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James Healy aka Escape Art is a producer/ DJ living in San Francisco and NYC. James also runs the labels the Agriculture and Air Texture.

Monique Todd is a 19-year-old writer, creator, thinker and online editor of Live Magazine. Enthusiastic marshmallow eater, fascinated by masks.Twitter: @weareadverts

Martin Collins hosts a weekly radio show in San Francisco. He also recently fell in love with South America. Find out more about him at deevice.net

Purveyor of all things music, art and culture, Veronica Lamaak just wants to share the things that make her heart swell with the world.

Anna Neon is the head of Big Up's fashion department. She fuses her ideas from a skate and snowboard fashion background with her professional experience in high fashion avant-garde world.

James Bond has got nothing on William Friedewald.

Dear Big Up, thanks to all the great times and letting me rewrite a few of your pages! Much love. Bryan Bacock.

Words, words, words. Jasmin Tokatlian loves words. She also loves music, astrophysics, wine, sticking her hands in dry beans, and going on superhero adventures with Miro of Surefire Agency.

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Endless rain record.

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3D song printing.

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Tocky Rolling Clock

If youve ever fallen prey to a snooze button addiction, Tocky could be your savior. This tech-savvy charmer features a touch-sensitive digital dial, a microphone to record your own sounds, and the ability to upload MP3s. Whether you want to wake up to the cluck of a rooster, or your favorite dubstep track, feel confident knowing youll be rising and shining early enough to catch your worm.

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Tembo Trunks

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7John's Phone - the simplest phone in the world

When all the smart phones are trying to outsmart themselves with billions of apps and functions, John's Phone keeps things simple. John's Phone is the most basic cell phone in the world. You can make and receive calls anywhere in the world: no frills, no unnecessary features like a camera. Keep it simple, stupid. Correct. Produced by the John Doe agency of Amsterdam.

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DJ cufflinks

We know you don't wear cufflinks, but if you ever do, please don't make it boring. There are plenty of choices from sterling silver (hard to scratch) DJ turntables to old school cassette tapes. They can even be engraved!

$$$: 50 bucks on eBay

photo by Anna Rose

10

Hi Paul, how's it going? It's freezing here in NYC. What about Berlin? Was moving there from London the best decision you've ever made?

Yeah, I do like it. But you know, I'm not really here that much, I'm going away most weekends. But as a place to be based out of, it's pretty cool. I guess it's a lot like New York, without all the yuppy business stuff. It's got so much going on art- and music-wise I don't think there's a better place for it anywhere in Europe. I've been here for four years now and I just bought a flat so I guess I'll be staying here for a while.

Oh nice. New flat, new album! The album is great by the way. What is your feeling about it?

At this stage in the process I finished the album a bit more than three months ago I'm definitely more happy with it than I was with any of my previous albums. The way I feel about it now is that it's definitely the strongest thing I've done album-wise, all the way throughout. With the last album Triangulation, I think I hated it after three months! But with this one it's different. I listened to it a lot, and I'm not really bored of it yet.

What's the story behind the album? How was the process of writing it?

I sat down to write it in January and wanted to have it finished by June-July. But I didn't finish it till November. It's dragged on for ages... I wrote so much for it, I must have written about 50 tracks for it! It was all a really wide range of stuff stylistically. I actually had trouble with focusing on what I really wanted it to be. I didn't have a clear idea and went through various phases over the ten months.

The majority of the tracks were written in September actually. Basically what happened was, I kinda freaked out, I hated everything I'd done for it and had to write all the new stuff. Which is similar to

what happened with Triangulation. The later tracks that I wrote for Triangulation are stronger. With this album, halfway through, in June, I had to do a DJ Kicks mix, which was really unbelievably stressful. I only had two weeks to do it and the process was a nightmare! And as a result it made me re-evaluate what I'd been doing. I started hating everything I'd done.

It was a very important part of the process. If you're able to step back, accept and admit to yourself that what you're doing is not very good, it could be quite helpful. Challenging yourself to do better is important, and the big part of that is admitting to yourself that stuff you previously thought was good is actually not good at all. And that could be quite difficult. Especially when you're on a certain deadline. Plus I don't have an A&R guy. I've got maybe one or two friends who I trust to give me an honest opinion. Most people you play stuff to, they're just gonna say, "Oh yeah, this is great."

Yes, that makes sense. So which ones are the latest tracks?

It's actually a good question, I'm gonna have to get the tracklist out... "Cognitive Dissonance," "The Hope," "July," "Gekko," "NE1BUTU," "If U Want" were all written in September.

These are the best ones! I love how they are all so different stylistically each one has a personality, which is fitting cause that's the title of the album.

I wanted each track to have its own place in the album. I didn't want it to be an album that all sounded similar, I wanted each track to be distinct. So yeah, those latest tracks were done from zero, and the rest were all loops

or unfinished. I don't think I had a single finished track in the start of September. So it was mad.

So you just locked yourself out in your room and finished it all in two months?

I had to do it, because the building where I had my studio before was closing down. I had only five or six weeks to get the album done, or otherwise I'd have to move, and there was really not going to be any studio... So there was a lot of pressure. Then I was also in the middle of buying a flat and also playing gigs... It was very stressful.

Wow, so you also have a new studio now!

Yeah, the old one was actually the first time I've had a proper outside studio, which I moved into right after I finished Triangulation at the start of 2010. It was in this really cool place an old brewery. My new studio is more normal, kind of regular. But it takes ages to get used to a new environment once you move into it, so I really didn't want to be moving and having to finish the album in the new place. So I put a lot of pressure on myself to get it done... But sometimes having pressure is a good thing.

It worked for you. Did you enjoy working with the vocals on this album?

A lot of it is actually me. The one on "The Hope" is me. I tried doing it in a regular normal English accent and it just didn't really sound right, so I was messing around with different accents and yeah, that was kinda the one that sounded the best. I thought of doing different accent versions for different markets.

Challenging yourself to do Better is important, and the Big part of that is admitting to yourself that stuff you previously thought was good is aCtually not good at all.

it might Be too early in the year, But sCuBa's new alBum personality Can already easily take the Cake for the most exCiting Body of musiC in 2012. By far the Best thing the hotflush Boss has ever Created musiCally, it suCCeeds his two already outstanding alBums, exCeeds all expeCtations, and proudly sits at the top of all hotflush releases over the years, hitting a new high point for the laBel. speaking of new, paul rose himself seems to Be welComing lots of Changes, with his reCent move, new studio, and upComing new live show. let's start from the top.

with the last alBum triangulation, i think i hated it after three months! But with this one it's different. i listened to it a lot, and i'm not really Bored of it yet.

photo by Anna Rose

photo by Anna Rose

13

Haha. Maybe translating it?

Haha yeah... "The Hope" was actually the last track I did. I recorded the vocal and thought it sounded alright. I already had three completely different versions of the track with the vocal on it. And I was trying different things to see if I could get away with it. And I think it's sounding alright.

Definitely. Do you always work on your own?

I've only ever done one collab, and it was emailing parts of the track back and forth. It hasn't come out yet.

Is there any particular reason why you prefer working on your own?

I have a background of playing in bands and I often found myself frustrated about not being able to communicate to them what it is exactly I wanted them to do. It's a difficult one, because there are people I wouldn't mind to work with, but I just don't know how it would work in practice. I'm so used to just being able to mess around on my own. I think I would be self-conscious with someone else in the studio. I think I'd feel inhibited, I'd be worried about what the other person would think of my crap ideas that take five hours to develop... I should probably try it out though and see how it goes. It would be interesting, but just a bit scary.

I think maybe lots of artists do it in order to see how other people work and maybe learn from each other too...

I can see why people are doing it and sometimes you can get good results. But usually the collabs I listen to are not as good as the stuff they would probably do on their own. You get to learn a lot from other people though. I guess I'm just happy doing it on my own and seeing what I can come up with.

Are you still doing the Sub:stance night?

Yes we are, the next one is in New York in March. This year we're doing it in Berlin, London, Leeds, Amsterdam, and hopefully in Tokyo.

I'm sure your music has become a soundtrack to many psychedelic trips around the world. Do you think the type of drugs being taken is a factor in what kind of music is being played at night clubs?

I haven't done acid in ages, so I don't even know if my music is good for it. But I think drugs are definitely a factor. I think the fact that ecstasy is not being taken in clubs has led to a decline in quality of music. I think drugs are pretty useful from a creative point of view, but it obviously doesn't apply to everything. The term drug is pretty vague. There's only a few recreational drugs that I think are actually positive, ecstasy being one and probably acid, but as I said I haven't taken it for ages. I think weed is generally overrated as a creative drug.

What kinds of drugs are popular in Berlin?

People take speed and drink. The funny thing about Berlin, in the context of the club scene, is that you don't really see drug casualties. If you go out in the UK, you'll see people absolutely smashed beyond belief by 2am; people don't even get to clubs till 2am in Germany. And even by 10am or noon in Berlin, you don't see people out of control ever.

You think they care more about music?

