If you’ve picked up any one of alternative rock band the Pixies’ studio albums between 1987 and 1991 you’ve seen Simon Larbalestier’s work. Discovering, and being moved by the album art, I was inspired to seek out more. What I found was beautiful and emotive imaginings that through Simon’s lens seem to go from worldly to otherworldly. The English photographer’s art evokes a sense of loneliness and atmosphere of bleakness. It always makes me wonder about the story behind the image. My mind goes into overdrive trying to imagine just how the vision came to be and how the subject got to the point at the moment Simon documents. Compelling stuff (contemplate his work for yourself below).

I’m excited about this interview also because it is the first in a series of collaborative interviews I am doing with my friend Erik Otis, editor-in-chief of LA-based publication Sound Colour Vibration. We put our heads together and came up with the interview questions for Simon. We thought it’d be interesting, challenging and fun to do interviews together—a first for me. It’s exciting after 18 years of interviewing to try something new. No matter how much I think I know about interviewing, there’s always so much more to learn. I like to think of an interview as a collaboration between an interviewer and a subject…I hope you enjoy this collab from me, Erik and the amazing photographer, Simon Larbalestier. Welcome to Simon’s world…

BIANCA: What compels you to record the things that you see and experience in the world via the medium of photography?

SIMON LARBALESTIER: This is an interesting question and often asked of me. When I see something (often out of the corner of one of my eyes) something subconscious is triggered inside of me and if I am carrying a camera I will stop and shoot what I see. Sometimes the reasons for the photos are not immediately known but later I see they relate logically or emotionally to something from before – right now (as in today 24th January) I am tending to work shooting pairs of objects/images – something I saw today relates to a thing or things I already have in my archive and so there is immediately a relationship but it is not always like this.

FreeFall, 2013 © Simon Larbalestier

I am currently writing this whilst shooting new work in the province of Chiaphum, North East Thailand or Isaan as it is more commonly known. Having just net a block of time in South Korea I have stacks of images that I wish to pair or make series of. The wider the geographical location between them the better as it enhances the sense perceived distance and time. Space and Time if you like a concept I am very interested in. I can only make this kind of work using lens-based mediums and right now these are digital capture devices: cameras. I prefer to visualise and represent the world as I see it through the specific choice a camera lens. Each lens has for me a different visual signature although sometimes the nuances are so subtle you would be hard pressed to see them. So I am primarily interested in presenting the viewer with a photographic 2D vision of the world as I see it.

Crocodile & Centipede, 2012, © Simon Larbalestier

LongGun, from the series Alphaville, 2011
© Simon Larbalestier

ERIK: I tend to ask this to every photographer I meet who has some years of experience in them through the art form, did the work and legacy of the Photo League or other organizations like it play a role in how you approached your craft in the beginning or at any other stage of your career?

SL: The legacy of the work of certain photographers certainly influenced me at the outset but it was their lifestyle and the way they saw their world more than the images themselves. I remember reading Edward Weston’s Daybooks cover to cover at a time when I could relate to so much of what he was thinking and feeling especially in terms of his personal life and relationships. I took great stock from this. I was always interested in the photographers who tended to exist on the fringes of the photographic world; people like Ralph Eugene Meatyard, Duane Michels and Arthur Tress. Their work was deeply personal and not conventional or commercial and this was important to me. I did also follow others who did well in the commercial world but they did not hold the same fascination for me. Why? Because their work was for a client and I was already busy doing this myself and compromising (read diluting) the final images. There were of course exceptions to this but these appear further down in my answers to your questions.

ERIK: You have been known for much of your career with shooting in black and white and have recently been shooting in digital mediums with lots of color involved. With a long extensive career in analog photography, what were some of the catalysts to using digital mediums?

SL: I held off from working with digital cameras right up to late in 2008. I had taken a compact (Sigma DP1) to Cambodia along with a larger kit of film cameras 120 and 35mm panoramic. I wasn’t too impressed with the results of the Sigma although it did present a color world I had not visualized before and I think this was subconsciously an important trigger/catalyst. Later in the year I began what was to be a long series of book jacket covers for the works of Charles Dickens (I think I did 14 in all you can check on Amazon!) the first 3 were shot with film cameras – an Xpan and a Leica – dutifully hand processed, printed, toned and then scanned by me. But costs in materials and the time it took outweighed the budget and I realized that this analog approach for this project was not financially viable. So I purchased a small Ricoh GRD 11 and shot the rest digitally using the Sigma for long views and the Ricoh for close up/macro work.

Glove, Minotaur series 2008-9 © Simon Larbalestier

Cuban, Minotaur series 2008-9 © Simon Larbalestier

This critically coincided with me also landing the Minotaur Project who would have thought that 22 years later Vaughan and I would be asked to revisit the Pixies legacy! By this time I had returned to Asia and knowing that I had already achieved what I felt to be the best of what I could have done using film cameras already for the original Pixies’ sleeves I decided to use the project to explore the potential of compact digital cameras. I travelled around SE Asia using Vietnam, Thailand and Cambodia as location sources for the Minotaur work. Because I was shooting in RAW color was always the first option but I still enjoyed converting files to monochrome and working on them much as I would have in a conventional wet darkroom. And I still do this today although software and cameras have moved on a lot since 2008. Some of the last shots for Minotaur were made with the Leica M8.2, Leica’s first foray into the professional digital market. The Leica M9 followed later the first full frame digital rangefinder camera. Had this been available at the time I started the Minotaur project I think the images would have been quite different as the file rending of the M9 images is second to none in my opinion (I am of course curious to see what Leica’s latest offering can produce). You will have noticed how in these answers I always refer specially to the type of camera this is because I like to match certain cameras and lens combinations to certain types of subject matter and their rendering. I was exactly the same when working with film. The advent of digital photography finally opened my eyes to being able to work in color although I has always admired and loved the 120 film work of Richard Misrach and Wim Wenders’ color work.

Mosquito, from the series Ishan, 2011, © Simon Larbalestier

Minotaur, Minotaur series 2008-9 © Simon Larbalestier

ERIK: With the industry changing a great deal since you began shooting photos, what type of advice can you give someone looking to shoot in analog formats who has little or no experience in that domain yet?

SL: I think this is an extremely hard question to answer in a helpful and positive way. It depends very much on what the perceived outcome of the imagery is to be, who will see it and how it is to be presented. I have a whole stock of film cameras back in the UK and a fully equipped darkroom but both need maintenance and for the darkroom easy access to the constant supply of chemicals and papers.  Sadly I am never back in the UK long enough to set up print run and then when I do the chemical left soon become out of date. But that’s my situation! My advice would be buy cameras that you know can still be repaired and serviced and decide how you want to output the final images. Does one want control over the entire process and do everything oneself. I did! If so then the investment in quality darkroom kit and hi res scanning equipment is certainly not cheap.

Sahara Desert #1, Morocco, 2010 from the series “The 5th Quadrant”. Selenium Split-toned Silver Gelatin Print. Image Size: 18x46cm. Paper Size: 34x50cm. Printed on the very rare Sterling Premium F Grade 3

BIANCA: I’ve noticed that in most of your current online galleries – Sepium, Direction of Last Things, Odyssey and PIXIES – on your site that there is reoccurring subject matter of religious and/or spiritual iconography in shots; is there something in particular that attracts you to these kinds of shots; is there something in particular that attracts you to these kinds of symbols?

SL: Yes there is always a strong link on the spiritual iconography it continues to fascinate me even on the current trip now. Part of the fascination is hard to explain I am just drawn to it but a logical part of me would say that it’s the human belief in FAITH – that makes me want to a capture such iconography and this dates right back to the mid 80′s when I was documenting Catholic Churches in Italy and Greece. That single human element of faith is the connection between man and landscape (at least for me). Recently I have been reading much around the subject of Pychogeography and I can see how my work has always subconsciously fitted into this niche. Much if what I shot back in the 80/90′s was as relevant to this subject as to what I am shooting right now.

I also like to cycle between projects, themes and subject matter and then preset works that cover a longer distance of time and space.

Nimrod’s Son, 1986 (Pixies: Come on Pilgrim, 1987)
© Simon Larbalestier

RedAngel, 2010 from the series Alphaville
© Simon Larbalestier

“room 25″ from the series “tempus” 2012© Simon Larbalestier

“room 27″ from the series “tempus” 2012© Simon Larbalestier

Madonna, from the series Narrow exit, Chungju-si, Korea, 2012 © Simon Larbalestier

BIANCA: In an interview with you back in 2004 you commented that “Angkor Wat still remains singularly the most significant place for me”. Do you still feel this way? Why is it so significant to you?

It certainly was then and I often think about it now but sadly the last time I was able to visit was back in 2008 and I would guess much has changed since then based on the rate of change I was recording between 2001-2008. Cambodia still represents the most significant country for me. But in present circumstances and my family within Thailand such a move there would not be appropriate. Why was it significant? Hard to say because it was an overall feeling – the light, the sense of slow rebirth from the genocide regime of the late 70′s, the air, the color of the earth and the people. Much of this was located around the Angkor Wat Temple Complex. I guess it represented a kind of microcosm to me. And I still think and dream about it now especially these last few days up in Isaan which reminds me so much of Cambodia.

Leah Heng@ Angkor Wat, Cambodia, 2004 © Simon Larbalestier

Boys in the Rain, Angkor Wat, Cambodia, 2001 © Simon Larbalestier

Documentary work for the Cambodia Trust, Kampot Province Cambodia, 2006 © Simon Larbalestier

BIANCA: You’ve also mentioned previously too, that “Shooting is always a very intense time for me” could you elaborate on this a little for us please? In what way is it intense for you? Is it a positive intensity or not-so positive, or a little of both maybe?

