at the infamous 12 Bar Club on Denmark Street, my legs giving
way as The Greasy Slicks’ blues-splattered sound crushed the
empty space between us, and a couple of strong drinks started
to do their job. The band had recently come off tour with Seattle,
USA’s Fox & The Law, and it showed in their playing; they were
tight as a button, self-assured and confident, with all grooves firmly
in pocket. Seeing the kind of musicality on display that night is a
rarity in rock and roll – the brute force often delivered by rock bands
eliminating any sense of groove and subtlety. Pure musicians, the
Slicks knew exactly when to build up their sound, right up until it felt
appropriate to kick it back down.
Three songs in, and the crowd – which had swollen from around
10 people to completely packing out the sweaty box of a room –
were raucous. I’m sure that everyone in that room felt surprised
and gratified that they were lucky enough to have happened on
this band, dishing out a set of such power and feel. By the end
of the set – the trio laying waste to their propane-powered take
on Muddy Waters’ ‘Got My Mojo Workin’’ and a ramshackle but
boogified ‘Roadhouse Blues’, the crowd demanded more, my
throat tore up from whooping embarrassingly. Having exhausted
their repertoire after a 45 minute set, they left the stage, and I left
the gig thinking that this is a truly special band beginning to make
their mark on the scene.
“That was one of the last gigs they did before it closed,” says Rian
O’Grady, the Slicks’ powerhouse drummer and backing vocalist,
referring to the recent closure of the 12 Bar Club. “That was one
of my favourite venues. There’s something about that place for
us,” says guitarist and frontman Jack Kendrew, whose skill and
apparent ease with his instrument is remarkable. What do they
think it is about those smaller gigs that make them so special?
Nathan Rasdall, who rounds off the rhythm section on bass,
says that at smaller venues, “You can really see how everyone’s
engaging – because they’re right there.” Being close to the
audience is important to the band, as Rian grins: “When there’s
people right there, and you’re sweating on them… I love that.”
Do they see it all as a learning curve? “Definitely,” agrees Jack. “I
think as you keep playing songs, they will evolve. When it’s live,
it’s free reign, we can do what we want – and as time goes by,
things can get slightly stale – but the strongest points always stay
in the tune.” Says Nathan, “Recently, we found a video from last
year of a song we’ve just recorded, and it’s almost a completely
different song. We haven’t even noticed that it’s changed, it’s just
happened gradually over time.” Rian adds, “That song has just
got tighter and tighter – one hundred per cent from playing live
often, and lots and lots of rehearsing. If we’re not gigging, we’re
rehearsing.”
The song in discussion is ‘Eyes Wide Black’, taken from their
forthcoming EP, recorded in March at Studio Humbug on the Isle
of Wight. Set in an old Victorian water tower, the unusual space
allowed the band to get creative with the recording process. Are
they happy with the results? “It’s finally getting to the point where
we think it’s a good representation of us live,” says Jack.
It’s all about getting the balance right, says Rian. “The new EP is
a nice mix between us playing together in a room, and the higher
end; not polished, but produced.” Nathan goes on, “When we
recorded the first time, a couple of years ago, we insisted that it
had to just be us three playing in a room without anything else.
We’ve accepted now that if we want it to sound as big as possible
when recording we have to try different techniques.” Jack agrees,
“We used to consider it cheesy if we had two or three guitars on
it, but you just have to do it. And it’s great for me, as I had a whole
day of just playing guitar. I had a blast!”
Listening to the EP, the songs are accomplished and burst with
confidence. The band has clearly managed to capture the energy
from their live performances and distilled it onto record. One of
the songs, ‘Thrill’, has been a constant in the band’s setlist since
the early days. It makes a massive impact live, with its Nirvanaesque chorus and masterful handle on dynamics, let alone a
musicianship and telepathy between the trio which is thrilling to
watch. The other three tracks on the EP are relatively new – but
have been “road-tested” on audiences, then “tweaked and given
a little breathing room” according to Nathan, so when it came to
laying the tracks down, they “knew exactly how it should sound”.
“The feedback you get live – it’s sort of feedback without anyone
giving you any feedback. You’ll notice, or hear people talking, or
really getting into it, or you’ll notice people fall off sometimes,”
notes Jack. Rian believes that, “Often, you’ll feel it. You’ll feel: this
isn’t working. You’ll just know – a glance or a look. And the same
when something really works.” It all helps the band trim the fat,
and make each song as lean as possible.
The band has an exciting few months ahead. The release of the
EP is imminent, followed by more live shows – including a summer
tour with good friends Fox & The Law, taking in large swathes of
the UK and Europe. “Two weeks nearly killed us, and we’re on the
road for a month with them now,” laughs Jack, Nathan adding: “It
was the most fun two weeks ever – they’re just great guys.”
The release of such an accomplished EP, and the fact that the
band is winning over fans at every gig, begs the question: is an
album on the horizon?
“It’s in the back of our heads,” says Jack; but thoughts quickly
come back to the present. “We’re going to get the EP out of the
way first, tour it, and try and get our foot in the door,” says Rian.
“We’re just looking forward to the next gig!”
www.thegreasyslicks.co.uk
WORDS William Ralston PHOTOGRAPHER Joseph Browne
It’s been a good few months for Wolf Alice. They kicked the year off by supporting Alt-J on their
European arena tour, soon followed by their nomination for the BBC Sound of 2015 award; a prestigious prize that can list Sam Smith, Ellie Goulding and Adele amongst its previous winners. In
February, their latest release Giant Peach was then premiered as the ‘Hottest Record in the World’
by Zane Lowe; and only recently have they returned home to North London on the back of a sold-out
headline tour of North America and Europe where they ignited stages at iconic venues including the
Shepherds Bush Empire, a notorious launching pad for some of the leading talents in world music.
But with the release of their highly-anticipated debut album scheduled for 22nd June, and the UK
festival season nigh, 2015 seems destined to be the year that this exciting four piece alt-rock outfit
finally break through.
Wolf Alice are fronted by Ellie Rowsell, a
charismatic yet softly-spoken 22-year-old
who formed the band in 2010 after she
won the Holloway Arts Festival Singer
Songwriter Competition. “The problem
was that I was so shit at guitar back then,
but I wasn’t confident about asking anyone
to play with me,” she recalls on the phone
from Los Angeles as she takes a welcome
break from the band’s rigorous 13-date
tour of North America. She sounds tired,
exhausted even, but musters up the energy
to reflect on the band’s journey to date. “I
found Joff [Oddie; Guitar] on a forum and
that’s how Wolf Alice was formed.”
Rowsell, as becomes clear, is still getting
used to her new surroundings. She takes a
few seconds to think before each response,
as if playing it in her own head before
verbalising; stresses on many occasions
that she feels extremely privileged to
be working with the band, and sounds
embarrassed as she recalls that she was
once too shy to admit she wanted to be a
musician.
“I always had a hard time accepting that
I wanted to go into music,” she says.
“Although deep down I knew that was what
I wanted to do, I was so scared that people
would not understand!” But as she begins
to relax, the light-hearted, expressive side
to her character begins to show. “This
was five years ago,” she says, laughing
nervously, seemingly reticent to elaborate
on the story behind the band’s name. “It
[Wolf Alice, by Angela Fisher] is a coming
of age story,” she insists, before explaining
that she chose it because she was just
‘desperate to make a MySpace! page’. “I
told it [the name] to my mum who told me
I should use it for the band!”As a two-piece
acoustic duo, Rowsell and Oddie released
a self-titled EP before they were joined by
Joel Amey [Drums], and Theo Ellis [Bass]
in 2012. “We had played so many shows
to almost no people so we thought that if
we play louder then people might take
notice of us!” says Rowsell. She giggles
as she recalls that Amey only joined fulltime because ‘he plays [the drums] so
loud and clunky!’ before adding that she
‘really wanted a girl bassist.’ She hesitates,
unsure whether she should say more, then
continues: “But we couldn’t fucking find
one [a girl bassist]! How many girl bassist’s
do you know? Then we found Theo who is
the closest thing we could find to a girl!”
Leaving You [2012], the band’s first single
with Amey and Ellis, was quickly picked
up by the likes of NME and the BBC after
it was offered as a free download on their
Soundcloud page. This was quickly followed
by a successful tour with fellow indie-rock
quartet, Peace, and their debut single on
Chess Club Records: Fluffy [February
2013]. It was a quite brilliant release;
energetic and joyous whilst illustrative of
the band’s inherent songwriting talents. On
the flip-side of this 7in. pressing was White
Leather, a more subdued and melodic track
which showcased the band’s versatility
and strongly supported their growing
reputation as a leading light in British
rock. Their second single, Bros [May
2013] immediately preceded their first EP
[Blush; Chess Club Records; November
2013] which was then followed by Creature
Songs [May 2014] on Dirty Hit Records,
an acclaimed British label widely credited
with launching the careers of The 1975 and
Benjamin Francis Leftwich.
That is not to say, however, that it has all
been straightforward for Rowsell and her
band. Having seen their fan base rapidly
expand over recent months, it is easy to
forget that Wolf Alice have been plying
their trade for more than five years. “When
I realised I wanted to do this properly – or
when I realised it was achievable – I still
had to work,” says Rowsell. “[Up until
then] I was either earning my money or
playing as many gigs and writing as many
songs as time would allow,” she adds. “We
are all very aware that we are in a good
position. We have all been in music for a
very long time and have all had normal
jobs before so are extremely grateful for
what is happening to us.”
As for their highly anticipated debut LP,
it has been a long time coming. “I think
because we have taken so long to put out
this album it feels like it has to be perfect,”
says Rowsell, “but we know that’s not really
true.” The name [My Love is Cool] stems
from a previous band lyric and was chosen
for its ambiguity. “Everyone has their own
version of ‘cool,’ and everyone has their
own version of love,” she says. “I like to
think that the title will mean something
different to everyone.”
Quizzed on what we can expect, she
explains that the album is ‘a mix of pop and
heavy rock moments with some alternative
stuff too.’ And this variety is evidence of a
band still trying to find their sound. “It’s
definitely not consciously diverse,” says
Rowsell. “We just write what we write at the
time and that’s what happens.” With a track
listing [shared by the band in early March]
that consists of old and new material, it
was inevitable that the band’s developing
maturity and experimental nature would
be reflected in the work. “I haven’t written
a therapeutic song in a long time which is
probably telling. I am not going through
that angry teenage phase anymore so
I think I am now looking elsewhere for
inspiration.”
Subtly buried underneath Wolf Alice’s
array of upbeat, energetic tracks like Bros,
Giant Peach and Moaning Lisa Smile, are
a small number of more stirring, poignant
records like White Leather and Heavenly
Creatures. Almost unexpectedly, Rowsell
opens up to reveal an endearing innocence
and vulnerability to her character which is
so easily forgotten when she is wooing the
expectant crowd up on stage. “Most songs
have a story behind them but some are
just bullshit,” she says, clearly reluctant to
expose the motivation behind any particular
track. And then, hesitantly, she continues:
“White Leather is just a clichéd story
of teenage rejection, and I do get quite
emotional when I perform it,” she reveals.
“Heavenly Creatures is about the film:
Two good friends who share an intimate
relationship before one kills the other’s
Mum. I went to an all-girls school and the
intensity of their relationship is something
that really stuck a chord with me.”
It’s been steady progress so far, ‘organic’
and ‘natural,’ Rowsell says, but with success
and growing acclaim comes a sense of
increased pressure and expectation. As
we reach the end of the conversation,
Rowsell’s excitement for the coming
year is unmistakable, but it is also clear
that she too recognises that the coming
months will be as defining as any in the
journey of Wolf Alice. “I don’t want to
jinx anything,” she repeats as she tries
to manage her hopes for what’s to come.
“The band definitely feels like a job but
I am well aware it could all go to shit; it
doesn’t feel like we have yet secured our
place in music,” she explains. “Without
an album I think it is very hard to feel
completely safe.”
Despite the continuous flow of singles
and EP’s that shower the music industry
at present, a full-length LP continues to
hold a special artistic value and intrinsic
tangibility that other formats will always
lack. Artists today are judged by the
albums they produce and Wolf Alice will
be no different: My Love is Cool will either
be a great disappointment or will cement
their place in music as one of Britain’s
breakthrough acts of 2015. I, for one,
strongly suspect the latter.
“I am well aware it
could all go to shit;
it doesn’t feel like we
have yet secured our
place in music”
WORDS Jade
Ryals
The flickering lights in red and green, the
vibrating bass running through your veins,
the citrus tang of salt and lime on the tip
of your tongue, twisting bodies writhing
around you, entranced by the rhythmic
sway filling the sweating room. It’s the
scene that Reading-born Benny Page
saturates his listeners with; his music
inspires energy and movement and vitality.
With his meteoric rise in the sphere of
electronic music, Page has been taking
over dancehalls throughout Europe. His
new hit featuring Sweetie Irie “Party With
You” is impressive due to its showcasing
of his transformation throughout the
years into the Jungle and Drum and Bass
powerhouse we see today. Even the song
itself is a tribute to the ability Page has to
morph his own style throughout a song’s
creation: “I recorded [Sweetie Irie] about a
year ago on a beat and then it just evolved
into what it came out as, this final track. It
didn’t start off like that, but it evolved into
a drum and bass tune,” he tells us.
He breaks his life down into steps,
especially
when
considering
the
influences that assisted his progression
as an artist: “Basically, I first started out
with guitar music when I was younger;
got into my dad’s music like Jimi Hendrix,
Led Zeppelin. I was also into stuff like
Marvin Gaye, Michael Jackson, all of the
classics really… But then when I got
into electronic music, I was
looking at a lot of Drum
and Bass and
Jungle.
From that, I [began looking at] Reggae
and Dance Hall, which is where a lot of my
[current] inspiration comes from. It’s one
of those things when you start listening to
music; I don’t think you really know what
you like when you’re really young. You just
get stuff from your friends and family.”
Evolution has been a common personal
theme as well, whether applied towards
his career or his growth as a musician; it’s
been a real journey for him. “I was a DJ
second… music maker first and producer
first. I used to play guitar and drums when
I was at school; then I started making
music on my computer when I was 16,”
Page mused, “Started DJing around 2005,
so I was making music for about five years
before I even got off set decks… And it
took me a while to even get into that!” His
shift from music-making to DJing is slightly
unique though as a majority of people
tend to start Djing for fun, find a love for
it, and then start making their own beats.
