1

Inter

Mission

2

ve lkommen

3

endelig har vi skabt det ma-

gasin, vi har talt om

længe, og som vi har savnet på den dan-

ske magasinscene. Et magasin som vil han-

dle om ´vores´ København og de mænd og

kvinder fra bl.a. New York, London og Par-

is, som inspirerer os indenfor mode, kunst,

film og musik. Vores 1st issue fylder 44

sider og er produceret i København, New

York og Paris siden april. I interviewet med

den franske designer Pierre Hardy prøver vi

bl.a. at finde ud af, om vi nogensinde vil se

ham designe briller, som vi er mange, der

har efterspurgt.

Magnus Berger, redaktør på The Last

Magazine fra New York, poserer i vores

obsession feature med et udvalg af sine

yndlingsguitarer, som han har samlet på fra

han var ung teenager i Sverige. Intermis-

sions moderedaktør Jesper Hentze deler sin

obsession med nøje udvalgte jakker fra Dior

Homme by Hedi Slimane.

Vi har desuden skudt første del af vores

ongoing Kbh portrætserie, som inkluderer

både ansigter fra den nye generation og

nogle af de mere etablerede kunstnere,

designere og musikere. Vi har også nået

at komme omkring 5 musikstudier i LA og

skyde nogle af de mest cool indiebands.

Ellers kan du læse om NY kunstner Banks

Violette, sommerens dufte, 3 unge fund

som vi tror på indenfor musik, foto og film

samt fotograf Luke Irons, der tager en sid-

ste afsked med modellen Randy Johnston,

som døde på tragisk vis sidste efterår.

Daniel Magnussenve lkommen

4

indhold

5

pierre hardy fund obsessions

my play list hovedskud

psychin the

south land

jack dahl

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34

scent

32

40double take

6

I have fallen in love with Pierre Hardy, several times. These are not the words of a “shoe per-son,” either; I have always been far more likely to swoon at a building or an artwork than at a stiletto. Perhaps that’s precisely this veteran de-signer’s appeal – he has created for Dior, Her-mès, Balenciaga and others with a sensibility that channels a distinctly Parisian neo-classicism through a thoroughly avant-garde sensibility, to make shoes that are about as far from pretentious as they are from just casual. And Pierre Hardy is kind to his admirers: his recession-friendly sandals have graced Gap stores for a couple years now, his own bespectacled likeness the retailer’s billboard advertisements. His newest store opened at Paris’ Palais Bourbon last February; the 110m2 architec-tural vision in dark lacquered parquet now houses Hardy’s namesake line of men’s and women’s footwear and bags, in a quiet oasis in the heart of the 7th arrondissement.victoria camblin: So you started your career at christian dior, in the 80s. but at what point in your life did you really start with the shoes? How does one get into that? pierre hardy: When I was a fine arts student,

in Paris, it was like a hobby for me – it was never my plan, like the job that I wanted to do, to be a “shoe designer.” I just wanted to draw, to paint, to do sculpture… to do art, basically. I never thought about fashion, it was about applied arts. vb: So how did you make the transition from the “beaux arts” to shoe design? ph: It was just by chance—a friend of mine, who was a designer and worked in fashion, had been asked to help this shoe designer, and she said, “Why don’t you go? You like to draw shoes.” So I thought I would try. I did this assistant job for a while, but it was just a student job – I never thought that it could be a career. In this period I was very involved in painting and drawing and things like anatomy, art history. This was just for fun. vb: That background really comes out in your shoe designs today, though. What’s distinctive about them is not just that they’re beautiful or chic, it’s about something in the quality of the craftsman-ship, of the materials… ph: Well, I’m not so involved in researching new materials or new effects or whatever. I’m more interested in how to put them together. I’m not crazy about strange or very modern materi-

PIERRE HARDY

PIERRE HARDY

PIERRE HARDY

PIERRE HARDY

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PIERRE HARDY

PIERRE HARDY

PIERRE HARDY

als—because with the shoe it doesn’t work so well. It doesn’t work with the body, it doesn’t work in the process of fabrication. In the end, I’m always working with quite classical materials—basically, it’s all about leather. After that, what interests me is to give new shape, new image, new volume, but using those basics. vb: Of course, you’re known for your classic look, but it’s also somehow quite avant-garde—and very few people would disagree with the description of your work as very “French.” ph: Yes! That’s very interesting—I would define myself as very French in taste, in a way. And that is very different from Italian taste, for instance, which I love, but I am just not able to do it. It’s another sensibility, which is also different from the Ameri-can way, and so on. So yes, you’re right, I would say I have a very French approach to things. vb: But what do you think it is that makes it so French? Or rather, what makes French style French style? ph: First of all, when I’m in France I don’t nec-essarily see this “French style” of clothes on the street everywhere. I know that there is a history of this culture of fashion and couture and style, and there always has been. But to be frank, I don’t see

so much of it every day. Still, I think part of the quality of this French taste is that it’s always a mix, a balance of something quite classic and that’s supposed to be a little bit loose or negligée… vb: Classicism with one added element of surprise? ph: It’s never everything matching everything else. It’s less pure than straight up classicism. Maybe that’s the interest of this look—it’s sophisti-cated but not stiff. vb: Perhaps when people think of Parisian style, they think of the women—of that gracefully aging woman wearing Chanel flats on her way to the market… [laughter] But what about French men? ph: It’s about how the clothes come together, this sort of mixture of high classicism and low, worn pieces—you can wonder why Serge Gains-bourg for example is an icon for being elegant when he was much more shabby than anything else. He was just wearing old pin-stripe jackets and old Levi’s and a very simple shoe, white, used. His elegance was more about an invention of charac-ter, and when he was doing it, he was the only one doing it. Maybe that’s the French taste as well—to mix clothes in a way that builds a new character.