I don't think they're more serious about music, it's just a different approach to going out. Plus the crowd in Berlin is definitely older. So I guess that makes a difference too. I'm not saying that people here are more clued up about the music. Even though Berlin is known for its techno, people are still pretty

set in a certain musical pattern. The vast majority of music played out is straight up middle-of-the-road house music. Not so much mainstream stuff, but still pretty straight up house, just made by someone you've never heard of.

The clubs are great, there's no better place to go out and have fun, but in terms of cutting-edge music it's not that great at all. London is still the place everyone looks up to for the new cutting-edge sounds, but it might not be the best place to go out clubbing. Anyway... Maybe I'm just getting old.

Haha, sounds like it. Speaking of new sounds, what do you think about the whole juke footwork movement getting pretty popular?

I don't like it, it's crap. There are obviously certain things influenced by it that I like Machinedrum, Addison Groove but frankly, no, I don't like it.

Are you a black-or-white kind of person? Is it all or nothing for you?

I'm a little bit of a split personality. I'm sort of a perfectionist, and if I don't do as well as I think I should be doing, then I beat myself up for it. It's like that with everything label stuff, deejaying, producing... But there's a whole other side of me that likes to be lazy and goof off... So it all depends on what day of the week it is.

i think i would Be self-ConCious with someone else in the studio. i think i'd feel inhiBited, i'd Be worried aBout what other person would think of my Crap ideas that take five hours to develop...

i think the faCt that eCstasy is not Being taken in CluBs has led to a deCline in quality of musiC.

Dave: Faster or slower?Paul: Slower. Definitely slower.

guest question from dave q:

i'm sort of a perfeCtionist, and if i don't do as well as i think i should Be doing, then i Beat myself up for it.

Noire

DACS

17

It seems that a lot of your works are in black and white. Would you say this is more by choice or by default due to your medium choice?

I would say that this is definitely by choice. Besides, I could always use software like Photoshop to add color to my illustrations. And I have recently done it in some works, but very minimally.

Do you have a color that you are deeply connected to?

I like all colors! I believe that every color has its own personal character.

Is there a color you tend to avoid?

No, but I do avoid the use of a lot of colors in one given illustration.

Are you currently working on anything that excites you?

Yes. I am working on two projects currently. They are both very interesting and challenging. One of them is for Endeavor Snowboards.

Does music inspire your work? Is there any music that has especially moved you lately?

Yes, absolutely! My latest favorite is Tron: Legacy by Daft Punk. How many hours a day to you draw? Do you create on a schedule or do you wait for inspiration?

I create on a schedule. I have to, due to client deadlines. On average I spend six hours a day drawing. And this does not include computer work.

Do you remember the moment that you started to understand your style? Was it like an 'aha' moment?

I never had an 'aha' moment, because everything happened very gradually. And as for my style, it continues changing and evolving constantly.

Your work is striking and has much movement. Do you have any plans to involve yourself in any animation or 3D projects?

I actually studied animation at the University of Plymouth's Art and Design College in UK and enjoyed it very much. After I completed my studies I realized that illustration was what suited me best and decided to follow this path. For this reason I don't think I would involve myself in animation or 3D projects.

What is your favorite era or time period?

I like lots of time periods but my favorites are the '20s and the '80s.

What place in the world feels most like home to you?

I tend to adjust to places and where I live very well. Currently I live in Larisa, in Greece. So right now Larisa feels like home to me.

What place feels like the furthest from home?

Hmm... I have never thought about this to ne honest...

Is there anyone you would like to Big Up?

I would like to Big Up David Downton, Richard Estes and Roger Dean!

i Create on a sChedule. i have to, due to Client deadlines. on average i spend six hours a day drawing. and this does not inClude Computer work.

Illustration to the left was created for Designers Against Child Slavery - a design collective that enables creatives from all over the world to rise up against the child sex trade.

alexismarcou.com

flickr.com/alexismarcou

AlexisMarcou

ALEXIS MARCOU ONLINE

WITH WORkS OF SHATTERED BACkDROPS, MINIMAL COLOR, AND LIgHTENINg-SHARP DETAILS, FREELANCE ILLUSTRATOR AND TRUE ARTIST CURRENTLY RESIDINg IN gREECE, ALEXIS MARCOU, gRABS ATTENTION IMMEDIATELY. HIS SkETCH LIkE DRAWINgS ARE VISIONS OF LIFE, FROzEN IN A MOMENT, YET REPRESENTINg SO MUCH MOVEMENT AND STRENgTH.

MINIMAL APPROACH SEEMS TO BE FULLY EMBRACED BY ALEXIS, BE IT IN THE USE OF COLOR IN HIS ARTWORk, OR ANSWERINg INTERVIEW qUESTIONS. ALTHOUgH WE DID MANAgE TO gRAB A FEW MINUTES OF HIS PRECIOUS TIME AND TALk ABOUT COLOR, THE LACk OF THEREOF, AND ALEXIS' PATH IN THE WORLD OF ART.

Oxygen

illustration for Nike

21

PUT ON THE NEW SELF-TITLED SEPALCURE ALBUM AND THE MUSIC WILL gENTLY PICk YOU UP AND TAkE YOU AWAY TO THE WORLD OF YOUR DEEPEST EMOTIONS, SOMETIMES MAkINg YOU SO HIgH YOU WANT TO CRY, SOMETIMES BEINg A BIT ROUgH WITH YOU, REMINDINg YOU OF THE DARkEST SIDES OF YOUR SOUL, BUT ALWAYS MAkINg YOU FEEL. PRAVEEN SHARMA AND TRAVIS STEWART TELL US THE PROJECT WAS BORN AS A WAY TO COPE WITH THE EMOTION OF LOSS, SO IT MAkES COMPLETE SENSE THAT THEIR COLLABORATIVE EFFORT IS OVERFLOWINg WITH FEELINgS, TEXTURED AND INTERACTINg WITH EACH OTHER SO VIVIDLY.

BOTH kEEP VERY BUSY WITH THEIR SOLO PROJECTS - BRAILLE AND MACHINEDRUM - AND AFTER TRAVIS' MOVE TO BERLIN, THEY HAVE MANAgED TO CREATE AN ALBUM JET-SETTINg BETWEEN NEW YORk AND BERLIN IN JUST TWO-WEEkS' TIME. TRAVIS AND PRAVEEN TALk MORE ABOUT THEIR CHEMISTRY IN THE STUDIO, WHERE THEY ARE TAkINg THE SEPALCURE PROJECT IN THE FUTURE, AND WHY THEY'RE DOINg IT IN THE FIRST PLACE.

So what's the most frequent question you guys get asked in the interviews?

Praveen: "How did you guys start making music together?" And it's funny, because we both take turns talking about it.

Travis: It's a good story, but we get asked about it

in every other interview: "Who is Sepalcure?" "Why Sepalcure?"... so we want to give each other breaks.

So how did you guys start making music together?

Haha...

How does it feel being reunited again?

Praveen: Oh it's great! We both feel super excited! We had such a blast in Mexico. It was also the debut of our live A/V show. Sougwen was there with us too.

Mexico City?

Travis: Yes. It was my first time in Mexico. It was intense, how hustling and bustling it is compared to

any other city! Everywhere you go, you get lost. Most cities have this geographical context where you can look around and kinda know what neighborhood you're in, but there it was just Mexico City.

Praveen: And it was also the weekend of Dia de los Muertos, which was even crazier.

photo by Megan Cullen

photo by Megan Cullen

24

It's so cool that Sougwen is traveling with you. Can you call her one of the Sepalcure members then?

Praveen: Yes, absolutely. I mean, the name of the project comes from one of her pieces! She's been integral to the project from the start. And even before we were signed she was drawing for our videos. We were doing it just for fun then.

Travis: It's funny too, because the project started due to the lack of her presence.

Right. Do you guys do any visual art yourselves?

Travis: I do, yes. Not for Sepalcure, but I do a lot of my own illustrations, and I've been working on simple three-frame animations, GIF style. I've done animations for my own Machinedrum videos, and some promo stuff, etc...

So the visual part is very important for your musical inspiration, I take it?

Travis: When I hear music, a lot of times if I close my eyes, I can kind of visualize it. I hear textures, which kind of form a whole piece visually.

Praveen: Yes, especially with the music we're making; it's very textural, so I think it goes hand-in-hand with the visual aspect.

Talking about texture, how do you achieve the textural quality in the vocals you use?

Praveen: We use vocals as an instrument. It's not just a side thing to the track. We try to integrate it as a part of the song. And the processing we use on our vocals, we try to fit it to the song, which is the opposite of what many other people do. And no, it's not us singing. We sample a lot of acapellas from freestyle records in the '80s and some old '90s house records. A lot of it was just me going to flea markets and picking up some old records.

Your debut album Sepalcure was made in two weeks. Do you feel like you could have done more had you more time?

Travis: There could have been more tracks. I feel like we kinda set a limit on how much time we would spend on one track, just out of necessity to not overthink it. So yeah, with more time there would have been more output.

So you probably would have ten more albums in you if you could just sit down.

Praveen: Yeah, if we did that, the whole point of it just being fun and us getting the chemistry going in the studio would be lost. So it would be almost destructive if we sat down, "Alright, we've got ten albums to go, let's do it!"