For Benny Page though, the path he took
allowed for him to have a solid foundation
when making the jump: “It worked out
better for me that way though because
I had already had production under my
belt by the time I was DJing.” Yet it wasn’t
always easy and it took him some time to
acclimatise. “…I had one big tune, you
know I was getting all these bookings and I
wasn’t the most confident DJ in the world,”
he acknowledged; it’s difficult to imagine
an unconfident Benny Page though,
especially when comparing him to a Page
who can laugh at his mistakes on stage.
“I’ve had power cuts and times when the
equipment stops,” Page chuckles, “And
when that happens, everyone just looks
at the DJ because… the first thing that
comes to everybody’s mind is, why has
the music stopped.” But after years of
DJing in front of crowds throughout
the world, “you kind of get used
to it. You can either walk away or
you stand there and have a joke
about it.”
It’s a statement that summarises
the down to earth vibe that Page
exudes. Currently residing in
Worcester, the DJ spends his
time focused on the important
things; for him, life is really
about, “…my family and
making music, which is kind
of corny in some respects.”
It’s even better that he can
intermix the two: “I’ve got a two
year old boy. He’s into music
as well… I’ll definitely give him
the option to get into music,
because I wasn’t given the
option at school really; I kind of got into it
myself.” His attitude towards the sharing
of music goes beyond just his son though.
Page has a real interest, not in passing
any type of gauntlet, but rather in pushing
for others to carry their own. “I would
definitely be up for [training young guys
and girls] if the opportunity came around,”
Page eagerly told us, “It comes natural
to people like me, like showing someone
how to do something that you know so
well. It’s just a buzz in itself, especially if
it’s something that you love to do. Seeing
someone else doing it… Even showing
my two year old little bits and bobs on the
keyboard is a buzz as well.”
Page has some exciting times ahead of
him. Festival season starts for him on the
16th of May as he travels to Seville for the
Tendencias Primavera Festival, headlined
by Chase and Status. You can also catch
him at Boomtown, Outlook, or Farr Fest;
or you can find him DJing around Europe
leading up to the summer months. On
April 4th he played in Cordoba, Spain,
somewhere you can find him quite often:
“It’s the place I visit the most I’d say, I’ve
got a lot of fans there.” Even more thrilling
is the upcoming release of his new album
through High Culture Records. “My
album’s got a Jamaican dancehall vibe
to it… I’ve got artists like Beardy Man,
Popcorn, General Degree, Assassin, to
name a few… It’s probably about 80%
done. The single [“Break It Down”] is
going to drive that in the summer.” He’s
got an outstanding line-up ahead of him,
an excellent summer with exotic locales
and warm weather. Be sure to catch him
during festival season throughout Europe!
We’ll be sure to keep you updated on his
album!
D: How long have you been doing Ballet
professionally?
EU: For as long as I can remember as I went
to Ballet Boarding School as a child, I started
when I was 12. I moved from home and went
to a school where we danced all day, we did
a bit of academics also – I can read!
Eric Underwood
D: So you wanted to be an actor before?
EU: Yeah I wanted to be an actor but I got
stage fright at an audition and completely
mind blanked all my lines. Then when I was
leaving I saw some girl stretching outside a
ballet class and thought to myself well I can
do that. I was always naturally flexible so I
went to a ballet audition and they said I hadn’t
had any experience but I had potential. Four
months later I was enrolled and living at a
Ballet boarding school in Washington DC
and then I moved to New York.
D: How do you prefer London
to New York?
EU: I much prefer London, I did New
York and I loved it but London feels more
groundbreaking and fresh. They’re more
accepting of individuality here I personally feel.
D: What do you think of the Menswear
fashion scene in London?
EU: It’s amazing; it’s so creative in London.
I don’t want to sound cliché and say ‘create
your own style’ but there’s a lot more
room for individuality – I live in Shoreditch,
East London and I look out my window
and see people who dress however they
see fit which I think is amazing. I feel free
to express myself here and can dress
however I want.
THIS PAGE
Cardigan by Bimba y Lola
Underwear Eric’s own
D: What would you say is your
signature style?
EU: I think of clothing as costume due to
my Ballet background, so some days it’s
punk, some days its edgy. I’m never really
preppy, I like to mix the high fashion with
low-end things too – but never preppy,
you’ll never catch me in Tommy Hilfiger or
Ralph Lauren.
PREVIOUS
Shirt from Levi’s
my god, what do I look like?’ but then you
see it on film and it’s just amazing. They’re
super creative and we vibe off each other
really well. I went to their last AW15 show
at London Collections: Men and then to the
after-party at The Scotch of St.James, and
then I went on and on and on!
D: What’s your favourite brand?
EU: I have a few – KTZ, James Long and
D: What were your favourite shows besides
Fendi.
EU: That’s a very hard question. I really
D: What was it like working with KTZ?
EU: It was amazing, I’ve done fashion film
for them and two runway shows. They’ve
always been so supportive of my career
and they push me into edgy places which
is really cool, like in one of their films they
painted my skin jet black and I thought ‘Oh
KTZ at LC:M?
like Matthew Williamson, I find there was
just a simplicity, which was quite cool –
quite often with shows you get there and
you’re waiting for… the sort of gimmick or
theme of the show. So I got to Matthew
Williamson not knowing what to expect
and it was just breathtaking. He’s a really
good friend of this choreographer I work
with, Wayne McGregor, so I had heard
his shows were amazing so I got to see
one with him.
other. Usually you dance and as long as the
costume work, the dance is more important
but don’t move too much.
with my ass cheeks out – it was crazy.
D: I can imagine Matthew Wiliamson doing
D: Have you ever had a costume disaster
EU: I’ve fallen on stage before, I just slipped
some sort of ballet costume collaboration…
EU: It’s funny you say that because I did a
collaboration with Boy George about two
years ago and Gareth Pugh designed the
costumes and it was incredible to work
with him, incredible to work on design
related to dance.
happen on stage?
EU: Yeah. Ha I’ve had my trousers fall
down to my ankle on stage in Mexico City,
standing in the front row exposed.I smiled,
looked down to check it and everything was
there so I looked back up and carried on. It
was so awkward. Afterwards everyone was
calling me ‘Eric Underwear’.
and fell but dancers are so in the zone
that they keep going and one guy actually
jumped off my bank as I was on the floor,
not on purpose but if it were me, I would
have done the same thing. You’re in that
performance mode so you don’t stop and I
don’t blame him. I think the trousers falling
down to my ankles were the worst.
Well at least you were wearing
underwear!
EU: Well I was wearing a dance belt so
basically a mans g-string and then I had to
turn to the back and walk away – wobbling
D: What are you working on at the moment?
EU: I’m working on a new Wayne McGregor
D: Has anything else happened to you on
stage?
D: Was it in terms with a ‘form follows
function’ collaboration?
EU: That’s the thing, Gareth made clothes
to be exhibited on stage and we did dance
to be exhibited on stage but there was no
one thing that was more forefront than the
D:
ballet and I’m dancing four temperaments
through until April, I’m also the villain Von
Rothbart in Swan Lake at the Royal Opera
House in London. I’m also going to dance the DANCE OPEN
ballet in St.Petersburg in April.
D: What’s your favourite ballet you’ve danced in?
EU: My most favourite experience I’ve had is when I’ve had things
created on me, because then I can be Eric and explore how I would
be in different situations rather than doing something someone
else has done and trying to replicate it. I like to dance and feel free
so if I can, I want to feel like I am when I’m at The Box nightclub (in
Soho) on stage.
D: And your classic ballet of choice?
EU: I’d have to say Romeo & Juliet; I danced Romeo in Sicily with
a girl from the Paris Opera. It was an amazing experience because
I lived there for a month rehearsing it.
D: How long have you been modeling?
EU: I started modeling in New York, around the same time I started
dancing, they’ve always gone together for me. I was with Boss for
a while then came here and was signed to IMG and now Premiere.
D: What do you like about the industry?
EU: The creativity behind it, I hate to be the boy next door. So to
be able to do something quite cool and edgy is really fun and that’s
where KTZ come into play. My favourite modeling job was being
butt-naked for GQ Style shot by David Bailey last October. Full
frontal so nothing was left to the imagination, it was really fun and
Bailey is an amazing photographer so it was quite an opportunity.
D: Where do you like to go out in your spare time?
EU: Oooh everywhere, the Scotch of St James is fun, especially
their fashion afterparties, Cirque Le Soir and of course, The Box.
D: How would you describe yourself?
EU: I would describe myself as free and without intentions.
D: Do you listen to a lot of Classical music?
EU: Not in my spare time no, I like A$AP Rocky, Azealia Banks
and Sam Smith. Right now I’m listening to Lil’ Wayne a song called
‘How To Hate’ which is really uplifting...
D: If you had to pick between modeling and dancing what would
it be?
EU: My heart is in dancing but I could probably model longer than I
can dance. You can get a facelift but your hips will break!
D: Cigarettes and coffee?
EU: Yeah! (laughs) If I could I would do a reality tv show on ballet
dancers because I think people have a warped view on what we’re
like behind closed doors. They think we go home and lay in velvet
and constantly stretch, which is not the case. It would be fun to see
them going out, drinking, having one night stands doing whatever
they want to do which is normal – I think its important to show that
side because people think we’re fucking angels.
D: Would you ever perform at The Box?
EU: Oh yes I would, I’m not sure what I’d do, something crazy –
D: The dark side of the ballet? Looks like we have our very own
probably have to pull a candle out my ass while doing the splits or
something – I don’t think they’re ready for that.
EU: My god that movie was so cliché – so stereotypical and so
D: I don’t know, I’ve seen a few things there…
EU: Yeah it’s very much alive. I love it there. Last time I went there
was a couple making out on stage and about to have sex and it
turned out they had the reverse genitalia. Crazy stuff. I just don’t
like to be stuck at home, I love East London (where I live) but I need
to go out.
D: What are you friends like here?
EU: Very East London. Ha. I know people in the dance and fashion
industry mostly, like James Long for example he’s a good friend of
mine and I love his clothes which is a plus.
D: Would you call yourself a hipster?
EU: No definitely not, because then I’d have to put myself in a
category and I don’t want that.
Black Swan…
far from the truth. We’re not so angelic and to be honest, the ones
that are, are shit. I don’t mean to be rude but you need to have a
personality and vibrancy to be interesting in order to evoke art. You
can’t just be a doll. I think a lot of dancers are afraid of imperfection;
I don’t think it’s the way to go.
D: What’s next for you?
EU: I got the chance to choreograph a Vivienne Westwood film
about climate change, which I’m modeling in as well. I love the
sense of mixing dance with fashion in a space that gives me the
opportunity to be creative – I think its called movement direction.
D: What would you like to be known for?
EU: I’d like to be well known for what I do – ballet and modeling. In
that being well known I hope it gives me the opportunity to share
that with people like with Vivienne Westwood. I think that’s my
future.
D: You’ve worked with a few big names already, is there anyone
CREATIVE DIRECTION Sufiyeh Hadian
PHOTOGRAPHER Owen J Reynolds
STYLIST Emma Pulbrook
HAIR Elliot Bssila at Neville Hair & Beauty using Aveda
MAKEUP Julia Wilson
PHOTOGRAPHIC ASSISTANT Jan Van de Kaa
WITH THANKS TO: The Ham Yard Hotel,
firmdalehotels.com
else you are dying to work with?
EU: I’d love to shoot with Mario Testino, I would love to get into
acting, some cinematic parts to add to my name. I guess I know
some big names so I should probably knock on some doors…
WORDS Anna Hall
PHOTOGRAPHER Mark Arrigo
D: Where are you from?
GG: London, born and raised.
D: How did you become interested
in music?
GG: I think from a really young
age actually. There was always
music in the house – my dad plays
classical guitar and my mum sings.
When I was a teenager I was really
into rock and metal, I would always
listen to music with my friends. It
became a really big part of my life.
GG: I’m completely chuffed with
that description mainly because
I’m a weird little Lord of the Rings
gnome. I’m a complete fantasy
freak. I spend a lot of my time in
the West Country, and Mako, the
guitarist, as well. We spend time
going down there living in our little
hobbit hole. I stay with my family
in Cornwall, which is like a real
shire. I also grew up listening to
medieval chants; I was really into
Gregorian stuff. I love that sound.
Alice in Chains also use a fifth in
their harmonies, which creates
quite a medieval sound. I’m glad
that comes through because
that’s definitely our personalities.
Lewis, the bass player, is some
sort of weird pagan lord as well.
Hannah and Rachel as well, one’s
a kind of dark Celtic witch and the
other one’s a pixie sprite!
D: You have a really interesting
sound and variety of influences.
Why did you choose the genre
mash-up of electronic, rock, and
folk music?
GG: I think to just try and be
ourselves, in a way. You do
what you like, and we have a
lot of different influences. My
influences, as a singer, are all
over the place. I came from a very
traditional folk background, that’s
what my dad kind of shoved in
my ears. I discovered all sorts of
artists, Shirley Collins and Sandy
Denny from Fairport Convention,
and I got really, really into folk.
Then that obviously meshed with
my love of metal and I love KISS,
Guns n Roses, and all of that.
And then also there’s the Trip
Hop influences, and we are really
obsessed with bands like Massive
Attack, that whole 90s Trip Hop
scene. It kind of created this idea
of dark, brooding music; we’re all
into dark stuff. Obviously you have
beauty and light within that, but
we’re all very interested in having
something that was a heavy, dark
beast that kind of gave you shivers.
D: Can you describe your creative
process? How do you write your
lyrics?
GG: I write a lot in the countryside
but I also write a lot in London,
it really depends. When we get
an idea, we try and map it out in
Garage Band because normally
we have lots of stuff with big
dance beats so it’s quite good to
get a vibe of it. Then I go away and
write the lyrics, and then come
back and we work together, shape
it and sharpen it. We’ll map out like
a skeletal version of it, and then
take it into the rehearsal room and
create the flesh around it. But we
also will just pick up a guitar and a
bass and just write off the cuff, old
style. Every song has a different
creative process actually.
D: I also hear sort of ancient/
D: The photographs for the EP
medieval, mystical sounds. Almost
Lord of the Rings-y. Do you draw
influences from that?
are stunning. It’s very raw, almost
tribal with the paint. Who was
behind that?photographer, Mark
Arrigo, who met through our
GG: We had a wonderful manager Jamie.