8

“It’s just part

of the job

each time. It’s

like an actor

taking on dif-

ferent charac-

ters. When I’m

working on my

own collection,

it’s like a one-

man show—

I’m on stage

alone.”

9

10

“The question for me

is not so much,

“do I want to go there?”

It’s more, “Am I able to

go there?”

11

12

vb: You have a huge repertoire and have designed for so many different labels… ph: Well I try not to do so many! But I think it’s because I’m living from the inside, and on the inside I’m always trying not to do the same thing, to repeat it again and again. Because basi-cally what I love—and what everybody loves in style—is always more or less the same. It’s always about avoiding repeating the same thing over and over again and finding what you love with new shapes… so it’s interesting that you say that I’m working with a big range of shoes because I don’t have this feeling at all! vb: Well you’ve engaged all different kinds of registers, too—there are the major fashion houses like Balenciaga and Her-mès, there’s the Pierre Hardy line, and then, the Gap. And I’m wondering how you negotiate these transitions, from fashion house to high street for instance. ph: It’s just part of the job each time. It’s like an actor taking on different characters. When I’m working on my own collection, it’s like a one-man show—I’m on stage alone. When I’m working with different designers, I always try to play with my partner—of course I’ll do it my way, but I always try to understand what the different rules are, who the people I’m working with are. And it’s very dif-ferent; you have to adapt. When I’m working with Nicolas Ghesquière at Balenciaga, it’s a very close

collaboration, because we’ve known each other for such a long time. It’s very easy for us to communi-cate, and to reach what we really want. Because in this case, for example, I’m just trying to achieve what he has in his mind. When I’m working for Hermès it’s totally, totally different — because I’m working for a big, old, classic French brand with a big collection, men’s and women’s, with a tradi-tional and a level of quality that is… what it is. Each time there are different rules, on many many different levels. It’s never the same job. At all. vb: Let’s talk about the Pierre Hardy label… ph: Well I’m now working on a second shop in Paris. And maybe that sounds very normal—he has a shoe brand, he opens a shop—but the shop is very special. It’s like a house. It’s a little piece of space that looks like the world I’m trying to create, basically. The thing about space is that it’s not only a question of mood, it’s like an idea. Of course, in the end, it’s never exactly what you’ve dreamt about—never exactly. But it’s trying to find an equivalent of what I’m doing in the shoe collection and translate it into space, color, furniture, and so on. vb: Do you have a general interest in architec-ture? Your shoes have an architectural quality. ph: It’s true, I think I prefer space and volume to decoration, ornamentation… my tastes lean more towards a constructive feeling. But I think

“It’s true, I think I prefer space and volume to deco-

ration, ornamentation… my tastes lean more to-

wards a constructive feeling.”

13

that what I love in fashion is that these projects are short-term. I don’t think that I would be able to work on such long projects as architecture does, which take years and years to realize. So I try to channel this interest in what you call “architec-ture” but on a different scale. vb: It’s the best of both worlds—the instant turnover of fashion, the exploration of space of architecture… Where will the store be? ph: On the left bank, in Paris. The location of my first shop, at the Palais Royal—for me it’s one of the most beautiful places in Paris. Because it’s inside and outside. It’s not a street, it’s not a court-yard, it’s not a garden, it’s everything together, but quite protected from the rest of the city. It’s in the center, yet there’s no noise… so it’s very unique in a sense. And the place where I’m now planning my second shop is also on a square, and once again it’s like a little center all by itself. And I love this feeling—there are many places like this in Paris. vb: You have your own signature style in photos—as a designer yourself, how do you approach other designers, how do you craft your personal look? ph: Of course, I buy other designers—I buy Balenciaga, I buy Margela, I buy Jil Sander… also a lot of casual things, like Levi’s, a lot of sneakers, too. So it’s very mixed, and always quite simple, and quite coherent. Taste is what I’m doing, actu-ally. vb: What about your glasses?

ph: The relationship to glasses is a little like the relationship to shoes—because it’s something you have to wear. So I think there are two conditions: it’s either the mask you wear to become someone else, and it becomes a part of your character, or you try to wear something that doesn’t disturb the general organization of your face or your appear-ance. It’s like shoes: you can chose your shoes to make a big statement—very obviously heavy, bright, or whatever. Or you can choose a shoe that’s very discreet—just a finishing of your silhou-ette, that disappears, is almost non-existing. So for me the glasses should be there very normally: for me it’s not an accessory; it sits as part of your face. vb: Would you ever consider designing eyewear? ph: Actually, no, I’m not sure I’d want to. Doing glasses puts you into a system. It has to be distrib-uted, manufactured… it’s a big big business, you know? If I were to do it, I would have to reconsider it from a very different point of view. A bit more exclusive, or more luxurious, maybe. vb: Any other unrealized projects you might one day want to go into, other than eyewear? ph: There are lots of unrealized projects! The question for me is not so much, “do I want to go there?” It’s more, “Am I able to go there?”