SL: Yes always intense – I get lost in the moments or moment of capturing what I see and feel. Often I find myself shooting at difficult emotional times, I could sit down and probably map them all to personal events. Maybe one drives the other maybe I subconsciously drive myself into a personally difficult situation to then be able to go and make my work – perhaps that’s sounds too self indulgent or too reflective but I think it’s how I tick looking back on it. I am driven emotionally not logically – I tend to feel first and think later – not always the best course of action when living one’s life.

Elephant, from the ongoing series Relic House, begun in 2012 © Simon Larbalestier

ERIK: You had the pleasure of working on the box set reissue for the Pixies collection Minotaur. What types of emotions or feelings did this experience draw from you and what were some of the most memorable experiences with compiling that project with Vaughan Oliver?

SL: Most of the answers to this have been addressed in the answers above but to add to this I felt at the time back in 2008 that I wanted to embrace, capture the rawer rough essence of available light photography and in 95% of cases shoot things exactly as I found them. The Pixies’ work from the 80/90′s was always shot in studios using controlled lighting, maximum sharpness, and an almost surgical precision. Situations were built in front of the camera lens. Even the portrait images (Surfer Rosa, Spike and Nimrod’s Son) were essentially setup as still lives and recorded photographically the traditional way. Minotaur was the opposite of this and there was a darker humor in the imagery and I liked the fact that all of it came from South East Asia. Because I was using smaller camera and everything was hand held I had much more freedom to snoop and scope my dark material. I put out of my mind the work I had shot before I looked at everything with new eyes but was careful to make sure that the subject matter matched with the earlier work.

Walking with the Crustaceans, from the series Doolittle 1988, © Simon Larbalestier

Walking with the Crustaceans II, from the series Minotaur 2008-9, © Simon Larbalestier

The nature of the fact that I was in SE Asia and Vaughan was in the UK set up a different kind of working relationship in that I shot everything before showing Vaughan and in the days of the early work, back in the late 80′s,  I would wander in for a lunch of Guinness and show Vaughan the contact sheets. This time the material being digital meant that, that particular aspect was lost to us (this is what I miss the most about working digitally – the physical sense of leafing through contact sheets and being able to smell their chemical makeup). I think the most memorable experience for me was when we were putting up the photos for the Secret Gig at the Village Underground back in 2009. My children were with me at the time helping and so was Terry Dowling. Terry was both tutor and mentor to both Vaughan and myself still we burn bright candle for him in our respective works. My kids grew up with the me printing the Pixies images the props from the shoots were in the house and the images so they were well acquainted with the Pixies but to meet them as young adults was as amazing for them, as it was for me. There we were, Vaughan, Charles Thompson (aka Frank Black), myself and Jack and Lucy all laughing about some joke. I made an image of them all laughing and it represented perhaps the most significant moment in the pixies legacy – a moment in time when we were all united.

Village Underground Pixies Secret Gig (Soundcheck), Minotaur, July 2009 © Simon Larbalestier

Village Underground Pixies Secret Gig (Soundcheck), Minotaur, July 2009 © Simon Larbalestier

ERIK: Your contributions to the 4AD family in the 80′s along with the design companies 23 Envelope and v23 really put your legacy on the map in the musical arena. What type of working atmosphere was present in the studios 23 Envelope and v23? What was your favorite project when working on 4AD materials?

SL: To be honest I kept outside of the 4AD/v23 social and work loop. We had a young family and I was busy trying to straddle and juggle commissions of all kinds, teaching work, developing my own work and managing a family. Sometimes I was working all-night and teaching the next day. Working with Vaughan on our projects was always liberating something I could not really have when workout on more conventional commissions which required much compromise (there were executions of course – one being working with Chris Jones at New Scientist Magazine we always had a great time making images for science stories). So my trips into the v23 office were often brief and we would retire to the local pub. I always appreciated that Vaughan and Chris Bigg (and others who joined the duo for periods of time) were always busy and tightly bound to music deadlines. There was a big social network as there always is with the music industry but I kept to the outside of it perhaps in the same way that my heroes and mentors Ralph Eugene Meatyard and Edward Western did in their own way.

“Sentinel”, from the series Narrow Exit, Chungju-si, Korea 2012 © Simon Larbalestier

ERIK: What are some projects that you have out, are working on right now or will start working on soon that you’d like to mention and let the people who read this know about?

SL: There are several new projects some of which will probably interlace or fuse into each other. They are all psychogeographic in their nature. Some have unusual working titles that may change by the time the works become more finalized. Here are a few:

“Something Seen Whilst On The Way To Somewhere Else”
“Something That Happened Whilst On The Way To Somewhere Else”
“HOUSE RELIC” or “Relic of a House destroyed by Fire”
“Parallel Monoliths” or “Parallel Dialectics”
“Arcanum”
“Axiom”
“Tempus”

Room 225 from the ongoing series tempus, begun in 2012, © Simon Larbalestier

The recent work I exhibited in Seoul, South Korea was based on this concept

“I Can Be Here While Somewhere Else” whose working title was: Supplanta (dis | place | ment)

“A series of photographs which represent evidential documents of places I have momentarily inhabited whilst experiencing a strong sense of personal displacement both physically and psychologically. The combination of an aesthetic that utilises an analogue retro-framing of digitally captured imagery further enhances this state of displacement. The very fact that the reading of photographs is always retrospective, acknowledges the notion that the passing of time is always referenced in the present moment. The content of the photographs record fragmented details of unfamiliar texts, abandoned objects of sedentary interior comforts, disintegrating,distorted, disembodied or malformed vegetation, foggy landscapes or habitats that are in a state of decay. Evidence of modes of transport (a boat by a stone jetty, a railway track and cycle signage) have also been documented to elicit a desire to escape from this sense of displacement. ”

Visitors can see the exhibition details at this link on my Addenda Blog.

There is also the big project Cyphers which I begun last year and now have a lot of new material to update it with in the coming months. This is all housed on its own blog; Cyphers and will consist of a large number of images that inter-relate or provide background info to past projects.

Also just out is an interview with me about the Repository series. The magazine is called Photo Art Contemporary and Fine Art Photography Magazine and is just recently out – I haven’t seen a copy yet until I get back to Bangkok. I don’t know if it’s a Thai magazine or International but from what I read of the initial interview it raised and asked some interesting questions of me, which might further inform readers/viewers of my work.

Repository, IXX, 2011 © Simon Larbalestier

Repository, IIX, 2011 © Simon Larbalestier

A documentary on Simon:

For more Simon Larbalestier.

CREATE FOREVER,

*All images courtesy of Simon Larbalestier.

Tags: 4AD, Cambodia Trust, Edward Weston's Daybooks, Erik Otis, New Scientist Magazine, photography, Simon Larbalestier, Sound Colour Vibration, spiritual iconography, the Minotaur Project, the Pixies (band)

I’ve been corresponding with Dan Newton – frontman of Brisbane band Galapogos and editor-in-chief of Heavy and Weird blog – for a month or so now. The dialogue has been refreshing and engaging. In this lengthy interview Dan talks about the ‘pure punk rock experience’, keeping ticket prices low, of having integrity, the ‘evils’ of the music industry, feminism, Riot Grrrl, spirituality, Patti Smith and more.

If you’re in Brisbane this Thursday (Feb. 7) you can see Dan in action with Galapogos at The Zoo playing with The Halls, Foxsmith and Little Planes Land. Doors 7:30pm. Tickets $10. For more details go here.

You’re a busy guy Dan—the vocalist for Brisbane band Galapogos and, the creator and editor-in-chief for site Heavy & Weird (focusing on music, politics and art). What motivates you to do all that you do?

DAN NEWTON: I like to keep busy and focused and I don’t like having my time wasted basically. So, I guess instead of interacting with life and having it wasted with pointless and fruitless pursuits I decided to go after and do things that I like doing. I love to write, whether it is music or an article for Heavy and Weird. I just love sitting down and collecting my thoughts and expressing myself. I love communication and doing my best to get better at it. Communication is at the centre of everything and as human beings when anything breaks down in any relationship it comes from a lack of communication. Playing and creating music and doing the self-diagnosed journalist thing allows me to engage in so many levels of different communications. It allows me to connect with a great many people and in the process plug into so many different points of view. I love that exchange, when active communication is connecting you to someone regardless of whether it is through debate or a mutual love of something. The fact that you are sharing ideas and communicating is positive, you are learning; all great points of view come from that kind of knowledge where you are just plugging into all the different human beings that make up this amazing ocean of chaos. So there is that, and also the fact that I want to slow time down. When you spend your time dreaming instead of doing you just see time rush by and you waste your opportunity to live. I’ve got no time or patience for that process or any sympathy for people who dream but don’t act. I’m doing what I want because I have a desire and I don’t believe in being content or satisfied with having “just enough”. I always want more from this life.

Oxygen is like a fucking drug to me, so I don’t have time for partying, boyfriends, girlfriends, marriage, kids or the freedom of Friday night. So I have a lot of time for my work and if I’m going to have so much time to do it then I better be prolific and I better be consistent and I better create at all hours. You can either waste life and waste time or you can take it by the fucking balls and keep moving forward and do what you want. My advice to anyone who complains about their position in life is to shut the fuck up and just “do” and fucking get it on. Only you will fail you if you don’t.

On your band Galapogos’ Facebook page the lone ‘Band Interests’ listed is: The pure punk rock experience. What do you mean by that? How would you define it?