Jamie is someone who’s very creatively
honed with the band as well. He’s not just
a booker and a buyer; he’s someone who
definitely shares our creative vision. So we
went for a meeting with Mark and gave him
our Gallows Ghost, put that on the table,
and he then took that and we made lots
of idea boards. On the day, it was one of
the most extraordinary days I’ve ever had
– I think we did five different looks. All of
them were just a weird expression of what
Gallows Ghost is. It was an incredible
creative day where Mark just put his vision
onto our vision. He’s a real artist. I’m
actually doing a modelling shoot with him
this Saturday.
D: Do you guys have any other jobs
besides the band? What else do you
guys get up to when your not gigging or
practising?
GG: I do a bit of freelance modelling here
and there. I’d love to join an agency again but
I guess my life has just taken a different turn,
so I just do it whenever I can. I absolutely
love it. I do a plethora of different things.
I’m an artist as well so I do design work
for different people and I’ve done acting
as well. I make my own jewelry and go on
and sell it over the summer. I used to work
in a Native American jewellry shop. I love
going to The Great Frog, this amazing
jewellry store in London – real rock n roll
stuff. There’s a desginer there called the
Wildness and it’s just amazing – lots of
beetles and skulls and big crystals. Lewis
works in graphic design – he’s like some
weird, mad inventor. He does things with
computers, he’s incredibly, technologicaly
advanced and that’s why he’s our weird,
space electro octopus man. Our drummer,
Jack, does session drums and I think he
actually works part time as a chef. He
should actually be cooking for us! Rachel
is an actress, Hannah teaches Cello, and
Mako teaches guitar.
D: What have you been listening to lately?
GG: It’s been amazing being introduced to
a lot of new bands recently. I love London
Grammar, we all do. We are listening to
Maya Jane Coles as well. We also love
Moderat. I think that they’re really different,
what they’ve done with their beats and
how they put stuff together. Same with
Alt-J, they have a way of writing where
not one bit of the song is boring, and I
think that’s something really, really hard to
achieve. There’s always a reason for each
section – I love that about them.
D: Tell us about your upcoming residence
at Dead Dolls Club in Shoreditch
GG: So it’s going to be a playing with two
other bands, starting this March, and it’s
going to be one hell of a night I think. It’ll be
one night per month, which is an amazing
thing to have I think because you get to
keep going back, you get to play new
songs and play to different people and the
same people. I always think of residences
as a really exciting gig to have because
you get to grow as a band. We’ve also got
a big spring event at the Black Heart in
Camden, 16th of April, which is going to
be another one of our own evenings with
metallic balloons and dead things hanging
from the ceiling.
just something about that place, being in
the West Country. I visit it a lot anyways; I
love the town. It’s such a powerful place.
Just to play at that festival, in that place,
as the sun comes down. That’s the vision!
But also any big festival because you have
that euphoria where everyone is on this
incredible high, this vibe, where everyone
is spending time away from their life at
home. You can feel completely free for a
few days and that’s an incredible energy
to play to.
D: Are you playing any festivals this
summer?
GG: We’re hoping to. They’re kind of
D: Do you always decorate the stage
yourself?
GG: Yeah I think that’s the plan, to try
and create a world. I mean obviously it’s
hard with no budget! We wanted to have
fire wolverines, a petting zoo, smoke
machines, and fireworks but you can’t
have it all! We do what we can. I think it’s
important to try and create a world.
D: Dream venue/gig?
GG: It’s got to be Glastonbury. The pyramid
stage. I can’t wait until we are able to play
big open stages. I think the pyramid at
Glastonbury would be amazing – there’s
all being organized at the moment. We
played some amazing ones before, which
was really fun. Our last one of the season
last summer was headlining Bestival
bandstand which was amazing – all open
air, 360 view. Hope to do that again.
D: Where do you see yourself in 5 years?
GG: Glastonbury pyramid stage! Well
hopefully. But also I hope to see us all
working from the band, going amazing
places to keep getting better, and
generally just keep playing music. And to
be paid for it would be fabulous. That’s
the dream.
On an uncharacteristically warm April
day, George Mpanga stands upon
the roof of the decadent Soho hotel
decked in an immaculate suit looking
out over the streets below. It’s a farflung adjustment from the northwest
London suburb of Harlesden where the
young poet cut his teeth. However the
24-year old poet George remains calm
and pensive, impressive considering the
whirlwind 2015 has swept him up into
thus far and the ‘voice of a generation’
tag orbiting him relentlessly as he
strides further into the new world he’s
created for himself.
WORDS Toby McCaron
PHOTOGRAPHER Emma Woolrych
This Page
SHIRT Foxhall
JACKET Levi’s
JACKET Levi’s Red Label
Vote Cover Image
SUIT Chester Barrie
SHIRT & TIE Richard James
all kinds of uses.” His audience in fact
has been incredibly far-reaching and
spans people of different generations
and class backgrounds who come to
his shows to gain knowledge, “I have
a very diverse audience, my music is
so issue based and topical people
come out of curiosity. I get people of
all different ages; young people often
come with their parents so I can’t say
the core following is younger people,
while I was doing stuff on radio I was
also working corporate events or
playing for the radio 4 audience where
people are actually engaging with my
ideas and staying tuned into my work.”
SWEATER John Smedley
I meet George in the lobby of the
Soho hotel, undoubtedly one of the
swankiest hotels I’ve been privy to;
it’s a fitting backdrop paralleling the
overwhelming success he’s received.
The Cambridge graduate was flung
into the public’s eye with a heartfelt
and earnest bare-bones performance
on Jools Holland a year ago. “I told my
friend I’m sorry for the vomit in your
car, but you know bro, YOLO” George
laughed on the illustrious stage which
has set the course for many a career, his
honesty and sincerity striking a chord
amongst critics and most important,
the people to whom George gives a
voice. Shortly after nominations were
thrown at George like they were going
out of style, a number 5 spot on the
BBC’s Sound Of 2015 poll alongside
fellow London rap artist Stormzy
signalled a promising shift towards
increased social commentary in music.
Even more remarkably for a spoken
word artist, the Brits Critics Choice
nomination came calling, providing
George with perhaps his largest
mainstream audience to date.
With the hype machine sometimes
acting as somewhat of a doubleedged sword, despite the increased
spotlight and fickleness of the industry,
George remains steadfast in his mind.
“I’m just focusing on the job, making
good music and making sure I’m still
connecting with people. Hype doesn’t
worry me,” he says nonchalantly; “This
isn’t what I’m used to but it’s nice, I
could think of a lot worse jobs. There
are some expectations, but everything
has been quite unconventional so
people still don’t fully know what to
expect but that’s fine.” Unconventional
is the appropriate word; George’s
outlets haven’t conformed to that of
the traditional new artist breaking
through, be it through his poetry used
for government lobbying and the
release of his excellent book ‘Search
Party’ – a collection of stark and
thought-provoking poetry – George
has proved himself as an important
voice prior to the expanded attention.
With his potential ever growing it was
only natural that George made the shift
to signing with Island Records, which
has launched recent successes like
Disclosure and Hozier internationally.
For George it had always been a
dream to mix with the heart of the
record industry, “It was huge; to sign
with a major was everyone’s dream
growing up. Out of my friends, there
weren’t many of us that made it to that
level, only about three of us which is an
amazing number considering.”
The diversity in George’s work is
certainly refreshing and has earned him
a position as a spearhead for British
poetry in 2015, an art form which,
while ever present, can find it difficult
to reach a broad, and in particular, a
younger audience. “I don’t think it’s just
me, I’m part of a generation of people
that are realising that we have a voice
and our creative talents can be put to
Influence-wise, George’s cultural roots
perhaps surprisingly come significantly
from America. Prior to the interview
he enthuses about Kendrick Lamar’s
new record ‘To Pimp A Butterfly’
(he’s coming round to prefer it over
‘Good Kid Maad City’) it’s no real
surprise as there’s an obvious synergy
between Kendrick and George’s
social commentary. “I get a lot of my
inspiration from rap music, I’m really
proud of Kendrick Lamar right now he’s
giving me a lot of ideas. Historically it’s
been Nas and Tupac.” Hip-hop and
poetry in this sense go hand in hand,
George himself dabbled in grime when
he was growing up, but through his
education at Cambridge changed his
style to be more reflective of his poetic
influences as wide ranging as Maya
Angelou and William Blake. “I think hiphop is a specialist form of poetry and it
is probably one of the most prominent
forms of poetry to date because
it is based on social commentary.”
George muses, believing firmly in the
importance in rap to use the influence
the platform can provide to touch as
many people in possible. “We’re all
reacting to globalisation, meaning the
world feels a lot smaller and we have
much more direct access to people in
all corners of the world and that takes
some learning. We’re all learning,
there’s a lot further to go.”
The shift back to music for George
is one he has grasped emphatically,
executive producing his debut EP ‘The
chicken and the egg’ in October 2014
he took the helm when it came to the
process of combining his spoken word
with the perfect underlying music.
“I have an affinity for words and for
music so I got to marry the two. I had
to think to myself how would music
best compliment these words? Which
I’d never had to do.” Production-wise
George craves beats that allow his
words to be the opus, opting for a
more minimal approach in his sonic
outputs, “It was important for the beats
to be sparse to help the words speak,
my music is very conversational. I
didn’t want the drums to trip up the
words or clash. So I try to make the
beats spacious and the soundscapes
warm because I released it in the
winter so that people would be
listening indoors.” One of the defining
merits of the EP is George’s attention
to detail, as he invites the listener to
empathise and connect with the often
uncomfortable subject matter. He
details about mistrust in relationships
potently on tracks like ‘If The Shoe
Fits’ with biting lyrics delivered in an
honest and heartfelt way – “Why don’t
you put in any effort when you lie to me?”
The EP isn’t entirely autobiographical
with George instead largely conjuring
up thought provoking-messages through
metaphor or clever wordplay, he does
however allude that it’s a good way
of exercising demons from his own
conscious, “For the most part it’s allegory
or hypothetical. I’m just giving stories to
things that I was uncomfortable with
growing up a lot of which I still haven’t
figured out. It’s a technique that’s very
therapeutic.”
Also utterly endearing and inspirational
from George is his onus on self-belief
and searching inwards for answers
rather than worrying about other
people’s decision making. Individuality
and self-expression for George is
what he feels sets him apart and has
gained him this attention amongst a
midst of other more generic UK hiphop. “To you and you, if I can do it,
you can too, seven billion people in
the world, there’s only one you,” goes
the refrain of George’s anthem for selfworth ‘1,2,1,2’; it’s a message that
he believes should be a larger focal
point in the average person’s decision
making, focusing on the positives of
ones own character. “I’m proud of
that being a big theme of my work,
in order to get the country to a place
of individual empowerment it has to
come hand in hand with community
cohesion. In order to get to that place
everyone needs to start seeing the
value in themselves, because then you
cut out a lot of other stuff that comes
in.” George relates these feelings of
personal worth to the political sphere,
“For the most part it’s
allegory or hypothetical.
I’m just giving stories
to things that I was
uncomfortable with
growing up, a lot of
which I still haven’t
figured out. It’s a
technique that’s very
therapeutic.”
with his vision of change coming
through the actions of ordinary people
making their voices recognised and
trusting intuition. “Stop worrying about
the decisions others are making and
suspicion and fear which drives a
lot of our market forces and political
organisations, these things can be cut
out if we start to appreciate ourselves
a little more because when you do that
it helps you appreciate others.”
George has become infamous for
his investment in politics, speaking
affluently
on
issues
regarding
representation in modern Westminster
affairs. I ask him if he feels that the UK
government represent him, “In some
ways, there are a lot of things that
make up any one person’s identity and
there are some things that are spoken to
for me but there is also a lot of oversight.
TOP River Island
FASHION DIRECTOR
Rebekah Roy
GROOMING
Fabio Noguiera
@Frank Agency
FASHION ASSISTANTS
Viktoria Erlacher,
Sophie Yapp
WITH THANKS TO
Soho Hotel,
firmdalehotels.com
As a politician in power,
I would share the power.
I would give people
means and strategies
for empowerment over
their own futures. I think
that’s what people
want, they want to at least control their
lives.” It’s not hard to imagine George as
a politician with his obvious considered
knowledge he’s acquired on how best
to echo people’s sentiments through
his own art.
He alludes further that people should
seize control over their own destinies,
without necessarily engaging in all the
complex minutia of the complex political
system. “I don’t think everyone wants to
have an opinion on domestic or foreign
affairs but when people aren’t given
an actual opportunity to decide what
happens to them, whether it’s transport
fees next year or the housing crisis
that we’re currently in, we’re all just
waiting around for answers because
we don’t have access to the power.
There isn’t a good enough reason for us
not to.” In George’s mind, the average
person may not have the confidence
to broadcast their inner most views
– something his poetry is opening
people’s minds about. He believes
it’s social conditioning more than
anything that halts someone’s freedom
of expression. “It starts with education
and then seeps into the workplace, we
fall into behavioural patterns that don’t
give us power. We’re all old innit and
set in our ways, and what we learn to do
is cope with the world we’re presented
with, but my feeling is that world needs
some adjustment and I think young
people are the best people to do it
because they don’t have as much of a
stake in the established order.”
play out in the wealth.
I don’t want to talk
about the wealth divide
like it’s an alien thing,
it’s just a consequence
of everything I’ve been
talking about.”
With disengagement between people
and politicians, the forthcoming general
election is a precarious battleground
whereby perhaps the most significant
distribution of power could be decided
by those who wouldn’t ordinarily vote,
and by extension young people being
given the opportunity for the first
time. In the 2010 election, there was
staggering 15.9 million non-voters in
the UK, compared with the 10.7 million
conservative votes that eventually got
them into power, there’s unquestionably
work to complete to decrease political
apathy with artists like George
fastidious in changing those mind-sets.
“I think to change apathy, you need
to give people a space in the political
arena, a permanent space and seat at
the table where they can feel like there
are direct outcomes for their feelings.
This is what politics is, the management
of feelings, interests and desires. If we
feel like we’re on the outside of that
conversation we’re not going to buy
into it.”
George also highlights arguably one
of the most contentious issues under
the coalition government and one he
thinks should be treated with proper
consideration, that of the seemingly
ever-expanding wealth and class divide
manifesting itself. “It is unfair,” he
ponders, “it is wrong only because the
beginning of your life is so dependent
on who you know, which family you’re
born into or which school you’re lucky
or unlucky enough to go to, that will
The combination of humility and an
important message certainly isn’t to be
underestimated; George’s reach has
extended so far in such a short period of
time it’s difficult not to imagine his poetry
and music becoming a household fixture
spanning class and generation. He’s
even found himself some royal admirers,
“Prince Harry and Prince William have
told me they like my stuff, it was weird
there was a period of time where I just
kept bumping into them as you do. I use
that example because it’s a world apart.”