I think that short amount of time was really perfect. We both were so excited, inspired, and had a great time in the studio, and it all came out so quickly that I feel the majority of songs have a thread through them sonically, and just the feel of it is continuous. And that's important for an album... You can go either way, I understand both sides: some people want diversity, and some want a continuous high.

Travis: I still feel there's a diversity in our record, due to the fact that we listen to so much music. It's so natural for us to spend three hours on one song, coming up with one sound, that's sort of a mashup of this and that genre. And then we start on the next one, and we want to do something fresh and different. So I break out the guitar and we do something soulful...

Praveen: ...Then on the next one we ratchet up the tempo and start with beats only...

Was there a time when you wrote two songs in a day?

Praveen: Oh yeah! Every day we worked we got multiple songs usually.

So do you start one song and finish it, and then you start a new one?

Praveen: No we don't finish them right away. What we do is we just keep working on them and keep layering and layering parts. And we really try to get to the peak of the song, when it's ready to be arranged. And then, instead of arranging it, we go to the next song. Then we come back to it with fresh ears and arrange it. So we would start a lot of songs in a single night.

Who decides when the song is finished?

Travis: We kinda look at each other and we know. That happens in the mixing time usually. For this album, it was way later in the process, when we were in Berlin. That was more of a finalizing stage, when we were mentally prepared to finish the album, even though some songs had more work to be done than others...

So we'd get to this point when we felt like it was close to the completion. We listen to it, take notes, write down everything that stood out for us, then after it finished playing we'd compare our notes, discuss what we agree or disagree on, make a master list of notes, and leave it.

Praveen: Then we'd come back to our notes later and see what might not even have to be there... It's all about giving that break of time to give it a fresh look.

You both seem very organized.

Travis: We just know we have so little time together.

Praveen: Yeah, we have to be productive.

Do you ever argue about things?

Praveen: Yeah, sure. More so when we get drunk. Haha. We get cranky, when we get burnt out and tired. That's the moment when we look at each other and know we're done for the night.

we use voCals as an instrument. it's not just a side thing to the traCk. we try to integrate it as a part of the song.

you never shoot down the ideas. you let them happen. either way half of the time it aCtually does sound good.

when i hear musiC, a lot of times if i Close my eyes, i Can kind of visualize it. i hear textures, whiCh kind of form a whole pieCe visually.

25

Travis: Either we're done or we go watch a shitty horror movie together and pick up where we left.

Praveen: But honestly on the album, there was the least amount of arguing. We just really loved making it.

Travis: It's also the matter of trust. If one disagrees on something, we talk about it, we try it out, instead of just shooting the idea down.

Praveen: I was once asked to do a talk on collaborations, and the one main point I had to make was you never shoot down the ideas. You let them happen. Either way half of the time it actually does sound good.

Do you miss each other in your personal projects?

Travis: As a solo artist, when you're working on your own, you have this tendency of losing perspective, so it's more so missing the second pair of ears. Especially from someone you really trust.

Praveen: When you're working on your own stuff, you get so ingrained in what you're working on, you have no real side opinion on what you're doing. So you can spend a lot of time on doing it. When we're working together, it goes a lot quicker. But I don't miss anything as much as having fun. It's more fun to work with Travis in the studio than on my own. And I do have a lot of fun working solo, but it's not the same thing. Jamming out, making jokes...

Do you ever get nostalgic about the times when you were just starting out, with no pressure, no deadlines, just for fun?

Praveen: I do.

Travis: I do too, but when we're burnt out on the deadlines, we have to remind ourselves that at the end of the day it's up to us when to set the deadlines. It's not like we're never

going to be able to release records if we miss some deadlines. When we were starting out, there were no deadlines, no pressure, no labels, no idea of signing to a label, it was just fun. So we always try to keep true to that.

That's what might have gotten you where you are.

Praveen: Definitely. I think a lot of people could hear it, just us having fun, instead of trying to do something.

So you were in Berlin the second week of making the album. Do you think it affected the way the album sounds at all?

Travis: No, not really. You kind of lose the sense of place, cause you're just in the studio, an enclosed space. It didn't really matter where we were. Praveen wasn't even in Berlin for more than three hours before we started working.

Praveen: I went there straight from the flight, we had a beer, and got to work. We worked till 6am the next morning. It was a 16-hour day. We worked really hard in Berlin, and not a second of it felt like work! We were just excited to finish the album.

What's going to happen with Sepalcure, now that you live across the ocean from each other?

Praveen: I think we're just going to make music whenever we're in the same place at the same time. It's going to happen, however it is going to happen. Honestly, when we started Sepalcure, it was already hard to find time to work together. I have a crazy schedule for my work and solo projects, and Travis has such a crazy schedule with Machinedrum. At some point he was working with five different vocalists when we were working on Sepalcure! It was hard to find time even then. That's why I feel so confident that if it's going to happen, it'll happen.

Are you each other's biggest critics then?

Praveen: I guess so. Even with my solo project, when I send stuff to Travis, it's a defining moment. I don't get that with many people, but after working with Travis on Sepalcure, his opinion is really important to me. We have serious respect for each other's music.

Travis: I guess, besides that, our biggest critics would be people who download music for free and think that they're entitled to opinion.

Praveen: I actually get a little excited seeing people downloading our album for free and loving it!

Travis: I don't mind that either. Either way I don't get much from physical sales anyway.

Praveen: But there's an important factor of timing. Because if your album leaks three months before it's even out, it sucks.

Travis: But even that is better than what happened with Room(s), when the unmastered version leaked. I meet a lot of people who have the unmastered version, and I instantly catch the fact that they downloaded it for free.

Do you think this age of free music is going to take away from the quality of production in any way?

Praveen: I don't think so. I think there will be more creativity with more free production tools and software. I think there's going to be a change in the revenue stream for musicians. Streaming music is such a pitiful revenue, and that's where it's all going now, so there's gotta be something done about that for it to be viable.

Were you parents always supportive of what you do?

Travis: My mom was, but my dad was concerned that I wasn't going to make any money, 'cause it's such a niche thing. Until he went to my first show in New York around ten years ago. And he saw that there was something special there. So I'm lucky in that way.

we have to remind ourselves, that at the end of the day it's up to us when to set the deadlines for. it's not like we're never going to Be aBle to release reCords if we miss some deadlines.

we worked really hard in Berlin, and not a seCond of it felt like work! we were just exCited to finish the alBum.

i aCtually get a little exCited seeing people downloading our alBum for free and loving it!

photo by Megan Cullen

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Praveen: My dad was a similar way. He always told me there were a lot of professionals doing music on the side, which used to drive me crazy! But I seem to end up this way anyway I have a day job in programming.

Travis: It's funny that he says that he does music on the side, but he does as much music "on the side" as some music professionals do.

Is there anything you want to ask each other that you never have?

Praveen: We're not drunk enough yet! But yeah, there's always a lot of small weird things we probably wanted to ask each other, but we always work it out.

Travis: We just recently sorted out this issue about the balance of time

and being under so much pressure and stress. Praveen wanted to do all this stuff related to Sepalcure, even though I knew we both had no time for it. So we had to hash it out for a couple of nights and then remind each other that we're doing it all for fun.

Praveen: You know, whenever we're doing a release and we have all this press and attention, it's easy to go Gung Ho about Sepalcure. But we always have this reality check reminding us why we're doing it in the first place.

What's the most flattering comparison you've gotten about your music?

Travis: Honestly, just the fact that Hotflush wanted to put out our music at such an early stage, as unfinished songs basically, made us really happy. Paul being interested in our sound was by default a comparison to the stuff he previously released on Hotflush, which was a huge inspiration for us.

Did you ever get comparisons to Burial?

Praveen: Yeah, we had a couple. As soon as you put a few melodramatic vocals over something that is somewhat UK 2-steppy, you get instant comparison to Burial. But I have to say most of these

as soon as you put a few melodramatiC voCals over something that is somewhat uk 2-steppy, you get instant Comparison to Burial.

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comparisons come from people who are not entrenched in this music.

Ok, what are the best places in New York and Berlin for a solo dinner under ten bucks?

Travis: There's this place called Santa Maria in Kreuzberg. Taco Tuesdays. One Euro tacos and one Euro tequila shots.

Praveen: Castro's on Murtle avenue. Burritos the size of your head.

This issue is themed "Black and White." Do you have any special connection to black and white? Are you a black-or-white kind of person?

Travis: I think visually black and white has always been a powerful thing for me. With other colors it's more obvious, whereas in black and white

you have more room to come up with your own interpretation. It's more of a background with multiple emotions, rather than an immediate feeling.

Praveen: I think from an emotional standpoint, black and white is a terrible extreme. I can be a very extreme person, and sometimes I think it's the worst quality. Life is too complicated for it ever to be black and white.

Travis: Black color itself is so powerful because it is all colors

mashed into one. And it also represents silence, which sometimes can be more powerful than sound.

Praveen: That's a good one! Put that shit in big text. 48 pt!

Whom would you like to Big Up?

Big Ups Berlin. Big Ups New York. Gotta give big ups to Falty DL. Dave Q holding shit down. That boy is a tastemaker. Body Language, Jimmy Edgar, Lazer Sword brothers, Scuba and Hotflush family, Mount Kimbie, XI who's a Berliner now. Salva of Frite Nite. There's a lot of people in our extended family!