DN: Punk rock for me and the rest of the band is not a sound. Certainly we all love the genre of punk rock and the whole history of it but when we talk about the ‘pure punk rock experience’ we are referring to the attitude and discipline that you need to be an individual and remain independent. It’s about being awake and aware to the world around you and using your experience with disappointment to engage in positive and forward thinking movements of change; to use compassion instead of hatred and to invest in the basic principle of choosing love over fear. It is about striving for equality and justice for those around you. Most importantly it is about using our vehicle of communication – music – to help people strive for peace, both inner and outer and to ensure that across all levels of our career that we do everything possible to tell the truth.

It isn’t about fashion or tattoos or the clichéd identity that mainstream culture plugs into when it talks about punk rock, for us it is a spiritual philosophy that requires you to open your mind to everything, even the enemy; to make sure that you are doing your best to educate yourself and the world around you. You got to make sure your message is funded by love and has that understanding of the darkness and never ever be satisfied. Always question but always remember to listen. That is the pure punk rock experience and it is an energy that has filled all the great minds of our history.

What was your first encounter with this ‘pure punk rock experience’?

DN: If you had of asked me this question in my early twenties I would of given you a whole bunch of important names like Henry Rollins, Ian McKaye, Patti Smith, Thurston Moore, Kim Gordon, Ed Vedder, Phil Anselmo and Neil Young. As a 30 year old man, I can tell you that my parents – Brian and Aileen – were my first encounter with this. You see, they may not have been influential punk rock musicians and in terms of their own taste they would much prefer listen to Roy Orbison and The Beatles than Black Flag and Fugazi, but the reason why they are so important to my philosophy is because they taught me how to be an individual and to go out into this world and combat the cruelty and to stand tall. They taught me how to avoid becoming a victim of the cruelty and to love life as opposed to fear it.

My mother is the ultimate feminist icon in my life because she is a leader and taught me the many virtues of love and compassion and how to cope with the many different levels of loss that can occur in your life. She taught me self-respect and how to be proud of whom I was and that just because I was different that didn’t mean I had to feel like a freak. She taught me how to respect the world around me and how to smile even when the bastards are trying to kick you when you’re down. She plugged me into the importance of education and reading books and engaging in active communication and to tell the truth. Her greatest lesson was that you get into more trouble if you lie and this stays with me to this day.

My father, he taught me how to sniff out the bullshit in every situation and his almost supernatural ability to be so spot on when it came to sensing if someone was full of shit or was genuine is a lesson I am glad he taught me. He taught me the power and importance of a firm handshake and that sometimes optimism has to wear heavy boots and that although by telling the truth and being honest you may not always win every single popularity contest, you will have a clean soul and sort out who belongs on the ride with you and who needs to be removed and left behind. My father also taught me how to be a gentleman and how to respect and love woman. He taught me about equality and the importance of when to say “fuck you” and how to use my mind instead of my fists. My parents are the greatest examples of human beings ever and all of those qualities that they taught me were amplified when I became fans of people like Henry Rollins, Ian McKaye, Patti Smith, Thurston Moore, Kim Gordon, Ed Vedder, Phil Anselmo and Neil Young—who to me are the musical epitome of the pure punk rock experience.

What do you feel personally when you perform? I know from our previous chats that it is a spiritual experience for you.

DN: Music is the place where I celebrate my spirituality. I think it is important to outline that music for me is not about entertainment nor is it a hobby or simple pastime. I love learning about and investigating the full history of music. I believe that in order to be a successful artist you have to plug yourself into the history of your artistic vehicle. People who don’t are just making a bunch of empty calories and it is simply tolerated vandalism and pollution; all the fevered egos and the music they make is so insignificant to my journey. Like all investments in history, you need to understand its place in the story of evolution. Know that enemy, consume it and understand how to do what you want as an artist despite it. You have to make that choice of whether you want to be a musician or an artist. Trust me there is a big difference.

In terms of performance, I like to muse on that history of music and how it has influenced me to manipulate and create my own sound. A great band is a group of people who are madly and deeply in love with each other and through this love they use the same kind of energy that is involved with great sex and together make a sound that is unique to their souls and their truth. It has to reflect all of the emotions pulsing through each individual making up that group so that the collective consciousness aka the band, can birth all of those feelings and emotions into a sound that is coming from the many different dimensions of existence. It is about channelling inner and outer space and helping give the idea of God a face and a voice to exist. God may have many different faces but she is known by one name and that is love. For me as long as love is at the centre of it then you will always arrive at a pure sound experience.

Now let me dull down internal dialogues that read the word “God” and think I am some religious freak. I am not and our music is not a celebration of religion, it is a celebration of the divine, of the shiver that we all feel. Our sound is funded by the darkness and the disappointment of life and it is incredibly emotional. These emotions come from our own experiences but also the greater experiences of the world around us.

When we play we plug into something higher because a lot of what we write and release is fully improvised. A lot of the times, in fact pretty much all of the time we don’t even remember playing it because we are all in such a trance that we just become conductors of the different spirits and dimensions surrounding us. All we do is tell the story through our imaginations and musical skill. Sometimes it is a personal story that gets told whereas other times it is the emotion and energy of whatever room we are in. It can be intense. Sometimes it may be an exercise in nonsense or humour but, the most important thing at the centre of it is the fact that we arrive at it through our collective meditation on that shiver to help a divine communication to transpire. When you see a Galapogos show you will always experience the moment as opposed to some rehearsed show.

If you look at the spiritual principles of the difference between meditation and prayer, meditation is listening to god and prayer is speaking to god. When we play live, our noise meditations are about listening to the energy of the Universe and all of its wonderful dimensions and through that delivering the other human beings experiencing that moment with us some kind of dialogue to what is happening and to hopefully open them up and wake them up and ultimately spread love.

Getting into that space before each performance requires discipline and you have to allow yourself to get both comfortable and vulnerable, which is my first instruction to any audience before we begin. In those moments before we begin I try as much as I can to be in a silent space and to plug into a degree of calm because my performance requires me to muse on all of my emotions and the many different ups and downs that have motivated me to open my mouth and sing. Prior to this, when we first arrive at the venue I like to walk around it and get a feel for the energy of the space and muse on the history of what has occurred inside of it. It’s important to engage that ambience so that you can feel what kind of mood that space is providing you. Before we all hit the stage I make sure I tell each member of the band how much I love them through either words or an action like a hug or kiss and then once we step on stage I simply close my eyes and surrender. What happens after that surrender is beyond my control. Anyone who has any inch of spiritual knowledge understands how important surrender is.

Once I get off stage I just need to get away from everyone and to be by myself and to give myself the space to come back to earth. It is exhausting but orgasmic and on a basic level, feels fucking really cool. Like I said, oxygen is my drug of choice and after those noise meditations I’ve had my fucking full hit and maximum high. In that moment I feel so connected to the world and have the most love ever pulsating through me. It’s in that moment; however brief that I glimpse inner peace and it feels fucking beautiful.

Galapogos seems to operate a little different from most bands, you guys have such a prolific output of music; can you give us a little insight into your process?

(continues over page)

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Tags: Bec Wolfers, Benjiban Bohn, Brisbane music, collapse board, communication, Corin Tucker, Dan Condon, Dan Newton, Darragh Murray, Denis Semchenko, everett true, Feminism, Fugazi, Galapogos (band), Heavy and Weird blog, henry rollins, Ian McKaye, Ian Rogers, Jerram Gabriel, Luke Koster, music industry evils, Neil Young, Patti Smith, Riot Grrrl, spirituality, The Halls (band), Todd French, Triple J

I have New York producer Don Fury to thank for introducing me to The World/Inferno Friendship Society. After I interviewed him (NY Record Producer Don Fury: “I still have an ethic that reminds me of the streets of New York, back in the day…We will always make true records with lots of heart and energy.”) he sent me some tracks he had worked on with TW/IFS that he loved and thought I might dig too—he was right, I totally did! TW/IFS’s music is a whole lot of punk and soul meshed with klezmer and jazz; they’ve been called circus punk, cabaret punk and even anarcho-punk. Their live shows are a spectacle, exciting and a total riot. Over the years the band has had 40+ members!

Charismatic frontman Jack Terricloth kindly answered some questions and informed me about a TW/IFS comic book, an upcoming US east coast tour, work on a new record and more. I hope someone brings them to tour Australia soon (hint hint promoter friends!).

What was that story I heard about you and Screaming Jay Hawkins? You were friends?

JACK TERRICLOTH: No, no. I just followed him around for a time. I doubt he ever even remembered my name but he got me backstage once or twice which I think is probably the story you’re referring to as I’ve seen it floating around in various forms. I’d tell it again but thinking about that evening it’s not the salacious details that spring to mind. What I remember most about that evening so many years later (and indeed, I find it hard to recall the second woman’s name, Amy maybe?) is one of Jay’s encores he played alone on the piano. I’d never heard the song before or since and it was really just a slow blues vamp, describing heart ache and unfaithfulness. It was New Year’s Eve and Jay had been playing with breaks for over 4 hours. He was clearly tired and the tempo faltered. The older black ladies dressed in Sunday best on the side of the stage, who I assumed were wives or girlfriends of the band members, looked concerned and held their hands to their face or breast. Jay hit one last chord on the piano closed his eyes, sighed and sang “you can go straight to hell” so sadly. The lights went out and he went backstage. It was 3 in the morning of a brand new year.

When did you first start performing?

JT: Me? Oh, as a neophyte little punk rocker in 1985. Outdoor festival in Highland Park, NJ. We listed ourselves as “the fastest band in the world”. There was moshing on the village green.

What was growing up like for you?

JT: Growing up was awful, never want to do it again.

Did you have much encouragement from your family in the early days?

JT: Oh yeah, if my sister and I didn’t busk at least 10 dollars every day after school our parents would beat us black and blue with my sister’s drumsticks (beating us with guitars was too expensive).