George takes it in his stride however
further affirming the sheer confidence
he emanates through his measured
assuredness, “It’s not daunting for me,
the monarchy are human.”
George seems like the real deal,
a socially conscious artist who
celebrates self-worth while remaining
grounded and endearing. With an
astonishingly eloquent young voice,
providing foundations for the spread
of ideas, there couldn’t be a better
time for his emergence to connect and
inspire young people to place their own
self-worth above the external forces
of government and peer pressure and
to create dialogues on how to move
forward as a society. In a time where
music is used largely as a functional
means to an end, to convince people
to consume and disregard originality,
George has planted his flag and could
well be one of the countries leading
voices and a beacon for progression.
DISORDER: What do you like about being a woman in Islam?
IKRAN: I just wear what I want really.
MINAZ: If you’re outside the religion looking in, people think we’re
not treated properly and it’s oppressive, but actually in the religion I
don’t think anyone here has been brought up with a view that men
are better in any way. Our religion teaches us that everyone is equal
and everyone is a human being at the end of the day. I feel like that
gets lost in translation at times due to different culture, rather than
the religion itself.
DISORDER: Fair enough! Would you say being a Muslim woman
is actually empowering rather than oppressive?
AMEE: There’s a lot of propaganda being seen now with how
women are being ‘oppressed’, but I think we are lucky to be brought
up in a western society; there’s a new born culture and I’m proud to
say I’m a British Muslim.
LADAN: A lot of the ideas about oppression come from ignorance,
there are different ideals to what a western woman would call
freedom and what a Muslim women would – there’s completely
different binaries to what we think. The mainstream concept here is
flaunting what you’ve got and be proud but our way is flaunting who
we are as people, that doesn’t mean I have to go out wearing certain
things in order to be free, I can be free in my own way by covering
– that’s freedom in itself to have the choice. You could even go as
far to say that the real oppression comes from women who feel the
need to pose naked because their bodies and themselves become
nothing more than sexual objectification. The concept of freedom is
very misunderstood between the two cultures.
FAIZAH: A lot of people don’t know that actually women have the
freedom to do as they please; I don’t have to wear the scarf but I
choose to. My parents or a man do not tell me what I can and can’t
do. Religion is very internal; everything is how you interpret it and
how you practice it.
AYESHIA: I like the freedom as in I don’t need any drugs or
simulants to have fun, I can go out and I know its genuine fun, as
I’m not under the influence on a temporary high. I also like that
people don’t see how I completely look so they concentrate on my
personality more and take me as a person rather than someone who
is just pretty.
DISORDER: Do you find any difficulties in your fashion choices
with your beliefs in being modest?
LADAN: At first when there’s a new trend out it can be tricky, but
now I find it fun, like I’ll see something I like on a model and I’ll think
of a way to wear it and modify it.
Rise of the
Mipsters
PHOTOGRAPHER: Arber WORDS: Sufiyeh Hadian
NUSAIBA MOHAMMAD • FASHION DESIGNER & BLOGGER
AYESHIA: I think it is empowering, definitely, because I’m not
being made into just this sexual object for men’s gratification which
I mean that’s cool if someone thinks I’m hot then great! I’m about
that life. But there are points in life where you don’t want people to
see you sexually when you want them to see you as a serious human
being. I mean I’m not overly sexual but I am a perv and when that
comes out it’s a surprise for people, and that’s empowering that
you can have that sense and it not be on display for all to see. I only
show what I want you to see and that’s a tease.
LADAN: I feel empowered by my own beliefs and that I can choose
what I want to do in life, that’s empowerment.
FAIZAH: In the Qua’ran it basically says that women are like
diamonds and that you shouldn’t flaunt it and lose its shine. The
one whoever you choose as your husband will be the only one to
see that. It’s special. We have idols we look up to for instance, the
prophet’s wife Khadija was a businesswoman and the prophet was
working for her, she was even older than Mohammad. She was a
boss lady. People like that should inspire women even if culture is
telling you to be a housewife, but if you look at the religion then you’ll
see it differently. If you look at all the female Muslim doctors and
lawyers they never let their dress, religion or modesty restrict them
and why should they.
MINAZ: I think it’s great as we don’t feel the need to impress
with our looks, we impress with what we’re like as a person, our
personalities. It’s a great avenue to explore ourselves individually as
you don’t have that constant worry about how we look.
AMEE: I think it’s great with the society we have now, the roles are
shared between genders, you don’t just have the housewife, or the
husband which brings home the bread. We can do whatever we like
as women, which is very empowering.
DISORDER: What are your views on feminism? What does it
mean to you?
AYESHIA: I like feminism but it’s becoming quite a negative
connotation, a lot of people don’t understand that we are equal but
we are not biologically equal as we are two entirely different entities
and our bodies require very different things for different reasons. It’s
not to say one is better than the other but it’s different.
MINAZ: I think that still comes from your confidence as well; I still
hear girls saying they can’t wear certain things and I’m like why
not?! If it makes you happy, then do it.
LADAN: The term itself is so lost now, everyone is trying to define
what it means and that actual word has just dissolved.
AMEE: I find it quite difficult balancing between eastern and
western culture because I find I don’t want to displease my parents
but I want to be myself. I find that sometimes I have to live a form of
a double life – the at home me and the outside me.
FAIZAH: Men as well they get scared if you say you’re a feminist,
they’re suddenly like oh you hate men? It’s not like that at all. I’m a
woman and I have my rights to do as I please, just as you have your
rights as a man.
AYESHIA: I find when I choose something to wear I always think
to myself ‘would I wear that in front of my dad?’ if it’s not something
I would wear in front of him then I wouldn’t wear it outside. If I
like something then I will make it halal in a sense, like wear a shirt
underneath or something so it’s not too revealing.
LADAN: I think it’s important to have that sense of sisterhood and
be supportive for all women.
MINAZ: I think it’s across the board and it’s how we perceive it.
FAIZAH KHAN • JEWELLERY DESIGNER
LADAN MOHAMED • JOURNALIST
IKRAN DAHIR • JOURNALIST
AYESIA YOUSAF • STUDENT
WORDS Sufiyeh Hadian
PHOTOGRAPHER Arber
MAKE UP Minaz
STYLING Models Own
JEWELLRY
Faizah Khan @Hira Jewels
ASSISTANTS: Sam Geroldi and Mai Osuga
MAKE-UP: Minaz
STYLING: Models Own
JEWELLRY: Faizah Khan @ Hira Jewels
MINAZ MAWJEE • MAKE UP ARTIST
AMEE BAKHT • MODEL
DISORDER MAGAZINE
Nothing More
WORDS: BOBBY LATTER
PHOTOGRAPHY: TALE FRISAK
A band forged from the union of two
countries – the majestic 5 piece are
stretched between Oslo, Norway and
London, England – Circumnavigate
consists of Carl Frederik Kontny (Piano,
Guitar), Jakob Eri Myhre (Trumpet, French
Horn, Piano) Charlie Fowler (Bass), Ross
Craib (Drums & Percussion) and fronted
by the Nordic beauty Sigrid Zeiner
(Vocals).
Circumnavigate have been around for
a few years now – since 2005 to be
precise. Originally a purely Norwegian
fistful of artists, they extended their range
to acquire some inspiration from UK
based Craib and Fowler and this has set
their tone and allowed them to expand on
the foundations they had previously set;
they have a heavily distinguishable sound
from anyone else on earth but their music
most definitely isn’t heavy. With some of
the most epic landscapes and ethereal
melodies, you would be able to imagine
almost any of their songs overlaying a film
due to their cinematic qualities, but with
their folk and jazz inspired roots it wouldn’t
be out of place to jump up and dance to
the bouncing bass lines and twang of the
high ended guitar sections.
Their ‘Stranger EP’ has a softly introverted
theme of being lost and out of touch with
everything; it depicts a surrealist view
of connecting with people, even though
there are a lot of troubles with peers
and lovers reciprocating her love. ‘Out of
Place’ shows the effort and trials faced
whilst trying to love someone, to crave
their attention and not to fully obtain it.
The overall tone from this delicate and
dark EP is a morose love story between
a girl and a pending heartbreak, which
seems to be a long and painful experience
where time is being invested into an, only
partially dedicated, other half. With songs
like ‘Feel like home’ being a lively folk
based song that is pinned with heartfelt
lyrics it’s very hard to definitively say this
band are one genre or the other with a
real specific denotation of up-beat or
down-beat, but we can say that they’re an
absolutely brilliant and inspiring band that
will be around for a long time and you’ll
be hearing a lot more from them soon
enough!
2014 saw Circumnavigate sign a threesong deal from their Stranger EP with
‘Cutting Edge’, who are the mastermind
publishers behind title soundtracks such
as Harry Potter, Lord of The Rings and
even titles like Snatch! With this deal came
the opportunity to perform the sound track
for ‘The Swimmer’, a film due to premiere
in 2016 featuring Michael Huisman
(Daario Naharis in Game of Thrones) and
Ben McKenzie (Ryan Atwood in The O.C).
The guys are currently not scheduled to
play in the UK [Correct at time of print],
Circumnavigate however have been writing
and are releasing their brand new single
‘Lifelines’ with a music video. The date for
the single release isn’t confirmed yet but
the video will be out on 23rd April ’15!
We are eagerly anticipating for them to
explode back into our London based
venues and amaze us many more times
with their unique blend of Jazz, Folk,
Classical and Pop.
PHOTOGRAPHY: CAROLINA FARUOLO
A dirty, swampy growl reminiscent of
Captain Beefheart and Dr John, which
smoulders deep below shredding guitar
straight from Chicago’s electric blues
scene, married to the chooglin’ grooves
of Creedence and vintage ZZ Top. You
wouldn’t be shot for thinking that one of
2015’s most exciting bluesmen was from
across the big pond.
But Fairhurst is in fact a homegrown
talent; Wigan born and bred, he now lives
in Bristol. Listening to him on record you
can hear that Fairhurst isn’t simply rolling
out the old blues standards, but taking the
form somewhere else.
Even his story has a mythic air to it, like a
British Faustian pact where the bluesman
sells his soul to the devil in exchange for
mastery of his instrument. But Fairhurst’s
journey to being a musician was more by
‘accident’ than anything else. Apparently
while labouring on a building site, he fell
down an unmarked manhole and lost
much of his mobility for a year. Bed bound,
Fairhurst bought a National Resonator
guitar with his compensation cash,
perfecting his skill and developing a unique
style. With an urge to get on the road, he
travelled through the subcontinent, Far
East and Africa – places that have left an
indelible mark on his sound, inspiring his
often-hypnotic grooves. But his native lilt
continues to creep into his deeply textured
boiling nails vocals, bringing the listener
right back home. He’s the real deal,
creating exciting, original records that
reference their influences, but continue to
push the music into the future.
‘Breakdown’ is the first single from his
latest record Saltwater – the first album
recorded as The John Fairhurst Band, with
a powerhouse rhythm section from Bristol,
Toby Murray and Pete Episcopo. The song
is a thrilling, groovy stomp, building to an
audacious guitar solo to match anything
Jack White ever laid to tape: straight from
the gut, spewing and wailing from the
speakers, those swampy vocals dragging
you into whatever dirt-filled pit he crawled
from. Even though this song’s musical
lexicon is pure Chicago heavy blues à la
Muddy Waters and Howlin’ Wolf, it sounds
to me like a Friday night out in Britain.
Sleazy riffery and swaggering, clattering
drums become the aural equivalent of
a descent through various states of
debauchery and sludge-headedness.
It’s one of the most exciting rock and
roll singles so far this year. My ears hurt
from cranking up the volume when his
unhinged, screaming fuzzed out guitar
reaches its peak of power, as the full fat,
caveman-like bass line rattles the ribs
while overblown, wheezing harmonica
floats in and out of the mix.
As of writing, I’m yet to see the John
Fairhurst Band on stage. With a few
London dates coming up, it’ll be interesting
to see his live show, which I’ve heard from
a couple of people is something very
special. Rock and roll has a one of a kind
power in the flesh that isn’t comparable
to anything else. Few other sounds elicit
such a primal energy, and that’s exactly
what Fairhurst’s music is: primal.
WORDS: REYHANN DAY
WORDS: REYHANN DAY
Demos for ‘Teenager’ and ‘The Taste’
followed, showcasing Black Honey as a
band with a keen sense of dynamics, one
that clearly knows its way around confident,
melodic pop hooks. They create a vibe
that, probably inadvertently, connects
them to the current wave of psychedelic
leaning, shoegaze referencing bands like
The Wytches and Tess Parks. ‘Bloodlust’,
uploaded onto SoundCloud a few months
back, comes across like Courtney Love’s
Hole gorging on mid-sixties era Beatles,
an anthemic chorus making way for
drifting ocean ambience with washed out
harmonies; while recent release ‘Madonna’
contains echoes of cult neo-psych legends
like The Brian Jonestown Massacre, with
its wall of guitars spiralling around Bee’s
effortlessly emotive and loping voice.
Black Honey sounds close to what their
name suggests: they ooze stoned, viscous
grooves, but there is something resembling
sweetness within their songs.
Secretive in their beginnings, the band
released no photos or videos; and
instead of sending out press releases,
they asked fans of the music to text them
directly to find out more. In some ways,
the band’s seemingly DIY, lo-fi approach
to publicising itself in the underground
scene makes Black Honey’s music that
much more arresting. But what could
be perceived as reverse-psychologymarketing would be worth nothing at all if
they didn’t have the tunes to back it up.
One thing is for sure: Black Honey won’t
be on the underground long. With bands
like The Horrors and Peace hitting the top
five spot on the UK Albums Chart – which
the former achieved with 2011’s krautrock
and psych-laden ‘Skying’ and the latter
managed with their recent baggy, Britpopinflected second album ‘Happy People’
– there is a sense that a generation of
guitar bands spawned by the influences
of psychedelia and the 90s are taking the
mainstream.