BlaCk Color itself is so powerful BeCause it is all Colors mashed into one. and it also represents silenCe, whiCh sometimes Can Be more powerful than sound.

life is too CompliCated for it to ever Be BlaCk and white.

photo by Megan Cullen

Force

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In your visual work for Sepalcure you've brilliantly created a virtual reality. Can we safely say that it's Sougwenland, a space personal to you, or is it something you've created based on Sepalcure's music to fit in with their sound?

Thank you. It's always gratifying to hear a positive response to the work especially recently-debuted material.

In order to evolve my work I've been experimenting with new processes, integrating 3D and other mediums, for example. I've titled these experimental works as a series "tude Opus 2." Prints will soon be available on the Ghostly store. From the tudes, I've selected numbers within the opus that fit visually into the world of Sepalcure.

The three of us regard Sepalcure as more of an art project, something that isn't defined solely by music, but rather the aspiration of an art collaborative. The name Sepalcure came from a piece I made in 2008. Both the meaning of the word and the piece itself were born from the heightened emotional state of coping with a loss. The circumstances surrounding the emergence of the music shared parallels with both.

Needless to say, when we debuted the audio-visual show last year at A/Visions at Mutek Mexico, it felt like the next big step in a really natural evolution of the project. I suppose

that's a roundabout way of answering the question.

Music seems to be a huge influence on your artwork. Do you think you'd create different artwork if you listened to other genres of music?

Music and sound definitely play a role in my work to date. I have a varied upbringing in music which informs my creative process in myriad ways. My father was an opera singer in his youth I recall his putting on Wagner in the house as a child and my brother being asked what we "saw" in the music, after which we would compare the differences between our visual interpretations of the musical piece. (Kind of a strange childhood in retrospect, I'm aware.)

Between that and being classically trained in violin and piano from a young age, I could express myself holding a bow and the neck of a violin, for example, long before I could ever utilize a drawing implement with any creative satisfaction.

As far as the influence my musical taste has on my visual works now, they tend to be all over the map with a predilection for textural, darker motifs and material.

I've made a habit of seeking fresh sounds and perspectives within music and listening to new genres, however, my visual work isn't consciously influenced by my playlist at any given time. As I've become more aware of what interests me artistically, I've

shifted my focus away from individual musicians and genres into a broader exploration of the interplay of mark-making / composing and abstract sound / image.

There are lots of visual references to particles, fractals etc... Where does this fascination came from?

My infatuation with generative visuals coincided with the first breaths of what would become my drawing style. The use of code to create visual rhythm, syncopation, and composition piqued a sense of wonder that has remained ever since. I didn't have the coding ability at the time so I used the tools at my disposal, which were ironically as literally prehistoric as could be (minus the caves). I suppose I arrive at illustration in a sort of backwards way the medium was just a readily available means to expressing a procedural desire.

How has the Sepalcure A/V show been accepted on tour? Are you planning on expanding the show and touring with Sepalcure or other music acts in the future?

We just completed a mini EU A/V tour a few weeks ago it was such a blast. The energy of the crowd at the shows was exhilarating. We've been excited to bring the A/V show to the EU fans for months and were met with positive responses at all the shows, which will definitely inspire the creation of forthcoming iterations of the show moving forward. In addition to the performance itself, it's been a pleasure touring with Travis and Praveen, and meeting up with our friends along the way (shoutouts to XI, George Fitzgerald, Scuba, Sigha).

We will be performing the A/V show in Taico Club in Japan in June. We're pretty excited.

You create lots of monochromatic images. Why such a choice in color? Do you think black and white images have a stronger impact than color? Do you prefer one to another?

As a result of my fascination with line, mark-making and form, I am enamored with innate qualities of monochromatic palettes.

THE MYSTERIOUS WORLD OF INTRICATE AND FLUID IMAgES CREATED BY SOUgWEN MIgHT SEEM ABSTRACT AT FIRST, BUT THE MORE TIME YOU SPEND IN THIS MINI UNIVERSE THE MORE FAMILIAR IT BECOMES. YOU BEgIN TO RECOgNIzE CERTAIN FEELINgS YOU THOUgHT YOU HAVE FORgOTTEN, CERTAIN SOUNDS YOU'VE ALWAYS WANTED TO HEAR, AND CERTAIN IMAgES YOU SO DEEPLY kEPT IN YOUR MEMORY.

SOUgWEN'S MUSICAL UPBRINgINg BRIDgED WITH HER FASCINATION WITH IMAgERY MAkES HER ASSOCIATION WITH THE CONCEPTUAL RECORD LABEL gHOSTLY ONLY LOgICAL. SPEARHEADINg SEPALCURE'S NEW A/V LIVE SHOW IS A STEP FORWARD IN SOUgWEN'S EVER EVOLVINg EXPLORATION OF IMAgE AND SOUND.

i've made a haBit of seeking fresh sounds and perspeCtives within musiC and listening to new genres, however, my visual work isn't ConsCiously influenCed By my playlist at any given time. i suppose i arrive at

illustration in a sort of BaCkwards way the medium was just a readily availaBle means to expressing a proCedural desire.

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In my opinion, it seems to reveal the form in the image with the least amount of distraction, while celebrating its contrasts... evoking this sense of austerity and aesthetic timelessness that really resonates with me. Pure chiaroscuro, interplay of light and dark, true and false...

There's a certain fluidity in your drawings, that would be perfectly suited for fashion design. Did it ever interest you?

Initially, no, but I'm open to the idea if I come across the right project.

What was the best live music show you've seen to date?

Recently? Anti-VJ and Murcof played after us during A/Visions at Mutek Mexico and I was in awe. If you haven't seen it, I highly recommend checking out their show.

How do you know when a piece is finished?

I'm actually not so concerned with completion in my work. Of course there is the notion of the right stopping point, but that's different than being finished. The embrace of indeterminacy is fundamental to the conceptual nature of drawing as an art form, whether or not graphite and paper is utilized. That can be a fairly liberating and poignant notion, depending on your point of view.

If you were a crazy scientist, what would you invent?

A holodeck. A crazy one.

Best cheap meal in New York?

Samurai Mama in Brooklyn. Cocoron in Lower East Side in the city.

Top played song in your iTunes.

"The Work Of Art in the Age of Cultural Overproduction" by Tim Hecker.

the emBraCe of indeterminaCy is fundamental to the ConCeptual nature of drawing as an art form, whether or not graphite and paper is utilized.

www.sougwen.com

sougwen.tumblr.com

flickr.com/sougwen

sougwen

facebook.com/sougwen

SOUgWEN ONLINE

Piece Title

tude Opus 2 No 8 - Reprise

tude Opus 2 No 1

Can you please introduce yourself and tell us what your roles in the band are?

Kalaf: My name is Kalaf, I'm one of the MCs in the group. I also write lyrics and come up with the concepts for art and visuals.

Rui: My name is Rui, aka DJ Riot. I'm the producer and the drummer in the group. My role in the band is producing beats, making songs, and in live shows I play electronic drums.

How did you get into electronic music and kuduro in particular?

Rui: J Wow, the other producer in the band, and I have been playing in bands since high school. He was playing guitar back then, and I was playing drums.

our BaCkground is pretty diverse, we grew up with roCk, hardCore raves, prodigy, ChemiCal Brothers... so that punk roCk attitude is always with us and when we go on stage we Bring that energy.

BURAkA SOM SISTEMA BURST INTO THE MUSIC SCENE BACk IN 2006 AND TILL TODAY THEY'RE ROCkINg THE STAgE WITH SOME OF THE MOST INTENSE AND RAW LIVE PERFORMANCES IN ELECTRONIC MUSIC. THEY STARTED OUT AS A TRIO IN PORTUgAL, TODAY A FIVE-MEMBER CREW CAN PROUDLY CALL THEMSELVES THE WORLDWIDE PHENOMENA OF kUDURO MOVEMENT.

THEIR LATEST ALBUM RELEASE kOMBA WAS MET WITH gREAT ENTHUSIASM ALL OVER THE WORLD WHEN THE BAND TOOk THEIR LIVE SHOW ON WORLD TOUR.

NEW YORk WAS ONE OF THE STOPS ON THE WAY AND WE WERE LUCkY ENOUgH TO STEAL TWO MEMBERS OF THE BAND FROM SOUND CHECk AND ASk THEM EVERYTHINg WE WANTED TO kNOW ABOUT kUDURO MOVES, BURAkA'S EXPLOSIVE STAgE PRESENCE, AND THEIR PLANS FOR THE FUTURE.

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We were playing punk rock, rock... not electronic music at all. Then it was the era of hardcore raves, Chemical Brothers, jungle and drum and bass stuff... We started really getting into it and wanted to play it too. So we began working on our electronic music skills. Right around that time we met Kalaf and together started working on his album, which never came out by the way. But we did some other cool things instead, like Buraka.

When you guys are on stage, the whole place goes absolutely nuts! How do you do that?