What’s the best advice you’ve gotten lately?

JT: It was in Barcelona from a friend of a friend named Colinda who seemed to know way too much about me. I glanced disapprovingly at the girls in my band, who talk. “Jack,” Colinda said to me, the sun was coming up. “You should give it up Jack. You should conquer this urge of yours to control. It can only lead to damage and destruction. It can lead only to decay.” Everyone moved away to fight over sleeping arrangements. I stared at the sea and we held hands for a while.

I understand that as well as being a musician and performer you’re a writer.

JT: I am! I have a novella and a collection of short stories out which have been compendiumed (is that a word? fuck it I’m a writer) into a hardcover entitled “The Collected Cloth”.

I read in a previous interview with you that you wrote a vampire science-fiction mystery novel!

JT: That’s only been serialized so far; I’ll have to go back over the whole thing before it ends up under one cover.

Are you currently working on anything?

JT: Going over things so they can go under one cover isn’t the most rewarding work so I’ve been kind of dragging my heels on writing until that is done.

When you’re writing do you ever find your work being influenced by what you may be reading at the time? Read anything amazing lately?

JT: Having an individual voice is probably the most important thing for a writer so that is a danger. Maybe that’s why I’ve been reading biographies lately. I just got through the new Leonard Cohen one “I’m Your Man” by Sylvie Simmons and the last Frank Sinatra book “The Voice” by James Kaplan. Ate ‘em up. I also like reading pulp fiction to relax, enjoying Rex Stout’s Nero Wolfe novels. Easy reads but still with words you have to look up so you can convince yourself that you are bettering the intellect.

I first found out about TW/IFS via producer Don Fury. How did you guys come to work together?

JT: I knew Don back from the Agnostic Front days and then from bar tending on the Lower East Side. It was obvious that Red Eyed Soul was going to be an important record for us and that we would need a lot more discipline than doing it ourselves with our damaged democratic methods. We tried working with some very mainstream pop producers but there was no vibe and actually a lot of animosity. So I ran into Don one night at a benefit we did for ABCNORIO at Bowery Ballroom and proposed the idea, feeling here was a man that had produced hits but had cred no one could argue with. I phrased it to him as “NY Hardcore meets God Is My Co-Pilot” who he had also produced (and actually played that night too – that must have been why he was there). He seemed kind of interested and said yeah send some demos. I did. It turned out later he did not remember who I was at all but dug the material! In his defence I have changed my name several times and meeting someone at a CB[GB]‘s matinee in the 80s as a stage diver then at a rock dive as a bar tender in the 90s then at a big show as a crazed looking singer at a theatre show in the Aughts doesn’t give a lot of context to place a face. We got along great and recorded two records with him in like a year and a half. On those records we were in Coney Island every day 12 hours a day for months. His new studio up in Troy, New York is great but moving the whole circus up there for several months would severely change the local flora and fauna and I’m not sure they could afford it!

What do you feel (if anything) Don has brought to TW/IFS sound?

JT: The ability to tackle the guitar player for not listening without any recrimination in the tour van afterwards! Wish there was a video of that somewhere. He also really paid attention to the lyrics, poured over them every day and got me to enunciate which sometimes I have a problem with (just have too much to say). We did have an argument about radio friendly words which of course ended up being a waste of time.

You’ve been getting a lot of press lately, mostly good but some negative. I don’t know if you read your reviews but if you do what would you say is the most legitimate bad review you’ve gotten?

JT: Oh, who can resist reading about themselves? I thought Mark Leyner had a point when he wrote in The Jersey Journal about a month ago “. . . although World/Inferno claim to abide by a stern idealistic protocol, this gang when viewed from a certain perspective can seem like harebrained cartoon characters lurching haphazardly from one debacle to another motivated as much by mischievousness and perversity as anything resembling intent or design.” Like he should talk. Oh well.

Before forming TW/IFS you were in a band called Sticks And Stones which you wrote Tattoos Fade for, which would become TW/IFS’s first release after SAS didn’t want to do it. When you moved on to start TW/IFS, was it an easy decision for you to make?

JT: No, it wasn’t. That breakup took forever and I still miss those guys. Oddly enough two members of Sticks And Stones are working with Inferno at the moment, three if you count me. Still I wish SAS had been more successful, we worked very hard.

How much thought-out effort went into the evolvement of TW/IFS distinctive style?

JT: Like most punk rockers we first concentrated on what we didn’t want to be and then worked with what was left. It was kind of a pro/con situation. For example: 1) we don’t want to play rock music but we want to play very fast. OK, so let’s downplay the guitar and play the piano really fast. 2) We want our lyrics to be political but we don’t want sing about the way we feel emotionally about it. OK let’s write about historical figures and how they felt about it. 3) We don’t want to be a bunch of sullen looking boys in a cargo van taking themselves very seriously. Ok, let’s invite everyone in this bar to rehearsal, try to enjoy ourselves then make up silly names for each other to remind us not to give a fuck. Kind of like that.

You were once asked: how do you become a member of the World/Inferno Friendship Society? To which you replied, “You just have to be at the right place at the right time, you have to have a broken heart and ambition to be more then you think you can be.” Please elaborate on this, what does having a broken heart have to do with things?

JT: When you have a broken heart you have nothing to lose. That is kind of an important requirement in my line of work.

I’ve read that last year TW/IFS were kicked off a tour with The Adicts. In an interview you commented on what happened saying: He was fucked up, I was fucked up, whatever. He says “You’re a fucking drug addict!” is that what happened?

JT: Pretty much, I replied that his band spells their name wrong, he took a swing, I ducked. Neither of us wanted to apologize and they were headlining that night (we’d been alternating on the East Coast) so we set up some alternate gigs. I don’t think anybody is proud of the incident. I like those guys. Sometimes I have to remind myself that the tour came to a bad end when I see their logo on some teenager’s t-shirt.

In your life have you experienced drug use?

JT: Sure, who doesn’t like drugs? It’s not a lifestyle choice or a significant expense but partying happens, of course it does.

Does it have an influence on your creativity? Positive or negative?

JT: Hm, sometimes there is an advantage to having a certain fluidity to your thoughts but then you have to clean it up afterwards so it might be more work. No, I don’t think it has an influence on my creativity other than occasionally putting me in ridiculous situations I write about later.

Could you please share with us a life changing experience that you’ve had?

JT: I met a guy in bar one late night who said his name was ‘Justice’ and I thought, oh man this is not going to end well. I was talking to a girl who was trying to convince herself that having an affair was ok and I thought, man this is not going to end well. The bartender offered to buy us all shots and I thought, oh what the hell. Justice stared at us and shook his head. I didn’t get his point at the time but eventually Justice got me. It took a couple years anyway.

For you, what is the most fulfilling thing about what you do?

JT: People getting in fights, people falling in love.

Why is TW/IFS important to you?

JT: Because it frequently leads to kissing and kissing is our most effective weapon against Fascism!

What’s next for TW/IFS?

JT: Believe it or not there is a comic book based on our exploits with an EP of brand new songs put out by Oakland California’s Silver Sprocket Bicycle Club in February and we touring the East Coast of the United States for that in March and then begin working on another album. Forward ever forward!

Thanks Jack! One last question: what are your favorite two song titles when put together also form a sentence?

JT: Bankrobber, fly me to the moon.

For more The World/Inferno Friendship Society. Jack’s book The Collected Cloth. @worldinfernofs

In anarchy & ecstasy,

*Photos courtesy of TW/IFS facebook. 1) Jack photo by Rose Callahan. Other photos by Konstantin Sergeyev. If I’ve used a photo you took get in contact so I can credit you, or alternatively take it down.

Tags: ABCNORIO, agnostic front, cabaret punk, circus punk, Don Fury, drugs, God Is My Co-Pilot, Jack Terricloth, Mark Leyner, New York music, NY hardcore, Red Eyed Soul (album), Silver Sprocket Bicycle Club, Sticks And Stones (band), The Adicts, The Collected Cloth (book), The World/Inferno Friendship Society

I first discovered Telepathe on a recommendation from Courtney Love. She called the New York electronic duo ‘cute’ and ‘cool’. The Strokes’ frontman Julian Casablancas and Diplo are also fans and Trent Reznor flexed his remix skills on the first single from their anticipated forthcoming sophomore LP Destroyer. I recently caught up with Telepathe’s Melissa Livaudis and Busy Gangnes to get a little insight into what they’ve been up to, news on the new album and what inspires them.

Why is music important to you?

BUSY GANGNES: It is a creative and emotional outlet for me.

MELISSA LIVAUDIS: It’s the only thing I’m obsessed with in life.

When were you first drawn to the possibilities of electronic music production?

ML: For myself as a producer, production became a reality as soon as I bought Logic.

BG: I was inspired by other musicians that used the studio as an instrument and weren’t entirely focused on live performance. I wanted to create with a wider range of sounds and textures because I started to feel the limits of playing drums in a live band.

Do you create most days? What’s been the most interesting thing for you about creating lately?

ML: I take breaks from writing music. Right now I’m really into DJing techno and listening to all the records released on my favorite label called, L.I.E.S. It’s really important to feel inspired rather than just churning out music like a factory.

BG: I’ve been choreographing lately; the dancer I am working with is very talented and inspiring.

What’s Telepathe’s ethos in relation to your creative process?

ML: I’m always changing it up because I get bored very quickly and need the feeling of growing and learning more—basically a constant quest for knowledge.

BG: We have a unique way of collaborating that we have developed over the years. We build on each other’s ideas while maintaining our individual creative voices.

I adore the song Heat that was uploaded to your soundcloud a few days ago! What’s your personal favourite thing about it?