Although Black Honey aren’t seasoned
veterans of the live circuit yet (the band
played their first headline show at the
back end of March, a free gig in Brighton),
their stage presence is nonchalant, with
minimal interaction with the crowd; but it
is also intense, with sets often ending in
Cobain-lite, spontaneous destruction of
their instruments, as they power through
their small repertoire. Currently setting fire
to the blogosphere with glowing reviews
of their ‘Bloodlust’ EP and intimate live
shows, it won’t be long until Black Honey
have chunked up to bigger venues across
London and the UK, where the disconnect
between performer and audience is amped
up. Try and catch them before they do.
PHOTOGRAPHY: JOHN MORGAN
Hailing from the creative hotbed of
Brighton, Black Honey is one to watch on
the underground music scene this year.
The first demo the four-piece band put
out was titled ‘Sleep Forever’: a sparse,
modern sound, equal parts Jesus & Mary
Chain with its heavily reverbed tambourines
ringing over a loose, 90s-indebted beat;
and shimmering surf-inspired guitars,
given another dimension by axe-toting
frontwoman Izzy Bee’s woozy vocals.
7 DISORDER MAGAZINE
previous interviews that the T-shirts have
not accomplished anything, why do believe
this? What result would you like to see?
WORDS:
RUBY BUKHARI
Katherine Hamnett is a fashion designer
who since the 80’s has caused a political
stir with her slogan T-shirts. The shirts have
been worn by everyone from Gwyneth
Paltrow to Mick Jagger. Her new collection
focuses on the charity PAN UK (Pesticide
Action Network UK). PAN UK is the only
charity in the UK that solely focuses on
tackling with the problems caused by
pesticides. Pesticides aren’t just killing
the birds and the bees, they are also
Endocrine disruptors, which costs the EU
31 billion every year in health care as they
affect your hormones. Katherine is one of
the first ethical designers in the industry.
In 1989 Katharine commissioned research
into the impact of the clothing
industry and discovered the
hard truth. The industry caused
10,000 deaths a year from
accidental pesticide poisoning, a
million long term cases of acute
poisoning (since then the figures
have doubled), desertification
and long term contamination to
aquifers and rivers, with a huge
amount of people working in
conditions tantamount to slavery.
D: T-shirts attract attention to issues,
celebrities wearing them and endorsing the
issue etc. is wonderful, but unfortunately
the only thing that affects politician’s
behaviour is something that affects their
ability to get re-elected. Unless wearing
the T-shirt is followed up by people writing
to/contacting their elected representatives
saying they won’t vote for them next time
unless they pledge to represent their
views on the issue — T-shirts won’t change
anything. The only ray of sunshine is that
apparently Tony Blair thought they were
a menace, as after I did ‘re: The illegal
invasion of Iraq’ (a T-shirt that said STOP
WAR JAIL TONY) they made a law under
the prevention of terrorism act that said it
was illegal to make a politically contentious
T-shirt, so you could be sent to jail for
making a T-shirt that says FREE TIBET –
so it must have got him rattled at least. The
one thing they do do, I think, is push back
the boundaries of freedom of speech.
GM, that causes 1000 farmer deaths
per day, 250,000 farmer suicides in India
in the last 5 years due to pesticide debt,
desertification, long term contamination
of the water supply, kills the rivers, kills
the sea, and kills the bees and pretty well
everything else in the food chain, showed
me the living nightmare that is the fashion
industry. Changed my life’s course from a
successful fashion designer to a Fashion
industry whistle-blower.
D: Why did you choose the classic T-Shirt
as your signature garment and are you
going to expand into any other items (like
hoodies)?
KH: T-shirts are great, and you can wear
them all year round.
D: Your shirts have been worn by
celebrities such as Roger Taylor, Naomi
Campbell and pixie Geldof. Why did your
shirts and received the amount of attention
they have?
KH: T-shirts deal with issues that need
addressing and aren’t getting enough
attention. People wear them
because they believe in the
causes that they represent, and
want to endorse them, which
really helps.
D: With the elections coming up
have you decided on who you’ll be
voting for and why?
Disorder spoke to the designer
regarding her thoughts on
fashion, politics, PAN UK and the
general election.
D: What is your most proudest moment?
D: You’ve bought political and social to
the forefront of the public’s attention, what
would you say to those that believe fashion
and politics don’t mix?
KH: Getting all the traders in Broadway
Market to wear my new LEADERS SUCK
shirt next Saturday (11th April) in support of
the MYMP2015 campaign.
KH: Politics and fashion, certainly politics
and the clothing and textile industry, are
inextricably linked. The industry is gigantic
and employs 1bn people – 1 in 6 of the
world’s population. Trade agreements
decide everything, whether developed
countries’ clothing industries can exist
at all, as trade agreements make them
utterly uncompetitive, the very price of
our clothes and whether traditional skills
can survive. The fate of garment workers
in developing countries, human rights,
building safety, living wage, whether the
textile industry is allowed to poison the
world – these are all political decisions.
Even Karl Lagerfeld seems to think that
it’s fashionable to mix fashion and politics
in his recent banner waving fashion show
finale. You’ve expressed scepticism in
D: What does Choose life mean to you?
KH: ‘Choose Life’ is central to the Buddhist
philosophy. Everything we do should be for
the good of all living things.
D: You’ve commented on many issues
such as the NHS, education and nuclear
disarmament, your new shirts focus on
PAN – why did you choose this cause?
KH: PAN, Pesticide Action Network UK is
a fantastic organisation that needs money
to carry on. Their research proved that Neonicotinoids kill bees. Without them, bees
would be in an even worse state than they
are now. Their research on the nightmare
of conventional cotton agriculture that
uses chemical pesticides, fertilisers and
KH: I am supporting an initiative
called MYMP2015 which makes
MPs actually worth voting for, by
getting them to sign a pledge to
vote with their constituents in
Parliament and defy the party
whips if necessary. Right now only 4%
of the population think MPs put their
electorate’s views first when voting in
Parliament. This could change everything.
If they signed the pledge, it wouldn’t matter
which party they belonged to. They would
be representing us which is what we elect
them for and pay them to do. Who would
vote for an MP to represent them who
refused to sign a pledge to do it? I won’t.
D: What issue do you believe to be the
most important and should be addressed?
KH: Get all candidates regardless of party
to sign the MYMP2015 pledge to vote in
Parliament with their constituents and defy
the party whips if nescessary. You either
believe in democracy or you don’t. The
collections consist of 4 T-shirts and 1 vest
with carefully chosen slogans. Men have
the choice of ‘CHOOSE LIFE’ or ‘CLEAN
UP OR DIE’. Women have ‘SAVE LIFE ON
EARTH’ and a ‘CHOOSE LIFE’ vest. There
is also a unique yellow tee for children with
‘SAVE THE BEES’.
disordermagazine.com 9 DISORDER MAGAZINE
01. Johnny, 20
The Place: Sink the Pink
Occupation: Actor
What’s Your Look?
Mediterranean Gigolo
Likes: Berlin, dancing &
a full bottle of wine
Hates: An empty bottle
of wine, rain & white
chocolate
Fave Track: Holiday by
Madonna
Fave Club: Berghain in
Berlin
02. Samuel, 22
Occupation: Fund Raiser
What’s Your Look?
Black Swan meets
Dominatrix
Likes: Dance, wine &
anime
Hates: Top Knots, bigots
& heaven
Fave Track: Single
Ladies by Beyoncé
Fave Club: Sink the Pink
02
03
04
05
03 Hatty, 24
Occupation: Teacher
What’s Your Look?
Dominatrix Madam
Likes: Catwoman,
underwear as outerwear
& PJ Harvey
Hates: Boxes & bigotry
Fave Track: Roses by PJ
Harvey
Fave Club: B.G.W.M.C
04 James, 40
Occupation: Dancer
What’s your look?
1930’s Starlet
Likes: Bettle Davies
Boot leg Gin & Fast Men
Hates: Injustice,
Corruption & Cheap
Shoes
Fave Track: In the mood
by Glen Miller
Fave Club: Speak Easy
05. Scott, 27
Occupation: Makeup
Artist
What’s Your Look?
Lumberjack Realiness
Likes: Fashion, makeup
& sex
Hates: People, bunnies
& flowers
Fave Track: Feed Me
Diamonds – MDNA
Fave Club: My Bedroom
01
disordermagazine.com 01. Wiiliam, 19
Occupation: Fashion
Student
What’s Your Look?
Queen Elizabeth I
Likes: Whiskey, sex &
chocolate chip cookies
Hates: Bright Colours,
Lana Murdochy & Blueberry Muffins
Fave Track: Vogue by
Madonna
01
02
03
04
02. Cain, 19
Occupation: Fashion
Student
What’s Your Look? Peter
Rabbit on acid
Likes: Look’s, carrots &
Watership Down
Hates: Myxomatosis,
Brussels and platform
shoes
Fave Track: Bright Eyes
by Art Garfunkle &
Madonna
Fave Club: WU Club
03. Michale, 16
Occupation: Marketing
Manager
What’s Your Look? Jack
Frost
Likes: Slut Drops,
diamonds, duck wraps
Hates: Stains, denim
jeans, yoyos
Fave Track: Azilea Banks
– 212
Fave Club: Heaven
04. Beryl, 29
Occupation: Christian
What’s Your Look?
McDonalds Chic
Likes: The baby Jesus,
spam & fast-food
Hates: Fast men, the
Romans and Burger
King
Fave Track: Fast Food
Rockers – Fast Food
Song
Fave Club: KFC
05. Hannah, 18
Occupation: Painter
What’s Your Look? Toys
R Us
Likes: Unicorns, Pink &
Bitter Lemon
Hates: Beavers, Black
Holes & Downtown
Abby
Fave Track: Vogue by
Madonna
05
Occupation: Designer
What’s Your Look? Avant
Garde Nun
Likes: Fashion, art & Jesus
Hates: Politics, Hobnobs &
Basic Bitches
Fave Track: I Took the Night
by Chelley
Fave Club: Garlands
Simon (Nun), 25
disordermagazine.com disordermagazine.com 15 DISORDER MAGAZINE
01. Ayisha, 26
The Place: Oxford
Circus
Occupation: Celebrity
Stylist
What’s Your Look?
Likes: Music, People
and Wine
Hates: Prentent People,
Brand Lonores, Injustice
Fave Track: Between
the sheets by Isley
Brothers
Fave Club: None
02 Mikko, 20
Occupation:
Photographer
What’s your Look:
Black, white, minimal
Likes: Clothing, blogging, and photography
Hates: Cats and beer
Fave Track: Youth Knows
No Pain - Lykke Li
01
02
03
04
03 Heidi, 21
Occupation: Singer/
Songwriter
How would you describe what’s your look:
RAINBOW, colourful yet
classy?
Likes: anything rainbow
or multicoloured
Moschino, avocado
Dislikes: Mean and
ungreatful people
squash, any red colour
food apart from strawberrys.
Fave Track: Drama
Queens by Brixton Alley
Fave club: not sure
about clubs....but i
always have the best
nights a live music
events in hoxton!
04. Nancy, 22
04. Nancy, 22
Occupation: Journalist
What’s Your Look?
Chinese Prostitute
Likes: Rice, straw hats
and my Mum
Hates: Having no rice,
sports and beer, and
people calling me a gay
Fave Track: Dancing
Queen – Abba
Fave Club: Bingo with
my Mum
01
05. Ari, 26
Occupation: Fashion
Blogger
What’s Your Look?
Tomboy
Likes: Dirty boots, ramen, girls, house music
and Berlin.
Hates: Flakey people
disordermagazine.com 01. Sheri,22
Occupation: Director/
blogger
Your Look: Pretty Vexed
harness, Margiela
bodysuit
Likes: Sandwiches,
colour, and Oprah
Hates: Vegans, lightup shoes, and tattoo
chokers
Fave Track: Love Story Barry Manilow
Fave Club: Cathouse
02 David, 19
Occupation: Designer
What’s your look: KTZ
Warrior
Likes: Music, nature, and
travelling
Hates: Michael Kors,
Jeremy Scott, and a
packed underground
Fave Club: Cirque de
Soiree
02
03
04
05
03 Cole 26
Occupation:
Photographer
Place: lfw
Likes: Films, Art and
Skateboarding
What’s your look? : 70’s
Favorite track:
September - Earth, Wind
and Fire
Favorite club: Audio
(soon to be Patterns)
04. Tigerlilly, 19
Occupation: fashion
photographer
What’s your look: fluffy &
crazy but put together
Likes: anything 70’s/
cowgirl inspired
unexpected adventures
green smoothies
Hates: cold/wet/windy
weather, baked beans
too much makeup.
Favevtrack: The rootsthe seed
Fave Club: electric brixton or corsica studios
05. Amber, 25
Occupation: Graphic
Designer
Your Look: Ghetto Goth
Likes: Summer, shoes,
and music
Hates: Traffic, the cold,
and negative people
Fave Track: No DoubtJust a Girl
Fave Club: Warehouse
Project
05
disordermagazine.com goes with my mum and dad, they don’t sing
or dance, so I just fell in love with it through
other members of my family.
D: Where do you come from?
KA: Most of the stuff I listen to like Usher,
Trey Songs, Chris Brown. I’ve not tried to
take anything from anyone, I’m just trying to
be my own artist and make my own name,
obviously with what I’m doing I will get
compared to other artists.
KA: I was born in Nottingham but raised in
Leicester and still live there currently; I just
travel back and forth to London.
D: You’ve been compared heavily to
Chris Brown and Drake, what do you
think about that?
KA: It took me a long time to get on the
D: So are you looking to move into London?
KA: I’ve never come through trying to
be them, I’m not trying to take the crown
off them or anything, I just wanna come
through and be my own artist and let
people hear what I love doing!
D: What’s your name and what do you do?
KA: My name’s Kieran Alleyne and
I’m a singer!
KA: Yeah in the next few months I’m looking
to get a place, but long term goals…I
wanna live in America.
D: I hear that you do free running and
parkour, what came first that or singing?
KA: I wanted to be a basketball player first,
all my life I was like, I’m going to play in the
NBA but then my height didn’t really move!
I wasn’t gonna be tall enough to play in the
NBA, so that kinda went out the window.
Singing for me came about when I was
around 8 years old and that was what
I wanted to do in life, only in the last 2
years I’ve really started doing parkour and
dancing.
D: But…would you let Madonna snog you?
house vibe, but I finally got on it at the
minute! So it would be Peppered Rush
and Gecko Overdrive, I’m listening to a
lot of US R’n’B and UK Grime, I’m really
looking forward to Krept and Konan’s new
album, They’ve got Ed Sheeran on their
album, Rick Ross was on the last one,
they’ve got everybody in there, Wiz Kalifa,
almost every other song there’s someone
featuring, they’re not playing around.