Kalaf: Well, we have that punk attitude, even though our music doesn't always reflect it. Our

background is pretty diverse, we grew up with rock, hardcore raves, Prodigy, Chemical Brothers... So that punk rock attitude is always with us and when we go on stage we bring that energy.

Also, we don't really think too much about the future. We try to live every day as our last. More or less. Of course we plan certain things... But when we are on stage, it doesn't

matter to us if we have 100 people or 1,000 in front of us. We just give the same type of show. We are in the moment and give all we can give. You never know, this could be our last show.

It seems that dancing is a big part of your music, and live performances...

Kalaf: Right. Kuduro is actually a type of dance that gave the name to the genre of music. So it's very attached to dancing and expressing yourself through body movement. It's a manifestation of soul through body. Actually, If you observe closely, the kuduro movement reflects African society. For example Rwanda is quite rough and aggressive and it all ends up in their dance moves. They feel

when we are on stage, it doesn't matter to us if we have 100 people or a 1000 in front of us. we just give the same type of show. we are in the moment and give all we Can give. you never know, this Could Be our last show.

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that way and they express themselves that way.

Rui: Yes, I think it's an African thing. It's all about expressing yourself through your body, through dancing. The name of our Komba album refers to this ceremony or a party that people in Angola do to celebrate the passing of the loved one. Of course they are sad, because he or she died, but at the same time they're commemorating his/her entrance to the spirit world. So they eat the deceased's favorite food, dance to

their favorite songs... Everything in their culture is about celebration of life as well as death.

Kalaf: It's all about expressing yourself, not holding any emotions back. If you want to cry, cry. If you want to dance, dance.

What were you hungover from when you wrote that "Hangover" song?

Rui: Haha, grog. It's this really strong alcohol, stronger than vodka. You can get poisoned if you drink too much.

Kalaf: It's actually inspired by our lifestyle, really. There are some pretty hardcore parties in our lives. It happens more often than we'd like.

Were you in some way influenced by dubstep when you were starting to produce kuduro songs?

Rui: I see the resemblance, because kuduro is the same bpm as dubstep, and we are inspired by any style of dance music. Basically, we are inspired by bass culture. And we are also based in Portugal, very close to England, Spain, and France, where all kinds of music trends are happening. And we appreciate everything that comes from the UK, with Jamaican influence, dub, reggae, etc...

i think it's an afriCan thing. it's all aBout expressing yourself through your Body, through danCing.

it's all aBout expressing yourself, not holding any emotions BaCk. if you want to Cry, Cry. if you want to danCe, danCe.

photo by Simon Frederick

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Kalaf: When we started the Buraka project back in 2006, we already were into kuduro, and when we figured out that the majority of it is 140bpm, we were like, "great! This is like this new stuff from England." And we could do all kinds of mixes and edits, so we did remixes for Rusko and Skream back then.

Do you have any plans for any other projects besides Buraka? Or do you think you're gonna stick with it for a while?

Rui: I think, we're gonna go on for now. I'm not talking about those bands that last 25 years, which is ridiculous!

Kalaf: Well, our live shows are pretty intense. I don't know if I can do that in my 50s.

Rui: Oh yeah, our shows are non-stop one hour long, so for me playing drums for a whole hour without a break is like going to the gym. I don't know if I can do that when I'm 50. But maybe I can. We'll see.

Thank you guys for your time. Really looking forward to the show.

Rui: Yeah man, you might be able to pick up some kuduro moves.

our shows are non-stop one hour long, so for me playng drums for a whole hour without a Break is like going to the gym. i don't know if i Can do that when i'm 50.

Horror Vacui # 011

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You do a lot of work in color as well as black and white. What form gives you the most freedom as an artist?

It completely depends on what it's for, what I want to express, and the context. Sometimes restriction in color allows a lot more freedom, since it makes you dive far deeper into the "why"

instead of focusing on the "how." To me, sometimes it feels that having too many options distracts from a certain essence.

It's an interesting paradox nowadays; there are so many possible mediums to work with, but also there is so much nostalgia and pastiche... One is almost about to

think it doesn't get more real than playback...But of course everything evolves and shifts constantly, so there's always different stuff to discover.

Doesnt using black and white seem a bit boring sometimes?

Not really... If you only look at things from a

jeroen erosie doesnt sit in one Corner. exploring ideas and soCial issues through art, design, graffiti and illustration, the Culturally adept and artistiCally free maveriCk is always in searCh of thought-provoking ways to Challenge and reveal the overlooked or the undermined.

the following interview delves deeper into the impulses and teChniques of the dutCh Creative...

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decorative perspective, then sure, using black and white seems to be very limited. But I learned that in our big fat visual culture not all that glitters is gold. To me the essence in using black and white is that it refers to text. Letters don't need colors, they can be used to describe anything in a colorful way. I like that friction, the limitation that leads to endless possibilities.

You collaborate with Martyn on all 3024 artwork. Why do you choose to work in color for these projects?

The 3024 artwork is a constantly evolving chain reaction, each sleeve design is built up from the previous one, creating and destroying simultaneously. It's an intuitive approach, more like my way of painting, but completely digital. And it's a good way to do something in contrast with my other work, the black and white Horror Vacui paintings for instance. So in this case using color has a complementary purpose.

Your posters and T-shirt designs usually have a kind of quirky irony to them. Why is that?

I assume it's because of a similar approach. I want to be able to interpret things in different ways, to make things that have different connections and different stories to relate to. For instance I like to think of a T-shirt not only as an object to make a design for, an oddly shaped canvas, but rather as a medium of communication, an oddly shaped wearable sign.

To me using words and letters is seldom only about form. Every word means something, so why not think about what to say with it, and how to say it? That's what I like about simple, spontaneous handwritten letters in just one color. I try to connect the visual I make with the medium it's made for, with the audience that will possibly see it, and in the case of a T-shirt, with the person that will wear it.

Cool... How important do you think humor is to art?

As important as humor is to life I guess. If you make a joke of everything it's not funny after a while... same goes for art. But dead, dry, serious art that only revolves around itself is not fun either. So a bit of the one and the other sounds good to me. It really depends on what your intentions are of course, what you want to say, what kind of people you focus on, or if you even care about this to start with.

Thats very true. Arguably the Internet has made it easy for anyone to make and create almost anything, whether you care about art as a form or not. Do you think this makes it harder for true talent to be found?

No. Not at all. Sometimes it takes a bit more trouble to see through things. You'll probably need some fascination for the history of art and design to separate the new from the old, the good from the bad...

There seems to be so much generic stuff created that fits into a certain vibe, a certain "school" or genre, and actually seems to be made to do exactly that. And it's important to look for a certain personal or individual quality, and appreciate it.

However, the Internet does change the impact of images in general. The speed of the Internet does something to all of us. Not sure where it will lead to, but I see so much stuff on a daily basis on the net, that it feels very special to not be online at all.

I guess that is also a special quality of graffiti the ability to see a piece of art face-to-face in a very casual setting. However, it usually has a short lifespan (in that it can be removed). How long should art last?

Graffiti to me is quite different from art to be honest... Graffiti is more of a discipline really. I mean in the contemporary spray-can-hip-hop-NYC form. Before the '70s NYC graffiti it already existed in so many ways in so many different times...

Contemporary graffiti is a way of fitting in rather than standing out... Actually, it's a matter of first fitting in and then standing out. The more pieces and tags you have up, the more relevant you are. But there is an interesting parallel to art it's the idea of emotional attachment...

Art and graffiti are difficult to compare really. I mean it's wonderful to see a 100-year-old Mondrian in real life, and it's nice to bump into a 20-year-old tag or piece now and then... but it's ehh... quite different.

Is it better to use raw materials to create art rather than using digital means? You use both. Which do you feel generates the best results?

I try to see it as simply using different brushes. The solution will never be only in the medium, it is all about finding the right medium for a certain idea or motivation.

What inspires you to keep creating and producing work? Do you ever get bored with creating?

I guess it's the constant itch and scratch. I don't think it will change.

Most artists are poor or have to work multiple jobs. Do you think art encourages compromise with money?

I think it's a matter of priorities... Artists live and breathe their art, and it doesn't always connect fluently with getting things organized. I also don't think this will ever change!

If you werent an artist, what would be your Plan B career?

Running a gallery.

if you only look at things from a deCorative perspeCtive, then sure, using BlaCk and white seems to Be very limited. But i learned that in our Big fat visual Culture not all that glitters is gold.

art and graffiti are diffiCult to Compare really. i mean it's wonderful to see a 100-year-old mondrian in real life, and it's niCe to Bump into a 20-year-old tag now and then... But it's ehh... quite different.

the speed of internet does something to all of us. not sure where it will lead to, But i see so muCh stuff on a daily Basis on the net, that it feels very speCial to not Be online at all.

artists live and Breathe their art, and it doesn't always ConneCt fluently with getting things organised.

EROSIE ONLINE: www.erosie.net

Electricity Photo by Fieke van Berkom

photo by Ralph Meesen

Pariah recent R&S signing

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R&S Records was founded in the early '80s tell us a little about the history of the label.

Oh, the history... Well, basically everything started very naturally. I worked in a record shop and met a guy in 1982 who had a cousin that had a studio in Germany. I quit my job as I wanted to be a producer, went to Germany, worked in the studio and that is where it all started.