ML: Heat is an old song! We made it for ‘The Fader’ in like 2009. My favorite thing about it is to hear how much we’ve evolved as artists but still maintain a lot of the same elements: synths, drum machines, effected guitar loops and us singing together.

BG: I love the heavy beat.

Trent Reznor, Alessandro Cortini and Atticus Ross remixed your single Destroyer; what were your first thoughts on it when you heard it for the first time? Why did you choose them to do it?

BG: We chose to ask them because we are big fans and respect their music. They paid us a huge compliment by returning an amazing remix. I was especially drawn into the ending of the remix. It’s emotional, powerful.

ML: Who else would be more perfect for a synth heavy song?! They are so rad and I do feel so blessed that they did it.

What inspired the song Destroyer lyrically and musically?

BG: Destroyer was inspired by the character, Pris, from the book Do Androids Dream of Electric Sheep which Bladerunner the movie was based on.

You recorded the new record in LA; what inspiration did you get from the city? I’m assuming your environment would influence your art somewhat? Have you always paid close consideration to your environment?

BG: Yes we were inspired by the hot sun, foliage, and prevalence of cults and new age culture in the Los Angeles area.

ML: I’m inspired by girls.

In an older interview with you, you commented on the creative process for your debut LP Dance Mother saying “Writing those songs was a long creative process”. Was this the case with the songs for Destroyer?

BG: It was another long process but more focused and succinct than making Dance Mother. We felt like seasoned songwriters this time around.

ML: Completely locked into the zone.

Do you have a release date yet for the LP?

ML: I wish Modular Records would put it out and then we could soon have a release date.

I’ve noticed from a few posts on Telepathe’s Facebook page that you have a fascination with the darker side of old Hollywood and, films in general; where does your interest in this spark from?

ML: Kenneth Anger and City of Quartz really sparked that curiosity and then it all just became so weird and interesting once I started to pay attention to Hollywood’s eccentricities.

BG: I love Kenneth Anger and his critique on the dark side and decadence of old Hollywood.

I know Telepathe like bands/artists such as Kool Thing, Twin-Gemz, Jumping Back Slash, Lissy Trullie, Levon Vincent, Spank Rock and John Maus; are there any commonalities or a quality that these artists share that you admire or that resonates with you?

ML: Well some are very good friends and I consider us to be all part of the same musical community. I love and respect all of the artists you mentioned above. Most recently, Levon Vincent’s “Stereo Systems” has blown my mind. I must have listened to it 20 times in a row when I first heard it.

BG: Kool Thing and Twin Gemz are our peers. They make innovative electronic music; we support each other and play shows together.

What other music and artists are you most excited about at the moment?

ML: Today, I’m excited about M Gun, Jorge Valez, Legowelt and L.I.E.S. Records.

BG: Regal Degal.

Do you have other creative outlets besides music you could tell us about?

BG: Dance, choreography, and performance art.

ML: All things that are art and girls.

Is there anything that Telepathe are really passionate about that you’d like to share with us or would like to raise awareness of?

BG: I’m happy that I have a chance to express my creative voice.

ML: Do whatever the fuck you feel like!

Lastly, what’s something that you’ve seen, heard or experienced lately that totally amazed you?

ML: I just spent four hours last Saturday with my girlfriend rolling around on the floor of La Monte Young’s Dream House. If you come here, I’m gonna take you!

BG: I witnessed a friend of mine go-go dance in public for the first time, it was amazing!

For more Telepathe. Telepathe’s blog. ‘Like’ Telepathe. @TELEPATHE

Create forever,

*Photos courtesy of Telepathe’s fb & Tumblr.

Tags: Courtney Love, Destroyer LP, Jorge Valez, Kenneth Anger, Kool Thing, L.I.E.S. Records, La Monte Young's Dream House, Legowelt, Levon Vincent, M Gun, Regal Degal, Telepathe, Trent Reznor, Twin Gemz

It’s official! CWB is part of the Australasian Vice Blogging Network, along with other rad blogs like I Am Very Busy And Important (I interviewed its creator not too long ago – Multimedia Journalist, Zine Maker & Singer-Songwriter Sophie Benjamin: “Rolling Stone is embarrassingly out of touch and stodgy…”), Something you Said, Romiya and more.

Over the years, I’ve loved (and still do) reading arts and culture publication, Vice Magazine. I especially enjoy their interviews. Here’s a few you guys might like to check out:

• Vice Meets: Winston Smith – he’s an artist that’s made awesome collage art covers for bands like Dead Kennedys and Green Day, he’s work has also appeared in places like Punk Planet and Maximum Rock n Roll zines.
• An interview with Teri Gender Bender from Le Butcherettes – the new Queen of Rock!
• Karl Lagerfeld – an interview with the Kaiser himself
• Vice Meets: Debbie Harry – music Editor Kelly McClure spends an afternoon with 70s punk icon.
• Anarchy and Peace, Litigated – a brief history of the idealistic punk icons Crass.
• An interview with 13th Floor Elevators frontman Roky Erickson.
• Positive Thinking: Talking To The Creator Of The Negative Guest List Fanzine. RIP Brendon Annesley, the Brisbane zine community misses you!

On the topic of interviews, I have lots of exciting chats in the works that I can’t wait to share with you! Including an interview with the amazing NY electro duo Telepathe; phenomenal Irish instrumental band And So I Watch You From Afar; Jack Terricloth frontman for the The World/Inferno Friendship Society; hip hop duo Akoko and oh so much more…stay tuned!

Gratitude,

*Vice Magazine cover illustration by the awesome Sophie Heywood

Tags: Akoko, And So I Watch You From Afar, blogs, Crass (band), Debbie Harry, independent press, Jack Terricloth, karl lagerfeld, Le Butcherettes, Negative Guestlist Fanzine, roky erickson, Telepathe (band), Teri Gender Bender, The World/Inferno Friendship Society, Vice Blogging Network, Vice Magazine, Winston Smith (artist)

I know there are still a couple of days left of January but I thought I’d give you my January round-up early. I’ve been feeling a little under the weather and to be honest, January has been a really trying month for me.

Loved ones have been really ill, I’ve been feeling blue (I actually revisited a piece I wrote a few years back How to Fight a Case of the Major Sads and made a mix tape to inspire me to break the funk I’ve been in) and as I haven’t been functioning at 100% and able to do all I usually do, I feel like I’ve been letting people down. On top of all this, my home state (QLD) has experienced quite a battering this past week…it feels like it has rained forever! There’s been flooding, mini tornados and power outages (over 230,000 homes in the dark).

Now, I know this hasn’t really started out as positive as my usual posts but, it’s the truth and life isn’t always super fun. If you keep reading though I promise it gets better! Y’all know I’m a punk rocker at heart and as punk filmmaker-musician-radio host Don Letts once told me: punk rock is about turning negatives into positives. We all have the power of choosing how we feel: Choice. Use it!

In happy news, my debut piece for Rookie was published – Hero Status: Josephine Baker. Also at Rooks I got to recommend one of my favourite hip hop albums Deltron 3030. I also contributed fun links to awesome online round-ups featuring ponies in cardigans, “voodoo punk Marie Antoinette”-inspired makeup and pipe-cleaner-and-trinket-adorned tiaras! I even got a RT from Vivienne Westwood (the grande dame of British fashion) in relation to Rookie!

I made cupcakes.

My debut feature for art and design magazine No Cure was published too—a 10-page spread on Brisbane rockers Violent Soho. They also interviewed me for a feature celebrating zine culture: Zines: How Freedom of Expression Went From Photocopier to Phenomenon.

One of my favourite bands PYYRAMIDS got me to write their bio. They’re actually previewing a new track – Do You Think You’re Enough? – from their upcoming record today.

And, my Jhonny’s Mystery School played a packed show in Brisbane! British ‘tastemaker’ Everett True was even in attendance and had something to say about the performance.

Drum roll please….da da da dum. Here are the most read interviews for January (click on the artists’ names for the full interview). I always get surprised (in a good way) with the stats and what’s a popular read. I love that my readers are so diverse! In fact CWB has had its most visitors yet!! A big welcome to all the new readers! :)

1. Heather Gabel & Matt Skiba

HG: For me I see love as unconditional, no judgement, full support and appreciation of another person. Pretty rare.

MS: Love is when you’re afraid to do something but you do it anyways. Oh wait…that’s courage. Love is Lou Diamond Phillips.

2. chase.dakota’s Sammi Burley

I love how with crystals, every piece is different and unique, so even if two people buy the same style necklace, they are still different. I also believe they bring positive energy when wearing them.

3. Miss Pussycat

I was booking a Mardi Gras show at Pussycat Caverns and it was going to be with the Demolition Doll Rods and this band Quintron, who I had never met or I hadn’t even seen pictures of (it was before the internet). I was going to do this puppet show. I had this whole crazy puppet show about a sea monster. The cops came to that show and were like, ‘oh no! You can’t do this show.’ The neighbours complained. We waited for the police to leave. The Doll Rods didn’t play but Quintron did and I did a puppet show. It was just the most amazing, insane journey to the centre of the Earth Mardi Gras. To me Mardi Gras is our anniversary. Mardi Gras is intense. It’s spiritual and intense, beautiful, dangerous and crazy.

4. Minna Gilligan

For me, being an artist is largely about being an observer, collecting and collating experiences in your mind that seem significant to you as an individual. I feel lucky to be an artist, to approach things from left of field, to have that ‘other’ space to let things breathe. I like how each work I make can carry a sentiment, an experience, and I can let this out to exist in the world like a song on the radio, entering people’s lives subtly but intimately.