D: I wouldn’t let Madonna snog me! I just
D: What’s your biggest mistake on stage?
couldn’t do it.
KA: There was one time I was performing
D: So you also play guitar?
KA: Yes, I’ve been…strumming…since I
was about 7, I only started playing when
my brother started teaching me around
the age of 10, which is when I got my first
guitar, I just started playing basic chords
and then over time I’ve just kept practicing
myself, but I’m not a guitarist.
D: What made you get into parkour and
dancing?
Dancing, I was watching Justin
Timberlake performing his ‘Future Sex
Love’ tour and I watched it about ten times
through, I just thought to myself, I want
to be able to do that, I want to be able
to perform, entertain a crowd and hold a
full performance rather than just singing.
Literally from that day I started going to
dance classes and looking on YouTube and
teaching myself really!
D: A lot of guitarists like Rock music, how
about you?
KA:
D: What’s your style of music?
KA: This is hard…I wouldn’t like to box
myself into any one genre because I
have sort of Mark Ronson stuff, House
tracks and I also have pop tracks as well
but my current sound would be urban –
commercial.
D: What influenced your music style?
WORDS: BOBBY LATTER PHOTOGRAPHY: MICHELA NALE
D: Who are you listening to most at the
moment?
KA: I love Foo Fighters; my brother
introduced me to them and my favorite
song is ‘Rope’ – But I wouldn’t say I listen
to every piece of Rock out there.
at a school tour and I hadn’t realised that I
had flicked the mic off with my hand and
I was singing away, going hard like ‘Yes,
c’mon make some noise’ and everyone was
looking at me like ‘what are you doing?’
it was kind of awkward. The second one
was that I failed a flip, it wasn’t a bad fail
but it was enough for people to notice, I
landed on the side of my foot, and fell to my
elbow, but I just styled it out by turning it
into the worm and getting back up! People
were sending me Snapchat and Instagram
videos of it! Besides that I haven’t done
anything yet…Touch wood!
D: How do you handle mistakes?
KA: You can’t look at it too seriously, you’ve
D: Is your family musical?
KA: Yeah, my brother plays the guitar and
my uncle was in a funk band, that’s what
kinda started me off in music, they would
take me to gigs when I was like 7, they
would play all the old school stuff, and
that’s what opened me up to seeing people
perform and as I got older I started doing
a few little songs, I was coming and doing
Stevie Wonder songs, and by the age of
14 I was the front man of the band, I would
just come up, do six on set and duck out.
That’s what made me fall in love with music,
so I’ve gotta thank them for that. As far as it
just got to drop and it and make your
performance massive so that people don’t
really look at it…like when Madonna fell over
on stage, she didn’t just lay there on the
floor, she got back up! And Beyoncé got her
hair caught in the fan and she had people
cutting her hair off whilst she was singing.
D: What advice would you give
to nervous beginners?
KA: Just be confident in who you are as
a person, if you’re confident in yourself
people will be confident in you, that’s the
biggest thing for me for when I’m going to a
PREVIOUS:
T-shirt from River Island
Top from Field of Ponies
Shoes by Puma
show or going to meet new people, I’m not
one of the most confident people myself,
I’ll go into a room full of new people and
I’ll struggle, I won’t be the most outgoing
person. I’d say fake it till you make it, fake
it that you’re confident and you’ll start to
believe you are.
OPPOSITE & TOP:
Top and Leggings from
Field of Ponies
Shoes by Adidas Superstars
D: How often and how long do you
practice for?
BELOW:
Top from Dinosaur Apparel
Joggers from Zara
Boots by CAT
KA: Well singing wise, I do two vocal
sessions per week with another guy who’s
managed by the same manager, and then
I’m always in the studio so that’s practice
in itself.
D: Do you have any festivals or shows
lined up?
KA: I’ve got a lot of shows coming up now
until the end of the year, I know I’m doing
Astonbury and Sundown Festival, then I’m
also performing at Thorpe Park.
D: Have you got a new single or album
coming out?
KA: Yes! I’ve got a new single coming out
around June/July time, I’m not gonna give
away too much but it’ll be one to look out
for and I’m working towards my new album
now that should come out later in the year
maybe early next year, I’ve got a lot of
exciting stuff coming.
BE CONFIDENT IN WHO
YOU ARE AS A PERSON,
IF YOU’RE CONFIDENT IN
YOURSELF, PEOPLE WILL BE
CONFIDENT IN YOU, THAT’S
THE BIGGEST THING FOR ME.
STYLIST:
VIKTORIA ERLACHER
GROOMING:
GROOMING BY JULIA WILSON USING MAC
FASHION ASSISTANT:
JENNIFER SONCO
disordermagazine.com WORDS:
MAXINE GROUCUTT
ILLUSTRATION:
JAMES MAY
Available in
and specially appointed salons. www.labelm.com 01753 612090
/labelmUK
@ labelmUK
/labelmUK
/labelm
/UKlabelm
On the 20th of September 2010 at 10am, I walked
up the steps to St Paul’s cathedral to take my place
as one of the privileged few invited to a service of
thanksgiving to celebrate the life of Lee Alexander
McQueen CBE. Solemnly the guests traded short
exchanges, each of us expressing our astonishment
that the genius of British fashion, the maverick that
could easily juxtapose fluidity and severity and
challenge the concept of classical beauty, could,
on the 11th of February 2010, take his own life.
Liberty had bought McQueen’s early collections
and as Head of Visual at Liberty, the buying
team and myself had followed McQueen’s rise.
His unpredictable, eccentric and conceptual
runway shows inspired me to seek my own creative
vision from within and create an experience for the
wider audience through my work. I walked quietly
from the service, past a procession of blacked out
Mercedes and the flashing lights from the paparazzi,
and lost myself in the throng of Londoners busy
going about their business. As I walked, I reflected
on some of the lavish and unconventional shows Mc
Queen had created, and before I knew it I had arrived
back at Liberty wondering where the time had gone.
An artist, designer, writer or craftsman
has a unique ability to add texture to the lives of
others. But to do this like McQueen you have to be
curious and able to challenge your own viewpoint.
McQueen was a keen observer of both animals
and people and thus created his own legendary
vision, which is artistically captured in the Savage
Beauty exhibition currently showing at the V&A.
disordermagazine.com HIGHLAND
RAPE
WIDOWS OF
CULLODEN
AW1995
AW2006
In 1995, a year after graduation, Lee
Alexander McQueen showed his first
collection entitled Highland rape. The
collection, inspired by the invasion of
British landlords in the Scottish Highlands
in the nineteenth century, was viewed with
suspicion by the fashion press. Many thought
the show portrayed women as sex objects and
labelled McQueen a misogynist. McQueen’s
early shows revelled in shock tactics. Often
playing on the emotion of the viewer, they
could be disconcerting and unsettling.
McQueen understood the importance of a
story and the art of performances and often
created the concept for his collection and
theatrical shows simultaneously. He was a
ringmaster who could tease and excite his
audience creating a frenzy around his work.
The show was presented in a dank East London
warehouse. The scene set by cold, dark
walls and a central square wooden walkway
scattered with heather and bracken. The lights
come up to the sinister sound of a bell tolling.
The models’ deep red, dreaded hair fell over
their battered and bruised shoulders and
a cold, vacant expression created by black
contact lenses in their eyes evoked a sinister
vulnerability as they staggered down the
catwalk in delicate, ripped lace dresses
slashed at the breast and frayed at the hem.
Tightly bound skirts, rigorously tailored
jackets, and cinched waist bodices, created
from ripped tartan and stitched knowingly
back together, revealed McQueen’s fetish for
corsetry. The revelation of the show of course
was the infamous Bumster trouser, designed
to elongate the body. It mocked its prudish
cousin, the hipster, as it skimmed over the
pelvis revealing the perfect peach of the
buttocks. Only Kylie is said to have purchased
a pair. Others were given as gifts, but this
statement piece never went into production.
This wonderful show is said to be based on
the Highland rape collection; however, eleven
years on, the label was worn on the red carpet
by some of the world’s most influential women.
This foray into high society, however, didn’t
seem to unnerve McQueen; in fact he revelled
in being the hooligan of British fashion and
laughed off the French fashion press who
dubbed him ‘enfant terrible’. On a fitting
of a cream silk and lace dress, McQueen
draped a £2,000 piece of lace around a pair
of stag antlers worn on the model’s head. Not
convinced by the effect, he rammed the white
resin antlers through the lace to give the
appearance that the wearer had lanced its prey.
He was unapologetic for this extravagance
and later said, “There is a spontaneity.
You’ve got to allow for that in my shows.”
The staging of this show seems unlikely after
the many lavish and unconventional shows
that have preceded it. The simple, blackened
room with its wooden square catwalk, flanked
by an enormous glass pyramid, seems
deliberately pared down so as not to compete
with the collection’s frilled and waterfall
ruffle gowns created from silk, voile and
chiffon. As the show climaxes, McQueen
reveals a projected ghostly hologram of Kate
Moss by Baillie Walsh dressed in yards of
billowing fabric floating inside the glass
pyramid. Her almost transparent form fades
to a twinkling light as the audience roar
their appreciation to the ultimate showman.
(An almost life sized version of the projection
will be shown exclusively at the V&A Savage
Beauty exhibition).
NO.13
SS 1999
No13 S/S 1999 is my favourite runway show as it resembles
a surreal performance by the Royal ballet rather than a
catwalk show, and the clothes feel to me as if they are
costumes evoking the severity and beauty of the ballerinva’s
backbreaking but short career. The show feels soft and
elegant in comparison to other seasons, but McQueen, still
an artist, finds his niche of contradiction when dressing
Aimee Mullins, the American Paralympic athlete, in a
leather, corseted bodice, raffia skirt and hand carved,
solid-ash prosthetic legs with integrated boots. On
the day of the show Mullins could not look down
to see the rotating platform she was supposed
to stand on as her head was trussed up into an
almost neck brace position. With her wooden
legs giving her no flexibility at the ankle, Mullins,
in an interview with Andrew Bolton, reflects, “I
just remember thinking; Okay you’ve done the
Olympics. You’ve done harder things than this. You
can do this. You can survive it.” Survive she did.
The boots became an instant hit with the press
who later realised that these were actually
limbs created by McQueen to allow Mullins
to merge in with the rest of the models.
Shalom Harlow closes the show in an
elegant and pure white dress, stood
on a rotating platform between
two industrial car robots. As
Harlow begins to rotate, the
robots seem to awaken and,
seeing Harlow between
them, sense her presence.
As if intimidated and
threatened, they work
themselves up into a
frenetic and aggressive
dance and finally,
unable to control
their almost human
instincts, they lose
control, spraying the
white dress in a circular pattern.
The myth that this portrays Harlow as the
dying swan is untrue. Harlow trained as a ballerina but the
performance was actually inspired by Rebecca Horn’s two
shotguns, which simultaneously shot red paint at one another.
PLATOS
ATLANTIS
SS 2010
Platos Atlantis, McQueens SS 2010
collection, was to be live streamed on Nick
Knight’s Show studio website; however,
minutes before the show went live,
Lady Gaga tweeted that McQueen
was to premiere her forthcoming single.
The site, unable to accommodate
her hundreds of thousands of fans,
crashed within seconds. Nick Knight
had been commissioned to shoot
the opening footage for the show of
Raquel Zimmermann lying on a sand
dune with snakes writhing over
her naked body. As the film fades,
two robotic cameras resembling
aliens
circumnavigate
the audience. As they
move to the catwalk
the music commences
and out from the
deep blue, rippling sea come
amphibious
and
prehistoric
creatures from another world.
The models eyebrows were
shaved and wore prosthetic,
elliptical gills attached to their
glossy skin. The collection
of
scale-printed,
bell-shaped
dresses, teamed with embroidered
and embellished structured jackets
and iridescent gowns of chiffon, were
worn with 10inch armadillo boots which
distorted the shape of the foot to imitate
tails. It’s a miracle that no models toppled as
they precariously floated down the catwalk.
As usual McQueen looks bashful as he walks
out to centre stage to receive the unanimous
appreciative applause. No one could have ever
predicted that this would be the last time that
Lee Alexander McQueen, ‘the Great’, king
of British fashion, would take his bow.
VOSS
SS 2001
This McQueen show examined the idea of
beauty and the relentless persecution of the
beautiful. The show started two hours late and
the audience, seated around a glass reflective,
square box, were left feeling self-conscious
and uncomfortable by their reflection.
Whether this was a deliberate move to exploit
the human emotion we may never know, but
my belief is that the execution of the finale
of the show, featuring fetish writer Michelle
Olley reclining on a chaise longue wearing a
mask with a rubber breathing tube covered
in hundreds of moths, may have been a
challenge to orchestrate. Inspired by a JoelPeter Witkins photograph entitled Sanitarium
1939, Olley’s rubenesque form is revealed, as
the glass walls of a box, present throughout
the show, smashes to the ground sending out
thousands of tiny shards of glass and moths.
This Gothic theatrical art direction, however,
could not overshadow the collection. Its
pearl-coloured, flouncy dresses and pantsuits
and beautifully crafted feather dresses
were a triumph. McQueen could easily
drift from commercial pieces to the avantgarde; making one dress from hand dipped,
red feathers, its bodices constructed from
microscope slides representing the blood
beneath the layers of skin. His inspiration,
found in every day life, led him to create
Erin O’Connor’s dress entirely from razor
clam shells after he had noticed the
decorative shell discarded by nature
on the shoreline. His sage-coloured,
ostrich-feathered
dress
with
suspended taxidermy headdress,
inspired by Alfred Hitchcock’s
‘The Birds’, and a lilac, silk
straightjacket,
stitched
with
tradition Japanese embroidery,
were
costumes
created
to
mimic the torment of madness
in his glass-padded asylum.
PHOTOGRAPHER
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Felix Larher @OneRepresents
Rebekah Roy
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disordermagazine.com barely any performers in the world that can rival
Shaddix for relentless energy and charisma, and
he’s an absolute joy to behold on and offstage.
The non-stop energy doesn’t start and end on
the stage though, because in person he’s just as
you would expect – in one word – unstoppable.