The '80s produced some great music. Who were you listening to then?

I was listening to everything! From Phil Collins to Marvin Gaye, to pop, rock and dance. In the '80s rock was sort of less interesting and there was no interesting dance music at all. So, around '85 or '86 this whole new beat thing happened in Belgium, by complete accident. A 12" single was played at the wrong speed and the people reacted so wildly that it became a complete new fashion. Everybody jumped on it making electronic music in that kind of style... That was quite interesting.

A lot of artists then were embracing new technology, such as the TR 909 drum machine. Were you an early adopter of that sound too?

I always liked drum machines and also acoustic drums. I listened to a lot of music, pre-80s Motown, Stax, all those kind of labels. Even Prince was using the Linn drum, a drum machine. His specific sound in the early days was a Linn drum.

Everything that has to do with rhythms, whether it's acoustic or electronic, I loved, because I'm a frustrated drummer. That was my dream as a kid to become a drummer, but my father wouldn't buy me a drum kit. That was the problem.

What does R&S stand for? Can you also tell me about the iconic logo?

R&S stands for Renaat my name and Sabine my partner for 30 years now. We are both music lovers. It was very simple: we are a couple and we founded and supported the label. The logo with the horse was a trick with a long history. Of course I'm a petrol head, I like Ferraris, I also like horses very much, it's my second passion. But that's not the real story.

During the time I made my first records, Belgium basically had three record import shops that really dominated and controlled the market. In my first steps with R&S I took one of their artists away, and they were so pissed with me that everything I released they wouldn't buy. So I came up with this idea to make the releases an Italian sort of thing. In fact, in the beginning, it was even the real Ferrari logo that I used.

R&S took a hiatus in the early 2000s. What was the thinking behind that?

Sabine and I ran the label since 1983. R&S became bigger and bigger, and I even had a couple of joint ventures with majors. It just got to the point that I was so bored with the industry, so fed up with everything, that basically in 2000 I closed my doors and I said to myself, "I will never return to the music industry again. I cannot deal with this bullshit anymore!"

I was fed up with it! That was nearly 17 years of electronic music, from the glory days when the real vibe was there and innovation was there. I thought the music was repeating itself. I was bored with it all: the music, the industry... and everything. I'd had enough. I closed my doors. I needed time to think... That's a true story.

FOUNDER AND PRESIDENT OF R&S RECORDS RENAAT VANDEPAPELIERE HAS SO MUCH ENERgY THESE DAYS FOR EVERY gENRE OF ELECTRONIC MUSIC. TAkE A LOOk AT THESE PAST YEARS' RELEASES ON R&S AND YOU'LL START TO gET THE PICTURE. JAMES BLAkE, PARIAH, UNTOLD, BLAWAN... THE LIST gOES ON.

APOLLO RECORDS, THE SISTER LABEL OF R&S, WITH A HISTORY OF RELEASES BY APHEX TWIN, SUN ELECTRIC, DJ kRUSH AND MANY MORE, IS JUST ABOUT TO gET UP AND RUNNINg AgAIN AND RENAAT VANDEPAPELIERE TOOk SOME TIME TO gIVE BIg UP A LOOk INTO HIS WORLD.

around '85 or '86 this whole new Beat thing happened in Belgium, By Complete aCCident. a 12" single was played at the wrong speed and the people reaCted so wildly that it BeCame a Complete new fashion.

that was my dream as a kid to BeCome a drummer, But my father wouldn't Buy me a drum kit. that was the proBlem.

it just got to the point that i was so Bored with the industry, so fed up with everything, that BasiCally in 2000 i Closed my doors and i said to myself, "i will never return to the musiC industry again. i Cannot deal with this Bullshit anymore!"

r&s was aBout CluB musiC and CluB musiC is very funCtional But apollo was more of a listening experienCe.

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R&S and Apollo have released amazing records. Explain the major differences between the two labels.

If we go back to the early days, R&S was basically a techno label. This is how people perceived it: dance, club, techno music. Also during that period, ambient came up. People were experimenting a little bit more, like Aphex Twin. You had the first people going out of the club music and doing different things. I needed my balance, my yin-yang. R&S was about club music and club music is very functional but Apollo was more of a listening experience.

I'm curious. Were you thinking about record sales? And did you have a plan in the early days? Or was it just about releasing records that you love?

We never had a plan. We never thought about record sales. It was just us having fun! The plan was to not have a plan. I was there as a music fan.

Before R&S got started again did you have any concerns about the changing face of the music industry?

No, absolutely not! I was sitting back looking at the industry, hearing everybody complaining and I was asking myself, "What is the next step? What is the future?" I can still see everybody panicking, even today.

we never had a plan. we never thought aBout reCord sales. it was just us having fun! the plan was to not have a plan. i was there as a musiC fan.

Synkro new Apollo signing

musiC will always Be Consumed only the way it will Be Consumed is different. so, it's up to us and Creative people to adapt the format.

Whereas I'm completely relaxed, because music will always be consumed only the way it will be consumed is different. So, it's up to us and creative people to adapt the format. The technology moves very fast and we are in a transition period now. It is very interesting to be in this transition period of modern times.

James Blake is one signing that gets a ton of press coverage. What recent signings are you excited about?

Of course James is unique. But you also have Pariah. I think Space Dimension Controller is extremely interesting. Cloud Boat, absolutely! Love that!

If you are talking about the new kids, all of them have something unique and special to offer. Teengirl Fantasy is a new signing on R&S records, which is going to be a very interesting project. Not to forget Vondelpark. I really expect a lot from Vondelpark. They are fantastic musicians, a fantastic live band!

Now Apollo is gearing up for a reboot. Was it a logical step to have both labels back up and running again?

Absolutely, absolutely! They have a heritage together. Apollo is part of R&S. With Apollo we can go from hip hop to jazz to experimental music etc... We have new kids like

Synkro and Jack Dixon on Apollo and I just signed a soul project by Colonel Red. Apollo will be extremely diverse in all aspects of music and it will not be an ambient label. People that know the history of Apollo know that it has been perceived as an ambient label, but it is not!

How would you say the labels are different this time around?

Both labels are artist development labels. We sign an artist and we try to work together. R&S is different, because it is so big and we have to think and plan more. Apollo is my "playground." I just feel and go and test the waters.

Whom would you like to Big Up?

Teengirl Fantasy and Vondelpark. Plus The Plea, our first indie rock signing on a new R&S indie rock offspring, Planet Function.

apollo will Be extremely diverse in all aspeCts of musiC and apollo will not Be an amBient laBel. people that know the history of apollo know that it has Been perCeived as an amBient laBel, But it is not!

Vondelpark new R&S signing

www.randsrecords.com

randsrecords

facebook.com/randsrecords

APOLLO AND R&S RECORDS ONLINE

The Faithful

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IN THE AgE WHEN WE ARE OVERSTIMULATED BY VISUAL MULTIMEDIA AND OVERSATURATED WITH COLOR ON A DAILY BASIS, BLACk AND WHITE ART HAS TO BE SHARP, DETAILED, AND IMPRESSIVE TO CATCH OUR EYES. THOSE ARE DEFINITELY SOME OF THE ADJECTIVES I WOULD USE TO DESCRIBE THE WORk OF NEW YORk ARTIST JOE FENTON. BUT IT WOULD HARDLY SCRATCH THE SURFACE OF WHAT WE ARE DEALINg WITH HERE.

THE LEVEL OF DETAIL IN EACH OF JOE FENTON'S WORkS IS MORE THAN AWE-INSPIRINg; ITS DOWNRIgHT OUTRAgEOUS. ALMOST EVERY PIECE DISPLAYED IN HIS ONLINE gALLERY WILL TRICk YOU INTO THINkINg THAT YOU ARE LOOkINg AT SOMETHINg MADE DIgITALLY, BUT DONT BE FOOLED THIS IS ALL CREATED BY HAND, WITH gRAPHITE AND SOMETIMES INk, ACRYLIC, AND gOUACHE. IMPRESSIVE, TO SAY THE VERY LEAST.

SELF-TAUgHT VIA SCULPTURE, JOE FENTON DRAWS CHARACTERS THAT ARE EVIL, DEVIOUS TROUBLE MAkERS WHO SEEM TO INVITE YOU TO JOIN THEM IN THEIR PSYCHEDELIC AND OFTEN RELIgION-INSPIRED WORLDS.

READ ABOUT SOME OF THE THINgS THAT INSPIRED JOE TO BECOME AN ARTIST AND HOW HE FEELS ABOUT THE PATH HE HAS CHOSEN.

'Solitude' in progress

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How long have you been drawing and sketching?

I drew a lot when I was younger. I really enjoyed art when I was at school until about the age of 11 when I completely lost interest in art. School was a difficult time for me so it was hard to be artistically inspired. It wasn't until I was 26 when I decided to go back to education and pursue my art again. At art college I studied sculpture and not drawing or illustration. Therefore Im primarily a self-taught artist. I hardly drew anything while at college. But working in 3D has really helped my draftsman skills as one informs the other.