5. Boys Boys Boys!

On stage wear has just gotta be as bright, colourful and fun as possible! I LOVE anything that sparkles, the sparklier the better! So lots of sequined tops, shiny, lycra pants and crazy sneakers. And lots of bling to top it off! Anything that makes you POP is a must. A girl’s gotta look her flyest on stage after all!

6. Nadia Buyse

Music means a lot of things to me. First of all, it is a coded language that has esoteric roots but is universally understandable simultaneously. Secondly, it is a physical manifestation of the rhythmic patterns of life both visceral and surface. It imitates these rhythms and synthesizes them into something pleasurable. Feeling heart ache is a lot different than listening to the sound of someone’s heartache but it is relatable, as we will all feel that in our lifetime. Music is a constant in a world of inconsistencies. And on a more personal level I really felt music saved my life.

7. Mosterheart

I always had music around me, growing up. I always listened and sang… oh but the first song I recorded was, Let’s Talk About Sex by Salt n Pepa, when I was five on my little tape recorder—reeeeally inappropriate!

8. Rock n Roll Bride’s Kat Williams

I guess the key to an authentic and cohesive brand is just to be honest and genuine with your inspirations. My branding is VERY me so it’s actually really easy to be consistent with it – because the things I share and am inspired by are genuinely the things I love. If you try to be something you’re not or you try to emulate other people it’s just never going to work. Being yourself is much easier!

9. Louise Distras

Music is my saviour. It’s the only thing that ever keeps me awake at night and the only thing that gets me out of bed in the afternoon. It can make us feel happy or sad, it can empower us and give us hope. It’s a way of changing the world around us for the better. It’s a very powerful force and I believe it can definitely change the world.

10. Laura Mardon

My New Year’s resolution is to less self-deprecating. I want to try and stick by that. I guess I should flip it really, I want more PMA. That’d be the PMA way to think about things, right?! Yeah, I want PMA all day.

I also LOVED chatting to The Gooch Palms and Dan Trolley!

I hope your New Year has gotten off to an amazing start! Remember, only you have the power to create the life you want…

Wishing a great big HAPPY BIRTHDAY to my big sis Juanita! Love you lots and lots and thank for being such a good friend and helping me with stuff that our mum can’t now because of her illness. It means the world to me.

Love & light,

Tags: 10 Most Read Interview on Conversations with Bianca, Mystery School, No Cure magazine, PMA, PYYRAMIDS, Rookie, Violent Soho, zines

I love lo-fi music. I especially love when it’s one person making it entirely by themselves like Melbourne musician Dan Trolley does. I only recently discovered his noisy garage-y synth-punk record, Hours Electric—it’s been on high rotation at my house since. The debut solo release is available on cassette tape housed in a neat looking clamshell case (it kind of looks like a video game cartridge/mini VHS case from the 80s). Dan’s also the front man for the 70s punk/60s garage pop inspired band, Mass Cult. This Wednesday (Jan 30) sees him finish his month long residency at The Tote (with Wilding & Shiva and the Hazards - event details). He is currently working on a follow up LP.

Why did you decide to start a solo project?

DAN TROLLEY: I recorded some demos which were supposed to be for my band Mass Cult, but they didn’t really work out. The music I was writing became more experimental and more electronic with the use of drum machines and synthesisers not just garage punk so I decided to do a new project with these songs. The challenge was to play the songs live solo, which I now have been doing for the last 6 months.

What drew you to home recording and a lo-fi aesthetic musically? Is your music lo-fi out of necessity?

DT: I used one mic to do the whole album. The same mic I use for my vocals live. It was pretty much all recorded in my dining room. I got mastered 4 songs first for a planned E.P. The first person I gave a copy to was Ariel Pink when he was in Australia last year. The mastered version sounded good to my ears so I finished the album. I was very happy with the lo-fi quality and I didn’t think a studio would capture the whole vibe of the album if I re-recorded it. The whole idea for the project was to do everything myself.

Your debut release Hours Electric was recorded over summer last year. I find a lot of artists write for experience, was there anything going on in your life that inspired the songs included on the album?

DT: Not really, just what was going on around me at the time. I live on a very busy main road where it’s very loud and there’s always weird shit happening outside, especially at night. I remember pretty much staying inside the whole summer with the blinds down recording.

Where do you usually start in writing a song?

DT: Either guitar or a drum loop on my drum machine. Melody and lyrics always come last.

Where does your fondness for sci-fi effects (that are featured in your music) spark from?

DT: I’ve always been a big fan of B-grade films from the 70′s and early 80′s. Especially really cheesy/bad horror films. So I added silly sound effects throughout the album. It fits in well with the whole vibe. You can buy the album on cassette in a video game/VHS style cover.

A review of Hours Electric describe it as “Channeling Blank Dogs, The Fall and even a little Jesus and Mary Chain…” do you think these comparisons are accurate? How would you describe what you do to someone not familiar with your work?

DT: Yeah pretty much spot on. It’s hard to describe my music as some people don’t really get it until they see me live and then they still don’t get it. Its post punk/New Wave I suppose. Live, I say to people it’s a one man punk show with guitar, drum machine and a lot of synths. I’m influenced by a lot of bands so people who see me give me different opinions on who I sound like, usually its “Very 70′s sounding”, Sonic Youth, Lou Reed, JMC etc” so it hasn’t been all that bad so far.

This month you’ve been doing a residency at The Tote. How’s it going? What’s the most exciting thing you’ve witnessed so far during the residency?

DT: It’s been very good. January residencies are the hardest, especially on a Wednesday night so it’s been great that people are coming along to see the gigs and all the bands have been fantastic. It’s great playing on a big stage when it’s just you up there. Each night is a completely different vibe, that’s what I like about it.

What kind of vibe do you like in a live space? What’s your ideal audience?

DT: I find free entry gigs bring the worst people to venues. I’d rather play where people appreciate the gig and make an effort to come along to see you. That means a lot.

Is music something you engage with on a daily basis?

DT: Yes, every day.

Has working on your solo project, refreshed you to work on new Mass Cult things, or do you do both simultaneously? Does each project inspire the other or are they more exclusive from one another?

DT: I have been very busy with the solo project over the last few months so that has been the main priority for me. I’m playing a style that I’ve been wanting to do for years. I also write the songs and manage Mass Cult so juggling two projects takes a lot of time and energy. People still ask what’s happening with Mass Cult so there’s still a bit of interest out there. We have a gig coming up on Record Store Day.

Have you come across any rad equipment that’s inspired your music making process recently?

DT: Just my vintage Roland TR-505 drum machine and Roland Juno from the mid-80s which I use for the recordings. I still can’t get enough of them!

What are you currently working on? Will you be continuing your solo project? What’s next?

DT: Definitely looking to tour this year. I’ve nearly finished recording a new album. There are less guitars on this one and way more synths. It’s a bit different from Hours Electric, the best way to describe it is Euro Disco/Cold wave/Post Punk. I recorded it again at home. I may even put a band together for this. Trust me its sounding great!

For more Dan Trolley. Check out Dan’s blog and Mass Cult. Conspiracy Tapes Records.

Create forever!

*Photos by Robert Smith Photography

Tags: Ariel Pink, B-grade films, Dan Trolley, Jesus and Mary Chain, lo-fi, Lou Reed, Mass Cult (band), Melbourne music, Roland Juno, Roland TR-505 drum machine, Sonic Youth, The Tote (venue)

I saw The Gooch Palms – guitarist-vocalist Leroy MacQueen and drummer-vocalist-thereminist Kat Friend – live for the first time last year at The Waiting Room, and I gotta say, they blew me away! So much so, that they’ve quickly become one of my favourite Australian bands. They’re catchy like nobody’s business, simple, scuzzy, super fun, high energy rock n roll. US punk zine Maximum Rock n Roll recently called them “punky electronic space music” commenting “it seems like the band goes out of its way to remove the catchiness, but they can’t do it. It’s so catchy the band can’t remove the catchiness.” The dynamic duo is going from strength to strength having just played the Big Day Out festival as well as being featured on the much anticipated compilation Nuggets: Antipodean Interpolations of the First Psychedelic Era. They’re about to hit my hometown, Brisbane! If you want to see a “bloody awesome” show with “good use of buttocks” head into Alhambra Lounge this Sunday (January 27). Doors 8pm. $15 entry. Also on the bill: Velociraptor & Tiny Migrants.

The Gooch Palms started around 3 years ago, you guys had been playing music together for a little while; when was the moment you realised that you were actually going to have a band?

LEROY MACQUEEN: Kat wanted to have a go at playing organ (she’d never played an instrument before) so we had a jam or two and decided to book a gig to work towards. We had just moved to Sydney and didn’t know any one yet, so I recorded myself playing floor tom and snare to use as backing tracks for the bunch of songs we’d written and we went from there. About a year ago we ditched the backing tracks and Kat took over on drums.

What is your recollection of first meeting?

LM: We met about 8 years ago at a pub in Newcastle. I was only 17 but knew the bouncer so he used to let me in. We were just good friends for 2 years before eventually getting together. We never thought we’d end up in a band together!

What are the best and worst parts of being in a relationship and being in a band together?

LM: The best would be the convenience. We can rehearse whenever; we can share a room or bed on tour which makes it easy. And we’re usually thinking on the same page as we have the same interests and influences. We also don’t have to leave the other one behind when we play other cities, which is cool. There aren’t any real negatives, we both like to party and have a good time, so it’s just a whole lot of fun.

How did you first get into music?

LM: We’ve both been into music since birth. I played drums in the school band when I was 9 and have been in gigging bands since I was 14. Kat has always loved music and was so excited to start playing organ and then drums even though she had no previous experience. Now there’s no stopping her!