Papa Roach have come to the UK after playing
Soundwave Festival in Australia and another
show in Paris. Now in the UK, their whole
headline tour has sold out (aside from one date
– Birmingham – at time of press). They don’t
mess about. “It’s starting to build for us again
now so there’s a real good buzz going on,” says
Shaddix. “I’m feeling it. We’re the kind of band
who constantly evolves and switches things up,
so it’s a challenge but we’re digging it.”
Despite having come a long way since ‘Infest’
was first released, tonight they are set to
celebrate their nu metal days in style by playing
their debut album in full. What brought this on?
“This year’s the 15th anniversary of it, and over
the last couple of
years there’s
been a lot
of press
about the
WORDS:
LAIS MARTINS WARING
PHOTOGRAPHY:
DANIEL QUESADA
influence of nu metal,” says Shaddix. “Just knowing
that we were a part of that, it just seemed like the time
was now. And why not celebrate it at the first show that
sells out in the UK? Bam, London!”
“Now bands are feeling nu metal and talking about it
again. I mean, you look at the band The One Hundred
who are on these shows with us – they’re like a rap
metal electro crazy wow band – and Jacob, the
singer, has been listening to P-Roach since he was 7
years old. That trips me out.”
How does Shaddix feel about playing ‘Infest’ in full
for the first time? “I’m nervous. I mean, this is our first
album. It was 2000 when we last played some of these
songs, so we’ve been rehearsing every day for the last
couple of weeks and they sound tight. It’s kind of like
we’re learning something from ourselves again.”
One of the great things about Papa Roach is that they
acknowledge their roots and are proud of them, rather
than shunning them like some bands. “In the process
of making ‘F.E.A.R’, I started listening to the earlier
material again like, ‘What was great about P-Roach
that everybody keeps talking about?’ It was that
brutally honest lyric and that fucking kickass guitar riff
and that big groove,” states Shaddix. “We wanted to
bring elements of that back into the new sound, but
we’re not the same people we were then so it just
comes out in a different way.”
“Even though so many things have changed, a lot
has stayed the same. We still battle like we did back
then. We get along but there’s still war and I think
that tension and chaos within the band is the fire that
keeps us progressing. We get fiery with each other but
that’s because we expect so much out of each other,
y’know?”
You are most probably already aware of Papa Roach.
There aren’t many people in the world who haven’t
heard the name, and that’s mainly down to ‘Last
Resort’, the song that catapulted them to fame back
in 2000. The band were a nu metal sensation who
went on to influence a huge number of bands, not to
mention still get played in seemingly every rock club in
the world.
When you watch Papa Roach onstage, they show
absolutely no signs of calming down. If anything, they
bring more energy than they ever have, which is truly
impressive. Shaddix comments: “You know, the thing
I’ve realised is that some of our contemporaries, as
they’ve got older, they’ve slowed their sound down or
mellowed it out and sat in a comfortable place, whereas
us, we’ve always just pushed it, pushed it, pushed it.”
But to write Papa Roach off as a band whose heyday
was back in 2000 would be entirely incorrect, because
since then they’ve had some fantastic albums,
none better than their current (and eighth) record
‘F.E.A.R’. Today sees Papa Roach headline a sold
out Roundhouse, where they will play the entirety of
their debut album ‘Infest’ on the 15th anniversary of
its release.
“Even with some of the melodies, we’re trying to get
higher and louder and bigger. I just think that when we
dropped ‘Infest’ we weren’t fully developed as a band,
and even now, I don’t think we’ll ever reach a pinnacle
On the day of the show, we’re led up to the VIP bar of
the Roundhouse to talk to inimitable frontman Jacoby
Shaddix (formerly known as Coby Dick). There are
of what is great Papa Roach. I think it’s all just different
seasons of who we are.”
Back to the new record, ‘F.E.A.R’ (which stands for
‘Face Everything And Rise’, in case you didn’t know):
how would Shaddix describe it to someone who hasn’t
heard it yet? “I think we tried to bring in elements of
what was great in the past but also really hold onto
where we’re headed. It’s emotional, it’s deep, it’s dark,
it’s personal, and we put everything we had into it.
We’re very proud of it.”
Papa Roach have made sure that it never gets boring
– by switching it up with their music, playing ‘Infest’ in
full 15 years into their career – and that’s the way they
like it. “Oh yeah, doing something different is good. It
spices things up a bit,” says Shaddix. “It’s like putting a
wig on your wife, you know what I mean?”
“It’s dope because we’re seeing all these young kids in
the crowd now and I think playing Reading and Leeds
really helped that. I just feel like there’s this rebirth in
the sense of our band. Even after all this time, put us
onstage next to young bands like Bring Me The Horizon
and Of Mice & Men, and we carry our weight. We bring
that ruckus, we bring that fire. We’ve still got a lot of
years left in us as a band so we’re just gonna keep on
trucking and killing it.”
He’s not wrong. For a band that have been together
for so long, they still display the most intense energy
onstage. It’s almost tiring just watching Shaddix at
times. “If I don’t put every little bit out there onstage, I
didn’t do it right. Every night I walk into that dressing
room afterwards and I’m on the floor,” says Shaddix.
“I feel like I owe that. There’s been some talk about
us being a great live band and me being a great
frontman, and if they say that, then I gotta do my best
to prove that.”
It’s safe to say that Papa Roach prove that they’re a
great live band every single time they play, and tonight
is absolutely no different. They take to the stage in the
Roundhouse and they give it every single thing they’ve
got. And not only does ‘Infest’ go down unbelievably
well, but so do the new songs. It’s testament to how
relevant Papa Roach still are, and with a busy year of
festivals and headline shows ahead of them, there’s no
sign of them slowing down any time soon, and rightly
so. Long live P-Roach.
PHOTOGRAPHER Yoshitaka Kono FASHION DIRECTOR Rebekah Roy
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disordermagazine.com by refusing to get up off our arses once
every five years to tick a box? Personally,
I don’t condone the use of such visceral
emotional blackmail. They were fighting,
first and foremost, for freedom – the
freedom of choice. Choosing not to vote
is a right; forcing people to assist in a
process they might vehemently deny
doesn’t fall far short of fascism.
The argument against voting seems to
be one of legitimisation. If we actively
participate in a broken system, and then
consequently wonder why little changes,
surely it follows that we are part of the
problem. But if we don’t participate then
how will anything change? If we ignore
their farcical collaboration, the current
coalition government collated just over
17.5 million of the votes between them
in the last general election. Out of a
registered electorate of about 46 million.
That’s roughly a third. Another third,
for a variety of reasons often helpfully
accredited to ‘apathy’ – decided not to
vote at all.
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Picture the scene: A nation of pound-addled,
anti-depressant addicted automatons,
a fermenting jobless rabble locked in the jaws
of a burgeoning war on terror, their every move
and action surveyed and scrutinised in the
name of national security, as the transparency
and trust of authority figures is perpetually
called into question by a series of fiscal and
sexual abuse revelations. A poignant call
for the freedom of publication in the wake
of a terror attack on a French cartoonist as
notorious whistle-blowers seek asylum. All
the while a handful of elite casually collate
vast volumes of wealth, the manner of its
acquisition accentuating the stench like Swiss
cheese requiring deposition in an airtight
Genevan bank. You wouldn’t be blamed for
thinking that this is more reminiscent of the
bleak backdrop to a dystopian novel, than the
reality of the British political landscape in the
twenty-first century.
So how can we make wholesale changes
and reverse this downfall? There is always
of course the democratic process. The idea
being that we each have a say on our fate
in a larger communal sense. But what are
we to do when none of the eligible parties
appeal to us? What if the parties running for
election all promise similar changes as they
carefully plod towards the middle of the road?
What if we have lost faith in a system that
benefits parties who campaign on the back of
manifestos that they think will win them votes,
rather than upheld and considered ideological
standards? What if upon reaching power they
then fail to actualise the majority, if any, of their
promises? To what extent is every politician
merely donning a Clegg-esque mask with the
promise of ‘no tuition fees’ or ‘larger pensions’
only to unveil themselves, upon taking to their
highchair, as a simpering, welfare-juggling
court jester? Bring up the subject with any
politician and they will invariably tell you that
we have a ‘civic duty’ to vote, hoping of course
to increase the fortune of their party when the
polls open. Which is a convincing argument if
only because it preys on your relationship with
your country.
Another, perhaps more poignant argument,
is that people have died for our right to vote.
‘What of the Suffragettes? What of those
who fought in the World Wars?’ – they
extol. Certainly, our democratic history goes
back along a way and it took centuries of
struggle for us to reach equality in voting.
(Though there is a growing argument that 16
and 17 year olds are yet denied a vote they
deserve.) Do we not owe them then – these
nameless, faceless, men and women? Are we
disavowing their fight, and all they achieved,
We are effectively living under a
government in which two thirds of its
eligible population did not vote for. Not
voting as a protest is, as of now, utterly
futile. We would need to refuse our vote
in significant number to make a lasting
impression. Spoilt polling cards are
not counted in any meaningful fashion,
almost as if the bigwigs upstairs imagine
that an entire legion of their citizens went
to tick a box but slipped in their fervour
and accidentally scrawled ‘Fuck off you
bastards’ instead.
The irony is that, when given an
appropriate choice, when impassioned,
the people will vote. The Scottish
Referendum proved that,
if nothing else. The issue is that there’s
very little leeway in the system to vent
disillusionment. In fact, all we can really
do is make a ‘protest’ vote. To vote for
parties outside of the established two
in an attempt to stoke the fire. Look
how spectacularly that failed with the
Lib Dems in 2010. Putting suspect
moral integrity aside for the moment,
I’m not sure how different perennial
pub-goer Farage and his merry band
of anti-Euro followers are from those
currently in power. What will enabling
them power and withdrawing from the
EU really achieve? Economic stability?
A government free from deceit? Equality?
Or the same tired shit, dressed up in purple,
with slightly more intolerance? And the
Greens? Barring a remarkable electoral
campaign, it seems that this General
Election will come too early for them. As
progressive as some of their proposals
seem, again, would they not fall to the same
fate as the Lib Dems and Labour,
in terms of left-wing sensibilities being put
aside in favour of ‘austerity’?
In 2011 a referendum was held, giving voters
a say on keeping the first-past-the-post
(FPTP) system, or an alternative vote system.
In an FPTP election the candidate with the
largest amount of votes wins regardless of
whether that’s a majority. The alternative
voting system allows voters to vote for more
than one candidate, ranking them from most
preferred to least. This referendum drew
a turnout of little more than 40% of the
electorate, 68% of which voted to keep the
FPTP system in place.
The problem with this system is that it’s
designed to work in a democracy in which
two parties take the majority of the votes, the
seats divvied up between the two of them
somewhat fairly. This two party system may
have been the case in the past, but a growing
trend suggests that we are now far closer to
living in a six party democracy. Which brings fair
representation into doubt. A party might have the
runner-up in over 100 constituencies, collate
over 10% of the votes and still not have a single
representative in the House of Commons.
As the inevitable question of what a democracy
is, and should be, arises, one can only wonder
what might have happened in a referendum in
which we were given the opportunity to vote for a
proportional voting system – one that would more
closely represent each and every voter. Yet, of
course, such an option was not on the cards for
fear from the major, established parties that they
might lose significant sway.
From this, it seems only prudent to assume that,
for many, the current democratic process does
not represent a viable platform.
But for those of us consumed by this feeling of
discontent, for those of us who feel that voting
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disordermagazine.com is a lose-lose situation, what can we do? How might we make our voices
heard? Do we fall back into those pre-conceived caricatures of apathy
and resignedly trudge along? Or do we look to break free from our cultural
shackles and find a platform from which we can be heard? If we choose to
defy, to protest, to revolt, then it has to be together, concerted, and, most
significantly, with an aim. Mindless, low-scale protest is too often tarred
with the anarchists brush.
Make no mistake, this is not a call to arms; I have no desire to see the
streets on fire or the Houses of Parliament ransacked. For me, revolt means
having the courage to stand up for what you believe in. It means freedom in
the purest sense. It means taking charge, controlling and shaping your fury
into something positive. I refute the idea that, in order to incite change, we
have to act on the connotation of violence it bears.
After all, how can we build a society that preaches unity and equality on
the foundations of blood and terror? What percentage of the elite are not
victims of their situation? They may be the beneficiaries of the imbalance,
they may expound and exacerbate the problem, but are they really the
protagonists of the system?
I draw you back to the nationwide riots in 2011 and how they were
portrayed. The ‘Blackberry Riots’, so-called for the part BBM had in
their organisation, saw a section of England’s disenfranchised youth
(the vulgarly branded ‘underclass’) take to the streets to demonstrate in
the only way they knew how – by rioting. The catalyst ¬– protest at the
circumstances of police involvement in the death of Mark Duggan – soon
grew into something more, with disillusionment at economic and social
disparity swirling alongside the perceived policing injustice in the cauldron
of furore. “Rule of the Mob” and “Anarchy” read the headlines. “Feral
kids” and “wild beasts” were the choice descriptions for the brick-in-hand
bandits, and, in part, they were accurate. There was no cause to fight for,
no genuine goal in mind – it was a haphazard, spontaneous attempt for
attention, a brief expulsion of the fury and discontent bubbling under the
surface. It didn’t appear to be about achieving anything and so it was easy
to dispel as mindless violence.
To me, though, from therein exists the suggestion of something positive.
The significance of social media and the role it may, and has since, played
in energising and assembling the populace on issues of consequence,
the hunger for change, the desire to be heard. It speaks volumes for what
might be achieved when properly coordinated and sufficiently inspired.
It’s in part because of these factors that I believe that radical change is
possible, that we possess the ability to initiate it and that, eventually, we will
do so. We merely have to believe in our potential, to learn that we can make
a difference. For now though, we have a choice: We can either continue to
stagnate, or we can begin to instigate.
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SH: Absolutely. I mean, you read a book. I’ll read something and
have a song idea from reading. I’ll read Kafka and come away
and go, “I have a soundtrack I was just hearing to this book. This
sounds like this.” It becomes a big inspiration too.
D: A lot of our readers are younger and are looking to
WORDS:
JADE RYALS
break into this industry. What would you say have been
the best and worst parts about being in a band, touring,
or the process to getting to where you guys are and
everything that comes with it?