When I eventually started to work in 2D again, I found my sense of form had become much stronger. Also my ability to use light and shade to create depth in my work had really improved as a direct result of working in 3D.

Why black and white?

I'm just drawn to it. I also think that black and white really complements my style of drawing and the subject matter. I also love some of the greats such as Aubrey Beardsly and Arthur Rackham who also worked mainly in black and white.

What inspires you to make your art?

There are many religious references in my work, whether it's a Ganesh like character or a grinning Buddha, or a faint crucifix adorning a rooftop in the far distance. This might seem strange as I am not a religious person, although I am on a constant journey to find a spiritual solution to give meaning to my life. Im not sure if I'm mocking religion by having references to it in my work but I do have a deep desire to experience some of what it has to offer. When one strips away the politics of religion and the varied cultural differences and beliefs, I feel they all ultimately have the same spiritual goals.

Does music play an important role in any portion of your creative process? If so, do you find yourself leaning toward any certain type?

I listen to all genres of music but I do have a particular interest in classical, jazz, and ambient music. I generally like calming music. I also listen to a lot of audio books while I work. Do you have any rituals for starting a new project?

Nothing out of the ordinary really. I gather a lot of reference images which help me feel my way into a new project. I start creating an image the same way I would begin creating a sculpture. I create a framework to add and build detail onto.

Out of all the different projects youve done murals, picture books, intense drawings which one gave you the most personal satisfaction and why?

At the start of 2010, I made the decision to focus the majority of my time on building a collection of personal works. This was triggered by my need to express myself as an artist in a way that is different from working as an artist for hire on a film for example.

im not sure if i'm moCking religion By having referenCes to it in my work But i do have a deep desire to experienCe some of what it has to offer.

without a douBt Creating my Current work has Been the most rewarding experienCe for me to date.

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It was a little scary at the time as none of the work was commissioned by clients or publishers. Without a doubt creating my current work has been the most rewarding experience for me to date.

Ive seen a lot of Joe Fenton tattoos out there on the internet. How does it make you feel when fans ink themselves with your work? Have you ever considered doing tattoos yourself?

For me personally, it's the greatest honor when someone wants to ink themselves with one of my designs. I generally like to be asked before someone uses my work. It's always a concern for any artist to

Solitude

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secure copyright to their art. I have never personally tattooed before, I have only just started to pay more attention to the tattooing world as a result of the interest I have received. I get many, many emails

from people asking me to either use existing designs or to have me create personal designs for individuals. Unfortunately I do not have the time to produce art work purely for tattooing.

for me personally, it's the greatest honor when someone wants to ink themselves with one of my designs.

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What projects and shows do you have lined up so far for 2012?

I'm currently planning my first solo show in London for later on in the year.

Anything you want to say to your fans?

Just thanks for their support. It's great to know that there are people out there who appreciate what I do.

Whom would you like to Big Up?

I have to give a Big Up to one of my biggest influences Wayne Anderson, who is a fantastic illustrator. His books like Rat's Magic and The Magic Circus are two of my favorites.

As a child his work would scare me, yet fill me with wonder at the same time. On one hand his characters are scary, but on the other hand they have a charm about them which is not really threatening some have said that about my work too.

on one hand his CharaCters are sCary, But on the other hand they have a Charm aBout them whiCh is not really threatening some have said that aBout my work too..

www.joefentonart.com

facebook.com/joefenton

fentonjs

JOE FENTON ONLINE

"Solitude" in progress

Favorite Sports Team

Crystal Palace.

Favorite Foods

Steak medium, lamb chops, Guyanese curry and roti. Favorite Athletes

Usain Bolt, The Williams sisters.

Favorite Venues

Berghain, Fabric.

Favorite Pub

Hootananny (Brixton).

Favorite Actors

Eddie Murphy, Samuel Jackson, Jim Carey, Chris Rock, Judge Reinhold, Tyler Perry, Will Smith, Ben Stiller and Jackie Chan.

Favorite Parts of London

Brixton and East London.

Favorite Producers

DJ Gregory, Philip 'Fattis' Burrell, Karizma.

Favorite US Cities

Los Angeles, Seattle, San Francisco, Boston, Philly, New York.

Favorite Restaurants

Hawksmoor (London), La Corte Del Cafee (Dublin), TGI Fridays (everywhere).

Favorite Actresses

Angelina Jolie, Gilian Wright (Jean from Eastenders), Whoopi Goldberg.

Favorite Parts of Europe

Italy, Spain, Berlin, Poland, Holland.

Favorite Fashion Designers

Ghost, Vera Wang, Basso & Brooke.

Favorite Live / Performance gear

Alesis Air Fx, Akai APC, Akai MPD32, Akai EWI, in-ear monitors.

Favorite Studio gear

Novation controller, my mic, and bass guitar.

Favorite Musical Influences

Bob Marley, Tupac, Dennis Brown,Keven Dino Conner (H-Town).

Favorite Musical Influences (living)

Donnel Jones, Joe, Slick Rick, Mica Paris, Babyface.

Favorite Films

Anything by Tyler Perry.

Favorite TV

Eastenders, Hollyoaks.

Favorite Drinks

P G Tips tea, water, Coke.

Favorite Royalty

Princess Diana

Favorite Books

Nature Knows No Color Line (J. A. Rogers), The B.F.G. (Ronald Dahl), Goosebumps books.

Favorite Auto

Range Rover Sport.

Favorite Way to Chill

With my son, the only way.

BIg UP CONTRIBUTOR JAMES HEALY TRACkED DOWN THE MULTIDIMENSIONAL, LONDON-BASED PRODUCER AND ATHLETE COOLY g TO FIND OUT HER FAVORITE ... WELL, READ ON.

COOLYgUk

facebook.com/OFFICIAL.COOLY.g

COOLY g ONLINE

photo by Stephanie Sian Smith

photo by Daniel Shipp

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Label: Hotflush

Release Date: March 6

For the fans of: house, jungle, techno, strobe lights, ecstasy, atmospheric explorations, bass pressure.

Stand out tracks: "Underbelly", "Hope", "Cognitive Dissonance", "NE1BUTU", "If U Want".

They say: Personality takes in a wealth of genres across contemporary dance music, proving once again Scubas place at the cutting edge of the electronic music scene.

Scuba Personality

Label: F.L.Y

Release Date: April 2

For the fans of: UK Funky, bass, Funkystepz jingle, house, ravey chords.

Stand out tracks: "Class A", "Royal Rumble".

They say: After two solid efforts on Hyperdub and slew of remix work Funkystepz return to their own label, F.L.Y, to to showcase 4 unadulterated cuts of UK Funky with a twist. Royal Rumble is an unpredictable trip full of twists and turns that make for a rough ride throughout.

Funkystepz Royal Rumble EP

Label: 50 Weapons

Release Date: April 3

For the fans of: Chicago ghetto tek, juke, 808, drums.

Stand out tracks: "Bleeps" feat Spank Rock, "Rudeboy", "Sooperlooper", "Ass Jazz", "Dance Of The Women" feat. Mark Pritchard

They say: Transistor Rhythm, Addison Groove's debut album, is a rare example of a release where the description "much anticipated" is not just a fantasy of some PR agent. The expectations are high, but we are convinced nobody is gonna be disappointed.

Addison groove Transistor Rhythm

Label: Hyperdub

Release Date: March 19

For the fans of: 8 bit, UK Funky, soulful house, techno, broken beat, grime, Brainfeeder hip hop.

Stand out tracks: "Polyphonic Dreams", "Madness" feat Vikter Duplaix, "Eye Know" feat Natalie Maddix, "33 Degree" feat Muhsinah, "Where I Belong".

They say: Pretty Ugly is what it is - sweet and sour, blaring and lush, rough and smooth. We think Scratcha DVA is a genius. You probably should to.

DVA Pretty Ugly

Label: Monkeytown

Release Date: May 1

For the fans of: 80s electro, Detroit techno, various styles of UK futurism, psychadelic explorations, sub bass.

Stand out tracks: "Sky Burial", "Let's Work It" feat Jimmy Edgar, "Pleasure Zone", "CHSEN" feat. Machinedrum.

They say: The heart of Lazer Sword still resides in the club, and Memory is anything but short on tracks geared for the dancefloor.

Lazer Sword Memory

Label: R&S

Release Date: May 7

For the fans of: Chicago house, Detroit techno, early 90's London rave, 8-bit, cinematic soundscapes, ambient, uptempo, cloudwatching.

Stand out tracks: "As a Child" feat Machinedrum, "Crystal Caverns 1991", "Earths Lungs", "Cthulhu" feat Machinedrum.

They say: Lone's Galaxy Garden is an album to be treasured and one that will no doubt, end up in many polls come the end of twenty twelve.

Lone galaxy garden

Label: Planet Mu

Release Date: April 9

For the fans of: Chicago soul, funk, house, ghetto trax, footwork.

Stand out tracks: "Footworking On Air", "Callin All Freaks", "Slip Fall", "Let There Be Rockkkkk", "1988", "Sound Filed", "Lifeeeee Is Forever".