You guys just made a clip for Watch This Space [featured below] in your backyard. What kind of neighbourhood do live in? Are there any interesting characters around the traps you could tell us about? If we were visiting with you what would you show us?

LM: We live in Islington, it’s the main drag for hookers and there are a lot of drug dealers living around here. The Nomad’s club house is a few streets over too. Then there are a lot of students and old people. But our street is pretty normal except that it’s on the train line. The neighbours think we’re real weirdoes. Our grass is a meter tall and our house was an old junkie squat which we’ve turned into a colourful homely shack. We dubbed it, The Gooch Farm. We like to have bonfire parties and we rehearse a lot in the front room so I’m sure we’re pretty hated. If you came here we’d probably just take you to the beach, there’s nothing else to show any one here. We get a lot done as there are no distractions.

What are some things that The Goochies are really passionate about?

LM: We’re really passionate about music—we’re listening to music 24/7! Kat is really passionate about the environment and animal rights which has rubbed off on me over the years too. We also really, really, really love pizza. We tried going vegan a few times but cheese pizza will be the death of us.

I love the space theme for your release R U 4 Sirius? Where does the outer space fascination spark from?

LM: I LOVE space. LOVE!!! I love watching space shows on TV and talking about space. Did you know that Siruis is the brightest star in the night sky? I know that because I love space.

Musically, what do you feel are the key things that make up The Gooch Palms sound you’ve dubbed ‘shit-pop’?

LM: I was in a band for years with the drummer from XTC’s son. Their music has been the biggest influence on me since then. I just love any music that is catchy. I don’t care if it’s a top 40 hit or the most lo-fi piece of shit recording. My favourite genres are new wave, punk, metal, thrash and good old fashioned rock n roll. I draw inspiration from all those things and more. We write pop songs but can only portray them in a lo-fi and minimal way so we just call it shit-pop.

What’s the most challenging thing for you in regards to songwriting?

LM: Lyrics by far. Neither of us like writing lyrics. It’s hard. I can write a melody but I’ll just make up sounds that don’t make sense, as soon as we have to put words to the melody, it gets challenging.

Is there a community or musicians you feel like you belong to or have an affinity with?

LM: Yes and no. We don’t belong to any scene here in Newcastle. We really only play with The Nugs. But that’s cool with us. In Sydney we play with some great bands but we still wouldn’t say there’s a community that we belong to. We only seem to play with out of town bands in Melbourne and the only place I would say that there is a real sense of support and inclusion is Brisbane. We friggin’ love it up there. All the bands are so supportive and everyone is awesome!!!

The Goochies were recently included on the Nuggets: Antipodean Interpolations of the First Psychedelic Era compilation, what did that mean to you?

LM: It was cool to be asked to be a part of it. We loved doing our own take on a classic and it has opened a bunch of doors for us too. Overall it has been an awesome experience.

Recently when I was telling someone about the awesomeness of The Gooch Palms they asked me “Is that the band where the guy gets naked?” What inspires you to get nude on stage? What are the pros and cons of going sans clothes?

LM: It’s all pros. I love being nude and it’s amazing that I can just whip my pants off and people don’t care, they actually seem to really like it, which makes me want to do it even more. Photographers love taking photos of me naked but then get sad when they realise they can’t use them online as they are too rude. It’s all tongue in cheek (pardon the pun) I’m not out to offend anyone. Well maybe…

What was your favourite moment of your recent Big Day Out set? Nice work on surviving playing outside on the hottest day in Sydney history!

LM: My favourite moment was seeing so many kids going crazy despite the intense heat. A few of them were even wearing Gooch Palms shirts which was amazing to see. It was a surreal day in general. Goochies at the BDO, ridiculous!!!

Who are your favourite performers? What is it about them that you dig so much?

LM: Young Axl Rose (pre-corn rows) he was my first favourite front man and is still in my Top 5. There are the obvious ones—Iggy [Pop], GG [Allin] and [David] Bowie. Dee Dee Ramone is one of my favourites too. We named our cat Dee Dee ’cause he is cool like the real Dee Dee.

I love the Anthrax inspired Goochies rollerblader shirt, who was the genius behind it?

LM: I have the real Anthrax shirt, it’s my favourite shirt. Kat just designed our version one day as a joke and it looked so good we decided to get some made up.

You both have tattoos and I know Kat got a tattoo gun for Christmas; which is your favourite tattoo of your collection? Does it have a significance you could share with us?

LM: My favourite is my Beavis tattoo on my upper thigh. It’s him chucking a moonie. I can relate to it on a higher level.

Outside of Gooch Palms what other creative things do you do?

LM: None. Kat’s the creative one, she’s always doing some crafty shit that makes a mess.

What’s next for The Gooch Palms?

LM: An album, touring more, world domination…all that jazz!

The Gooch Palms – Houston We Have A Problem @ Boogie 6, Tallarook (8th Apr 2012) from Carbie Warbie on Vimeo.

For more The Gooch Palms.

Go-go Goochies!

*Photos courtesy of The Gooch Palms fb. BDO live photo by the very awesome Philip Erbacher.

Tags: Australian rock n roll, Axl Rose, David Bowie, Dee Dee Ramone, GG Allin, iggy pop, Kat Friend, Leroy MacQueen, Nuggets: Antipodean Interpolations of the First Psychedelic Era, punk rock, punky electronic space music, R U 4 Sirius?, The Gooch Palms, The Nugs

Heather Gabel and Matt Skiba rule! I’ve been a long-time fan of both their work. The creative pals have joined forces for a new one-night-only collaborative art exhibition—Love In A Void. The event is this Saturday (January 26) 7-10 pm The HiFi bar 169 Ave A in New York City. If you’re in the neighbourhood do go, it’ll be a real treat.

I’m assuming that the title of your upcoming exhibition, Love In A Void, is a reference to the Siouxsie and the Banshees song of the same name? What inspired you guys to choose that name for the show?

HEATHER GABEL: It is, the song title pretty much sums up the essence of the friendship Matt and I have lately. We used to spend almost all of our time together, touring, being room mates when not touring. Now we hardly ever see each other but the friendship carries on, strong as ever, despite the fact that is basically exists in a vacuum.

I know with song lyrics everyone has their own interpretation, for you what is the song about?

HG: Honestly, I don’t know what she is on about in that song. For me it’s the title that I respond to, not the actual lyrics.

MATT SKIBA: That song is about dudes and drugs and punk shit.

I know this is a big question but, what does love mean to you?

HG: For me I see love as unconditional, no judgement, full support and appreciation of another person. Pretty rare.

MS: Love is when you’re afraid to do something but you do it anyways. Oh wait…that’s courage. Love is Lou Diamond Phillips.

What qualities do you guys admire in each other as artists and as people in general?

HG: I admire the sheer volume of work Matt has produced. At the end of the day he just wants to create, to make art and I can totally relate to that. He’s also one of the most considerate and sensitive people I know—really wonderful qualities.

MS: She seems like the type that saves her hair in bags and you can see it in her art.

What were your first impressions of each other when you first met?

HG: I met him because I was dating his best friend. Matt actually didn’t like me at first because of it. We’d always be at the same places but didn’t really talk much, maybe I’d say ‘hi’ to him at a show if I saw him, maybe not. He struck me as someone who seemed light hearted, liked to laugh and have fun. When both of our relationships with his friend ended we realized how close we’d become, pretty much joined at the hip, and have stayed as such since.

MS: I thought she was there to steal my best friend. As it turns out, she was there to replace him.

The artworks for Love In A Void is a collaboration between you both, with Matt laying a foundation of beautiful colour scapes in gauche and Heather building on that collaging over it. How long have you been working with gauche Matt? Why do you like working with it?

MS: This is my first time. I didn’t even know how to pronounce it and was afraid to ask the kid at Blick so, I told him I was “just browsing” when he asked if I needed any help finding anything. It’s a blast to work with. I’m still using it to do more pieces that won’t be in this show.

Heather, what was your process for the collaging part of the art equation?

HG: I laid all of Matt’s paintings out and then searched for images to collage them, based on whatever energy I was getting from each piece. It was one of those times when it seemed like they were making themselves, that I was a conduit, which always feels really pure and honest.

What do you like about collaborating?

MS: I’ve never done it before. It’s so amazing to do this with such a great artist that is such a close friend.

What was your intention with this exhibition?

HG: The challenge. There’s always a minute where I think “Fuck! What am I going to DO with these?” But I make them mine, for a minute and then they are “ours”. I have a hard time with color in my own work, I prefer to just not use it or to use it very sparingly, but with these pieces especially, there was no way for me to do that. Having finished them and getting to take a step back I thought “It works! It works!” It felt very Dr. Frankenstein “It’s alive!” which rules.

Why did you decide you wanted to show the work in NYC?

HG: The venue – The Hifi Bar – in the lower east side was interested in me having a show there but it just seemed more fitting to me to have Matt involved. The Hifi used to be this great dive-y club (Brownies) that we’d be at on tour pretty regularly so, it felt like the perfect opportunity to revisit the past while embracing the present.

What influenced the works for Love In A Void? Is there a particular mood or theme to the pieces?

HG: I simply wanted to make art with my friend. The work that resulted I think belies both the more empty longing side of missing someone as well as the excitement of that desire.

MS: No [mood]. We went in simply with the idea of making the pieces together. I think I knew the name before I began but my main influence was what Heather could do with my shit and vice versa.

Which piece is your favourite from this collection of works? What is it that you love about that specific piece?

HG: The piece we used for the flyer “The White Forest” is my favorite. Matt’s haunting deep, fluid red is anchored with the stark black and white of my collaging. It feels like the most literal visual interpretation of each of us as people to me.