PHOTOGRAPHY:
DANIEL QUESADA
SH: The best part is we are getting to serve our
The Rival Sons aren’t an up and coming band. They’re not a bunch of fresh faced lads bouncing
on the excitement of their first gig, while they fumble around stage getting used to the necessar y
synchronizations; they are however a big fucking deal. The Sons have a unique sound that is
only enhanced by their impeccable instrumental control, unbelievable vocals, and their superior
confidence and stage presence. They’re bringing true rock and roll, something that’s been
fading into the side streets as the industr y gets overrun with electronic and pop hits. Rival Sons
features Jay Buchanan on vocals, Scott Holiday on guitar, Dave Beste on bass, and Mike Miley
on drums. We got to catch up with Scott Holiday, a ver y stylish señor, before their gig at the
Roundhouse and get to know a bit more about the band:
D: Where did the band name come from?
SH: Band names are really difficult now.
Everybody’s got everything pretty much
on lock down through all the social media
even if they’re not a real band or whatever.
This one came from a couple different
places. It was based kind of on a Lewis
Carroll novel, half of it, and then the other
half was based on Pontiac Son, the Indian
chief. It’s usually really dumb how bands
come up with their names, it probably
wasn’t too different for us. But it made
sense as soon as we said it, this has
some type of confrontational feeling in the
name, that feels good for rock n’ roll.
With this band we only had one other
name. I won’t tell you, readers will have
to do their research if they want to. It was
really short lived and then we did this one.
Don’t turn back! If you’re building on it,
otherwise people won’t know. They’ll be
tracing your history, and they’re like “Did
these guys just come out last year?”
“No, five years ago they were three band
names back.”
April 2015). So this is [monumental]! It’s
a legendary gig, Roundhouse. We did a
thing with Jeff Beck for an award show
here. We won an award here another
year. So we do this, and then we do
Nottingham and then Southampton. So
some more UK, and then we start moving
around, doing a lot of France this tour. I
think we have eight days in France, which
is like unheard of… Brazil, Monsters of
Rock, we’re doing a bunch of Norway. It’s
a world tour, so yeah, we’re going all over
the place.
D: Is it different playing in Europe than it
is in the States?
it. What were some inspirations for that
record?
SH: It’s not like The Wall or something,
it’s a collection of rock and roll songs
and we make them very quick; we write
the record as we go. We get in, we don’t
share songs until we’re mic’d up and
ready, and it keeps us really alert, really
working off the cuff. It’s a very visceral
process. So it’s hard to make a concept
in that way. It’s our fifth record, so I guess
conceptually we’re taking from every
record. You try and bring something along
and create something new: you get that
mismatch. And it turns into something
really beautiful.
SH: For us especially. We’re picking up a
lot of steam there on the radio and stuff,
but here we’ve been on the radio and
playing bigger venues for a lot longer.
D: You have been compared a lot to Led
Zeppelin I’ve noticed? How do you feel
about that?
D: So you guys have a bigger fan base
SH: Relentlessly! I mean on one hand…
here?
how do you feel being compared to one
of the greatest all-time ever rock and roll
bands? It’s kind of like the kiss of death
on one hand because you’re going, you’re
never going to fill those shoes. On the
other hand, it’s a great compliment that
people enjoy it that way. There’s two
ways to see it: Pfft, these guys are like
Zeppelin… or there’s: Man, these guys are like Zeppelin! It’s a
great honour to be compared to them; at the same time, you’re
always trying to break out of that box and not be that one note.
Any band that believes that’s what they are, that’s sad. I know
the only way we’ll ever really break out of that is to continue to
prove it on our records. If you go through this record, there is
plenty, if not most of the record, that you would think, “This is
not a Zeppelin thing, at all.” And really the comparisons, I could
probably get lambasted for this, it’s very unconscious. We’re
not here thinking, “Oh, let’s do a Zeppelin song.” Never have we
said that. You’ll find us listening to The Animals, The Kinks, or The
Laws, Radiohead, Tame Impala much more than you’ll hear us as
a group listening to Zeppelin.
D: Would those bands then be your musical inspirations?
SH: Plenty of them, some of them absolutely; as well as Zeppelin.
We’re not even focusing on rock and roll only, we’ll probably listen
to Sade later, it’s really across the board. We’ll listen to classical,
a lot of jazz. We incorporate a lot of different types of music into
our pedigree if we can.
D: So where did you get your personal inspiration from?
SH: From all of those things, all of these different types of artists.
D: What’s your upcoming schedule?
SH: Yeah, so like here we’re playing
Roundhouse, but at home we’re playing
half the size maybe.
SH: We’re playing here in Camden, this
is our biggest headlining date so far (1st
D: We recently been listening to your LP
Great Western Valkyrie and really loved
But even just travelling is very inspiring. Seeing other art is
really inspiring, you know, going to a museum, seeing beautiful
paintings. That sounds really high minded and esoteric, but it’s
really true. Seeing different lands, meeting different people,
seeing other people’s inspirations in art. Fashion might even be
a huge inspiration. It’s not one thing, it’s not just music, it’s all
things.
D: I like that. It’s almost visual anthropology in a way.
muse constantly, like automatically, more than an
actor or a writer. We are immediately in front of an
audience every night. It becomes - and I won’t be
the first person to say it - but it becomes a drug. It
becomes something that feeds you, like a medicine. It’s
really gratifying and it also makes a lot of people happy.
We see this on a nightly basis - people’s joy and how
they’ve incorporated our art that we really do for us,
it’s become something for them. And we have
fans - I have this with the bands I mentioned
before, the music becomes the soundtrack
to our lives. It’s like how we remember,
think about your favourite time in your life
and you can almost always think about
a soundtrack that went with it, a band, a
song, something. So becoming that for
other people is super gratifying. It’s a
really humbling and cool feeling, and I
get to be out here and play Cowboys
and Indians with my brothers! The
downside is I also have a family at
home and I live in a great place.
I live in Huntington Beach,
California on the coast, literally
Surf City, USA. It’s really hard to
leave, it’s hard to leave loved ones
at home for weeks and months on
end. Easily, that’s the worst part.
D: Where do you guys see you going in five
years, ten years? Where do you guys want
to be?
SH: We kind of make a five year plan. I
mean, you have to as a business. But
bands are really reckless and it’s hard
to really to know if a band’s going to
be together for a year. There’s even a
historical capture of Mick Jagger when they
were just starting with the Stones, it’s on video.
They’re asking the same thing - where do you see
yourself in five years, how long do you think this
will go - and he says, “Oh I’m going to get into
advertising, you know, I can only see this going
for another year or two.” And here he is today.
It’s hard to really forecast exactly where we’ll
be and how it goes but we’re going to keep
doing how we do. On the current course, we
should be gimongous in five years!
PHOTOGRAPHER: DANIEL QUESADA
DEATH FROM ABOVE 1979
ROYAL BLOOD
PAPA ROACH
it’s just blatant! So those are much more
geared outwards to the outside world.
After spending a couple of days with the lovely gents from
Nothing More – which consists of Jonny Hawkins (Lead vocals
& additional percussion), Daniel Oliver (Bass & backing vocals),
Mark Vollelunga (Guitar & backing vocals) and Paul O’Brien
(Drums) – we finish off an amazing gig at The Roundhouse,
Camden, where everything started to get a bit blurry towards
the end and move on to a photo shoot which is so creatively
set it’s unreal. We then get down to interview business, which
was a deep and delving experience, getting to look into the
emotionality and feelings that make up the songs that we hear
coming from these guys.
D: How did you transition from your last
album to the stuff you’re writing now?
JH: Basically we write about whatever’s
The photo shoot took place at The Wellington Club,
Knightsbridge; a distinctively abstract and seemingly out of
place display of artistic cultivation, which strangely fits in as a
niche, yet sought after, club for those who don’t want to conform,
if you get the opportunity, go.
D: How’s the tour going?
JH: The tour so far, has been like a
behemoth of an undertaking for us,
because this was all budded up right next
to a bunch of US touring, so we kinda
started on a pretty fatigued foot. Once we
got rolling and we got through the jet lag,
things have been smooth sailing and really
awesome! We just finished in the UK and
it was great to see some returned faces
from our last tour and a lot of people that
we met last time. Also it was kinda strange
we ran into a ton of bands when we were
in London playing at The Roundhouse;
probably one of the coolest things about
being on the road abroad is running into
people randomly from your country or
even your own state!
We were at a bar right after the show at
The Roundhouse, and we ran into like,
Monuments, which is a band that we
played with at Soundwave [Festival],
Young Guns were there and You Me At
Six, Halestorm and Wilson.
It was a pretty celebratory night, if you
catch my drift, so it was a little blurry.
D: How’s the new music video coming
fresh on my mind, working on the video
and what not. Right as I’m uploading the
first draft, that’s kinda pretty much done,
this guy walks into the green room, his
name was Jonny as well, I haven’t met him
before and he walks in and started talking
to me. He started saying that he noticed
we played the song ‘Jenny’ live, and that
the lyrics seemed to ‘really line up’ with his
situation. He asked me what I was working
on and I was like ‘oh I’m actually working
on the video for that song’. Eerily enough it
turns out he has two sisters as well… like
I do; he’s a first born…like I am, his name
is Jonny, and his middle sister, which is
the same as my middle sister which the
song is about, had almost to the ’T’ the
exact same experience that I did; but she
ended up taking her own life, that was the
only difference. With my sister... my sister
attempted to, but anyway long story short,
we ended up having like a heart-to-heart.
He told me some things I think I needed to
hear and it really got some gears turning in
my head and my heart, it was really weird
timing, and sometimes life is like that, but
it was just the strangest timing since I had
been working on this video forever and I
felt a weight lift off my shoulders as I hit
the upload button… and he just walks into
the room.
my sister – has been like, it’s a very tricky
reality that’s very hard to navigate.
D: Did you shoot the new music video all
yourselves?
video I’ve got to direct so I got to really take
it by the horns and steer it. I’ve wanted to
do that but I didn’t feel confident enough
to do that in the past. This one was so
close to my heart with the story, I felt like
we were gonna get more real passion and
feeling out of it if I did it, rather than getting
someone else to do it that hadn’t gone
through the same exact experience.
I’ve been having a lot of weird dreams about
my mum and my sister, because it’s been
JH: It kind of changes; nights when I’m
feeling very cratered in and insecure or
kind of dealing with something it’s much
D: What about your lyrics for example the
song ‘Mr. MTV’?
JH: The record is more heavily introspective
into the music video? What kind of style
are you going for?
in a lot of ways: in regard to grappling
with our own emotions, feelings of loss
and relationships or kind of one on one
situations. There are a few more tracks on
the album that focus more outward, like ‘Mr.
MTV’ and ‘Christ Copyright’ which have a
more sociopolitical/religious undertone…
or maybe it’s not even an undertone, maybe
really psychological and there’s no band
shots. I just wanted people to enter into
the insanity that my sisters life and our
life as a family – having to interface with
nervous? Especially with all the emotions
tied to the songs, or is it empowering?
So I got to direct it and edit it; it was a huge
learning process and it’s very different to
what I’m used to with producing music
and recording, but similar enough for me
to kinda figure it out as I went along with
it. It’s [filming] been great the guys actually
can relate to the whole story as well, they’ve
had input because they each have a sibling
that have had some things, in some ways
that are similar to the struggles that my
sister has had, so it’s an exciting process.
D: Can you give us a hint at what’s going
JH: Yeah, it’s really like a fever-dream, it’s
It gets mixed up too; the weird thing I’ve
been learning is that, when you sing a song
every night and it’s about something that
is very raw in your life and sensitive to the
touch, you naturally build some calluses
around it because you can’t feel it to the
full degree every night. I mean if you did
you’d be a wreck and you wouldn’t have
any longevity [as a band], so some nights
I feel it more than others and some nights,
in a sense, you’re kind of going through
the motions, because you kind of have to.
D: So are you hitting up any festivals
this summer?
D: Going on stage do you still get
JH: We shot it all in LA; this is the first
along?
JH: Great, I actually just uploaded the first
draft that the label and management have
seen, they’ve been asking for it and asking
for it. I think they were getting kinda nervous
because they’ve not seen any of it yet.
been lurking beneath the surface and
what’s been boiling up, this record
that were going to start writing in the
near future is also gonna be the same
kind of thing – we’ve been piecing stuff
together individually. We just feel things
and experiences and document them,
and figure out ways to express them in
a way that connects with other people,
especially when we start travelling. It’s
so obvious and clear that people pretty
much share the same gambit of human
emotion and their situations are slightly
different in the details, but the heart of the
situations are so similar, and to me, that’s
the exciting part of songwriting – that you
create this thing that applies to so many
people in different situations, but still remain
true to your own.
harder I think. I even put a post recently
that was kinda just being honest about
where I was at, I had a pretty bad show
where I wasn’t giving a lot to the audience
because I didn’t feel I had that much
to give. It’s moments like that where it
actually seems to make it worse and being
on stage is like a negative thing and it sort
of turns on me, but most of the time it’s
actually more of a healing and empowering
thing to be open.
FROM LEFT TO RIGHT
White shirt from River Island
Waist coat from Anthony Morato
Chinos from Just
Black Jacket from River Island
Black T-shirt from Mossimo
Jeans from Vans
Shirt - own
Jeans from Levi
Black Leather Jacket and
shirt from Anthony Morato
Trousers from Rude Jeans
JH: We don’t have a lot of details set out
yet – we’re about to find out. It’s been
evolving a lot. One of the things we’ve
been throwing around is the possibility
of doing some European festivals in the
summer, if not that, then we might come
back [to the UK] in the fall – touring kind
of stuff, not festivals, more club dates.
D: What bands have you been listening to?
JH: I just came across a song by this
band Alabama Shakes’ called ‘Gimme
All Your Love’ and it really caught me off
guard because it didn’t seem like anything
I’d sort of be interested in, as it’s quite
vintage-y southern, soulful like americana
kind of music or something of that nature,
but when I heard that song it caught me
off guard so I’ve been checking them out
a lot lately.
An artist called Polica – really interesting
and weird – it’s a girl singer that does a
lot of effects on her voice and it’s more
of an aesthetic art thing; it’s just a really
interesting sound.
I’ve been listening to Monuments a lot lately,
it’s something I’ve been getting pumped
up to before the show overtime and The
Deer Hunter – they caught me off guard a
little bit too. I’d heard of them before and
they were a bit theatrical sounding so it
didn’t really interest me it was like a little
too music theater-ish or something, I think
I just heard a particular song that I didn’t
like, because when I went back to it I was
like ‘Wow! This is really, really good stuff’.
It’s like really tasteful songwriting.

Disorder Magazine Issue 3

Transcription

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