They say: Traxman's skills are unmessable, you can tell from the minute the album starts that music is like breathing for him, and that the album also makes an incredible and skillful case for footwork as Chicago's very own sideways evolution through hip hop via house with a rich history of soul.

Traxman Da Mind of Traxman

Label: Honest Jon

Release Date: March 20

For the fans of: beatless meditation, abstract explorations, pulsing 4/4 rhythms, noise, low-end vibration.

Stand out tracks: "Ascending", "Holy Water", "Marble Plexus", "Jardin", "Serpent", "IWAAD".

They say: R.I.P. comprises fifteen tracks painstakingly crafted by Actress in his London studio over recent years, with a conceptual arc taking in death, life, sleep and religion. I'm just an instrument, Actress avers. I'm completely dead when I write. I can't explain how I made those tracks, it's just impossible. I have a hard time comprehending it myself sometimes.

Actress R.I.P.

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Label: Brownswood

Release Date: March 26

For the fans of: Los Angeles, instrumental beats, Brainfeeder, Low End Theory, textures, heartbreaks, head-fucks, melancholy and jams.

Stand out tracks: Groundislava "Creeper Shit", Dibia$e "Remind Me Somethin", Tehbis "Higher", Mono/Poly "With Grace", Doc Daneeka & Abigail Wyles "Tobyjug".

They say: Worldwide Family Vol. 2 is a hypnotic backspin through shuffling beats, smoky ideas, moonlit melodies and colourful bass landscapes that leave the listener filled with curiosity. The tracks Kutmah selected are all so intriguing, in fact, that we predict youll fall into a deeprabbit hole of Googling each producer to find out more... just as we did.

kutmah presents Worldwide Family Vol.2

Label: Hemlock

Release Date: April 9

For the fans of: everything hypnotic, techno, house, drums, bass mantra, piercing bass, sonic mastery.

They say: Part one of a triple EP set, Change in a Dynamic Environment is the sound of a boy brought up on JunglePirates, once again smudging the edges of house/techno/bass/ oh, whatever Just listen.

Untold Change In A Dynamic Environment Part 1

Label: Sonic Router

Release Date: March 12

For the fans of: rattling bass, bleeps, aliens, isolation and introspection.

Stand out tracks: "Blurred", "Vocaldonuts" Slugabed remix, "Knocks".

They say: I come from The Hague in the Netherlands and we kinda have all the environments you could think of put together, says Torus. Weve got the beach, we got forests and woods, we got plains and weve got downtown and sometimes the whole city is covered in snow. In my music I move away from the crowdedness of the city to create a more natural and organic environment; but I also like taking a bit of the static interference from the bustling city and putting it all together into some sort of ambience.

Torus Torus

Label: Mush Records

Release Date: Fenruary 28 For the fans of: Slowdive, Boards of Canada, acoustic melodies, delay-saturated guitars, instruments sampled beyond recognition into ambient soundscapes.

Stand out tracks: "The Past Inside The Present", "I Drew A Crescent With My Movement Forward", "Out Door See".

They say: This is an album meant to wash over the listener, to cleanse the palate and spirit. If you are someone who likes electronic music with risks, you will find comfort in Is And of The.

Is And Of The Handpainted glow

Label: Ranking Records

Release Date: May 7

For the fans of: soul jazz, live bass, hot vocals, singing along.

They say: "Its Not Me Its You" maintains the bands signature combination of smoking-hot vocals and bass music played live, whilst also upping the electronic element. More importantly, the track sees the band moving away from more cerebral soundscapes and into the realm of a crossover-friendly club anthem in waiting. There are things that should both satisfy fans of the first album, and surprise them too. Hopefully 'It's Not Me It's You' will do both.

Submotion Orchestra It's Not Me It's You

Label: Wichita

Release Date: May 15

For the fans of: 80s electro, acid house-rock-crossover, subtle humor.

Stand out tracks: "Cerulean", " A Species Out of Control", " The Dream of the Fishermans Wife", "Pareidolia".

They say: Unpatterns is a record full of love, dedication, hard-earned experience, obvious understanding of decades of electronic music from across scenes and styles, and huge fun. Its completely of the now, showing a band as familiar with Blawan and Lone as they are with Silver Apples and Phuture, but never jumping on bandwagons.

Simian Mobile Disco Unpatterns

Label: Hypercolour

Release Date: March 29

For the fans of: Chicago house, Detroit techno, funk, 808, Ibiza, hands in the air.

They say: No Knock is a four-track EP that ranges from 808 fuelled old school cuts to low slung, Moog-bass'd electronic funk. Each sound is lovingly crafted but there's an analog rawness throughout and every track has the sort of tweaked, off-kilter and occasionally awkward vibe that Hypercolour do so well.

groove Armada No knock EP

Label: Lo Note UK

Release Date: April 16

For the fans of: Toasty, Loefah, grime, jungle, low end.

Supported by: Support of this record comes from Oneman, Seb Chew, and Jackmaster who have played it heavily on Rinse FM and in their live sets over the past five months.

Last Japan Ambush EP

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Label: Monkeytown

Release Date: February 28

For the fans of: Abstract bass expolrations, lazers, electro, video games, broken beat, surprizes, cinnamon toasted crunch.

Stand out tracks: "Chordblocker, Cinnamon Toasted", "Metrotopy", "Bruised To Imwimper", "Baku Hipster", Seaqz.

They say: Parastrophics is as a playful as ever, but it's never throwaway. After six years away, Mouse On Mars have come back with their best record yet.

Mouse on Mars Parastrophics

Label: Hotflush

Release Date: May 7

For the fans of: house, electro funk, retro future, robo-pop, LEDs, synchronized light technology, vocoders.

Stand out tracks: "This One's For The Children", "Sex Drive", "Let Yrself Be", "Heartkey.

They say: According to Edgar, the making of the album was steeped in countless synchronicities, continuously reminding him he was on the right path. In contrast with his last LP, which took five years to make, Majenta is more raw, more spontaneous and in his words, "more futuristic ... than my other music, which played a lot with retro, especially R&B.

Jimmy Edgar Majenta

Label: Circus Company

Release Date: May 7

For the fans of: spaced-out techno, funk, raw deep house, beatdown vibes, boogie, tech-disco.

Stand out tracks: "To Be Free", "Away Away", "You Gotta Know", "Brown & Blue, "Revealing".

They say: Crafted with vintage recordings and instruments inherited from his late father, Dave Aju taps into his roots and musical background more than ever on Heirlooms, taking us on a ten-song journey through past and present influences and a variety of moods, from proper heartfelt tributes to spaced-out bliss and straight-up funk.

Dave Aju Heirlooms

Label: Apollo

Release Date: April 2

For the fans of: ambient, warm synths, sound of the rain, early morning fog, vibes, slow-mo, sub bass.

Stand out tracks: "Memories of Love", "Broken Promise".

They say: Its difficult to dissect each track too much as the whole release was obviously constructed to be listened to in its entirety in those late, late nights and early mornings when perceptions are warped and senses are distorted.

SYNkRO Broken Promise EP

Label: Metalheadz

Release Date: April 2

For the fans of: drum and bass, jungle, atmospheric

They say: With this record Goldie once again shows us that drum & bass can be art, sanctioned to be taken seriously, to be a moment in time, a memory, and not something to be discarded. This is Goldie's alchemy, a legacy he shard with us through Metalheadz.

goldie feat. Natalie Duncan Freedom / The Statement

Label: !K7

Release Date: April 3

For the fans of: downtempo, drum and bass, tech house, low end.

They say: Some mixes are just mixes, but some change the agenda. Rupert Parkes, aka Photek, was determined that his DJ-Kicks set would be the latter. I wanted to create one of those classic listening experiences, he says. With a mix like this, you can either bang it with the most current dancefloor tunes, or you can put a theme into it, or you can make it a journey. I was thinking about the classic LTJ Bukem mix tapes that I first came across in '92 and '93 and how epic they were. There was such a range of styles on there, they were so timeless and had real character. They had some personality. That's what I wanted to capture with my DJ-Kicks mix.

Photek DJ kicks compilation

Label: Ninja Tune

Release Date: May 7

For the fans of: synthesisers, drum machines, deep funk groove, crystals.

Stand out tracks: "Sex", "Moonbeam Rider", "Mountains Come of The Sky", "Climbing A Tree", "Earth Claps".

They say: Asked to explain Time Team, Slugabed responds that it's to do with deep feelings about mostly inexpressible things. It is indeed an album full of feeling and warmth and humor, a remarkable feat for a record composed mainly on synthesisers and drum machines.

Slugabed Time Team

Label: Black Acre

Release Date: March 26

For the fans of: lazer-tech, post-rave, booming drums, future garage.

Stand out tracks: "Tremor", "Totem".

They say: Black Rainbows is a batch of advanced lazer-tech dancefloor smashers with a noir edge. Supported by Untold, Jackmaster, Fantastic Mr Fox, Jamie XX.

Dark Sky Black Rainbows EP

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Label: Spectral Sound

Release Date: April 17

For the fans of: house, soulful house, drifting through space, organic sounds in the machine, understated bassline, synth pads.

They say: "Oranges" is a track that demonstrates how the simplest of ingredients a quietly insistent four-to-the-floor rhythm