MS: Some of my least favorites initially have become my favorites because of what Heather did to them. I can’t really pick any one piece, especially because I don’t know what they’re called!

DJ January Hunt will be providing the soundtrack for the exhibition evening; what song/s are you hoping to hear?

HG: She is amazing, we have a lot in common where tastes are concerned so I know I’ll hear some old favorites but I’m excited to hear some new (new to me) future classics. What I’m hoping to hear though is music she’s made because I haven’t yet and I’m sure it will be fantastic!

Other than each other, which artists do you feel closest to and which have had the greatest impact on your work?

HG: The art that moves me most in regards to my own is music right now. I’ve been listening to a lot of Chelsea Wolfe, puts me right where I need to be to go inside myself and mine ideas. I can shut out distractions and feel what I’m feeling. Neurosis too, it’s like free psychotherapy. It’s listening to music that puts me somewhere else, somewhere I can see things clearly and find inspiration in a way I can’t by meditating or doing yoga. It’s like a secret path that leads to a cave inside myself is revealed—something I’m really grateful for.

MS: I love [Hieronymus] Bosch and I love [Andy] Warhol. I love [Leonardo] Da Vinci and a whole mess of others that I am in no way trying to replicate. Maybe Andy a little. I adore Warhol.

What projects do you each have on the horizon? Heather you’ve been working on jewellery line The Seventh House and Matt you have a new Alkaline Trio record, is there anything else happening in your world that you could share with us?

HG: Yes! My next event is in Chicago, I’m here right now actually putting the last touches on everything. It’s an art installation conceived of by Anna Cerniglia at Johalla Projects (a gallery here I’ve been working with for years now) in conjunction with the CTA (Chicago Transit Authority). I’ll have five pieces, collages, at the Damen Blue Line station in Wicker Park. It’s going up soon and will be installed for a few months. I’m really excited about it, personally because that’s my old neighbourhood. I love that people that like me as well as people who’d never see my art otherwise will see it just by doing something they’d do anyways, like ride the train. On a grander scale, having art out of a gallery, in public spaces, is pretty much the best thing ever in my opinion. I’m really honored to be one of the artists chosen for it.

Matt: I’ve almost completed Call of Duty: Black Ops II.

For more Heather Gabel. For more Matt Skiba. Love In A Void fb event & details. Peep DJ January Hunt’s blog!

You can also peep, a previous interview I did with Heather: Heather Gabel’s Night Visions.

CREATE FOREVER!

*Art works: 1 – Love In A Void flyer / 2 – The Ability To Live Forever / 3 – Portrait of Prowess / 4 – Drifts / 5 – The White Forest (all art featured are collaborative art pieces by Heather & Matt).

Tags: Alkaline Trio, Andy Warhol, art collaboration, Chelsea Wolfe, DJ January Hunt, friendship, Heather Gabel. Matt skiba, Hieronymus Bosch, Leonardo da Vinci, love, Love In A Void, punk rock, Siouxsie and the Banshees, The Hifi Bar NYC, The Seventh House

Earlier this morning I shared with you my debut feature for No Cure – Violent Soho + Artist Callum Preston Interviews – I have more news to share too! I’ve been featured in No Cure’s Zines: How Freedom of Expression Went From Photocopier to Phenomenon piece in this issue also. Celebrating zine culture and independent publishing, Beth Greshwalk interviewed me, Mariam Bastani from (punk bible) Maximum Rock n Roll, Jessie Duke from Microcosm zine distro, Staples from Bizoo zine, Thomas Blatchford from Australian zine distro + zine shop Sticky Institute and, zine maker and Smells Like Zines distro boss lady Elouise Quinlivan.

They asked me about my journey of zine making and my limited edition zine project Conversations with Punx. Due to space limits, the entire interview wasn’t published though, so I thought I’d share with you guys the extras. See below.

If you have a zine (I’d love to see what you’re working on ) or have any zine related questions (I’d be happy to share my zine knowledge/experience further) please get in touch. If you’re interested in getting a copy of my zine get in contact too!

For how many years have you been involved in zines?

I’ve been involved in making zines for almost two decades, since I was a 15-year-old punk kid sitting on my bedroom floor cutting and pasting. Long time, huh? To this day, I still make my zines sitting on the floor cutting and pasting for the most part.

How would you define the purpose of a zine, or what a zine stands for?

Simply put zines are a vehicle for communication and connection. I think the purpose of a zine and what it stands for depends on the person who creates it. Self-expression; boredom; being super passionate about, or to raise awareness of, something; to document times, events and places; to share information and ideas; to make a statement; to make people think and to inspire discussion are all purposes for creating zines that I’ve heard from zine creators that I’ve interviewed over the years about the craft. Personally, I’ve made zines for all those reasons and more. I especially love making one-off zines to cheer my friends up when they’re sad! There’s something very magical about zines.

Are your zines typically solo projects or do you enlist help from multiple writers?

My first zine Social Stupidity was pretty much a solo effort, although from time to time in later issues I’d have friends do interviews, contribute reviews, comics or photos. My second zine 15th Precinct started as a solo effort too but then grew into a huge collaborative effort. I had contributors in every Australian state and some from overseas. With my most recent zine, Conversations with Punx, I’ve done all the interviews and writing for it myself but I see it as a collaborative effort as I’ve interviewed around 70+ individuals for it, had around 30+ photographers contribute images, and then there’s intro guest writers like my friends Greg Attonito from Bouncing Souls and Vic DiCara from 108, plus my niece Leasha helped with the layout and my Jhonny from band Mystery School helped screen print the covers and with art inside the zines. I am so thankful I have such amazing supportive people in my life.

In your own words, what makes a zine better than a magazine or newspaper?

With a zine you can do anything you want, your imagination is the only limit really. Magazines and newspapers for the most part, have to keep advertisers in mind and happy when working on content for the publication…

From my experience, I believe it’s better making your own zine or blog and working to build that, build your dream, rather than doing all the hard work helping someone else build their dream. I’m really happy at where I’m at now, making my own zines, doing my own blog conversationswithbianca.com and only writing for publications I can get behind and who actually care about their writers and value their efforts.

When it comes to zine content, do you think there is ever a limit to how far one can go to express themselves, or is there an understood “freedom of expression-at-all-costs” standard that your zines—and the zine culture in general—abide by?

I can only speak for myself and basically I express myself as I want but I try to keep everything on the positive tip. Like Aleister Crowley said: Do what thou will shall be the whole of the law. Love is the law… I try to do everything from a place of love, in my zine life and in my general life. If you’re coming from a place of love, truth and sincerity, for the most part, you’ll end up in a great place. It’s not always an easy thing to do though!

List the qualities of a zine you’d love to read.

Qualities that are important to me in zines that I read are: they’re handmade, the writing or images connect with me, the content makes me think or opens my heart and mind to new ideas or challenges what I believe, honesty and uniqueness.

Name a zine that has stood out to you over the years and why.

The first zine I ever saw and held in my hands has a special place in my heart, I actually still have it. I like a lot of the older punk and hardcore zines from the US. I dig a lot of the old Riot Grrrl zines. Part of why I made my zines is because I couldn’t find anything out there like it. I adore in-depth thoughtful interviews and I haven’t found many zines that do that. If you know of any please get in touch and let me know, I’m always looking for new zines to read! I make zines that I want to read, if that makes sense?

Describe the printing method(s) you and other zine writers use today.

I use the good old photocopier. I still stand there and copy all of my zines myself, it’s part of the process to me. I’ve seen other zines use professional printing, and I have at times too, but for the most part I think photocopying is the way to go and easiest, most popular form of printing for zine makers. It’s cheap and effective. Standing at the photocopier you have control. I’ve been ripped off by dodgy printers before so I think that’s part of why I like to do it myself too. I’ll make up a cut n paste master copy and then head to the copy shop.

Tell us about your progression from zines to zine-making to creative workshops and public speaking —what is your ultimate goal?

Wow! What a question. As a zine maker you wear a lot of hats, making zines has taught me so many skills. I’m self-taught in all that I do and it’s been lots of trial and error. Zines have become such a huge part of my life. I’m pretty sure I’ll make zines forever. I find the process meditative. Making zines is good for my health – spiritually, mentally and emotionally. Facilitating workshops and public speaking engagements are an extension of making zines for me and a way to share information and ideas with others. I like teaching people tricks I’ve picked up along the way that will help make their zine making easier. I’ve been making more of a conscious effort to put myself out there more.

As for my ultimate goal, I’d just enjoy doing what I love for a living; don’t we all want that though? Ha! Many times I’ve been close, right now I’m closer than ever! I just want to keep doing positive things, working with positive people and interviewing. Interviewing and making zines are two of my all-time favourite things.

Describe how you’ve seen the zine culture evolve over the years. Where do you think zines are going in the future?

Zines go through periods of ebb and flow and cycles just like most everything else. They were really popular in the 90s for a period and I think they’re quite popular now. I’ve never really felt a part of zine culture or the zine community despite being a zine maker for so long, I just make my zines and put them out. As for where zines are going, who knows?

What does it take to keep the zine and independent publishing community thriving?

To keep the zine and independent publishing community thriving it takes dedicated individuals with lots of passion who are brave enough to commit their thoughts to paper and share it with the world.

To read the entire Zines: How Freedom of Expression Went From Photocopier to Phenomenon feature: NO CURE MAGAZINE.

With love,

Tags: Bizzo zine, Conversations With Punx, Elouise Quinlivan, independent publishing, jeremy staples, Jessie Duke, Mariam Bastani, maximum rock n roll, Microcosm zine distro, No Cure magazine, Smells Like Zines distro, sticky institute, Thomas Blatchford, writer Beth Greshwalk, zine culture, zines