“There are lots of unrealized projects! The

question for me is not so much, “do I want

to go there?” It’s more, “Am I able to go

there?”

14 fu

15

nd

16

Alder: 17

Beskæftigelse:

Studerende/musiker bor New York, NY

Igangværende projekt:

Indspilningen af en selvpr oduceret LP

Karrieremål:

At dele min musik med så mange mennesker som muligt

Inspirationskilder:

Pablo Honey, Sam Cooke, Sun Giant EP, Jack Kerouac

Det bedste ved new york:

Alt kan ske

Største bedrift:

Sker ude i fremtiden

Helte:

Ralph Waldo Emerson, Odysseus

Barndomshelte:

Wolverine, Marthin Luther King Jr., Bruce Springsteen

Favoritsted for live optræden:

The Rockwood Music Hall

Yndlingsguitar:

Min akustiske Seagull

Rejser aldrig uden:

iPod, en bog, en ekstra t-shirt

Sidst læst:

Er i gang med One Hundred Years of Solitude, og elsker den indtil videre

Værste mareridt:

En tilbagevendende drøm om en tysk poltergeist

Afhængig af:

At rejse, mad fra dineren, fremmede sprog.

hayes Peebles

17

Alder: 17

Beskæftigelse:

Studerende/musiker bor New York, NY

Igangværende projekt:

Indspilningen af en selvpr oduceret LP

Karrieremål:

At dele min musik med så mange mennesker som muligt

Inspirationskilder:

Pablo Honey, Sam Cooke, Sun Giant EP, Jack Kerouac

Det bedste ved new york:

Alt kan ske

Største bedrift:

Sker ude i fremtiden

Helte:

Ralph Waldo Emerson, Odysseus

Barndomshelte:

Wolverine, Marthin Luther King Jr., Bruce Springsteen

Favoritsted for live optræden:

The Rockwood Music Hall

Yndlingsguitar:

Min akustiske Seagull

Rejser aldrig uden:

iPod, en bog, en ekstra t-shirt

Sidst læst:

Er i gang med One Hundred Years of Solitude, og elsker den indtil videre

Værste mareridt:

En tilbagevendende drøm om en tysk poltergeist

Afhængig af:

At rejse, mad fra dineren, fremmede sprog.

Alder: 24

Beskæftigelse:

Model bor New York, NY

Hvorfor ny:

“The land of opportunities...” Det er en by, der aldrig sover

Kunne ikke leve uden:

frihed til...

Favorit fiktiv figur:

Dorian Gray

Favorit karakter af kød og blod:

Som karakter, Jack Nicholson

Mest inspirerende person(er):

Penn, Avedon, Newton, Bailey, Lindbergh

Mest inspirerende sted:

Paris

Det bedste ved københavn:

Familie og venner

Titelsang:

“I’ve got the world on a string” - Frank Sinatra

Yndlingsplade:

Singles collection: The London Years - The Rolling Stones

Indbegrebet af god stil:

Jeg kan ikke opsummere eller definere ‘god stil’, dette er personligt.

Stil er et billede, vi alle lever igennem,

man kan lade sig influere af mange forskellige medier

såsom musik, film, kunst og mode.

Men hellere være sig selv og omfavne diverse referencer.

christia

n Brylle

18

obsessions

De fleste folk på denne jord har en lille samler gemt i sig. Her er

fem, der tåler dagens lys. Samlingerne er garneret med de ord, ejer-

mændene knyttede til deres kære ting

19

20

Jesper Hentze: Jakker

Jesper Hentze er moderedaktør på Intermission. Det kom ikke som nogen stor over-raskelse, da han afslørede en gedigen samling af luksuriøse jakker. Dette er, hvad Jesper havde at sige om dem:“Her et lille udvalg af nogle af mine jakker. Jeg har samlet på dem i omkring fire år. Ud af de viste jakker er min favorit læderjakken fra Dior Homme med de fire lom-mer. Jeg synes, den er tidløs. Jeg går altid med jeans til mine jakker eller blazere. For tiden er der ingen designere, der kan lave det, jeg ønsker inden for herremode, men jeg har dog øje på en læderjakke fra Balmain.”

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22

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Maria Leonhardt: Sko

Maria ejer modeforretningen Paristexas, som københavnere med god smag elsker og respekterer. Her er der nøje selek-teret i, hvad der hænger på stængerne. Indehaveren selv har et dybt kærligheds-forhold til sko. “Mine første sko i samlingen var et par Chanel-støvler til 10.000 kroner. For knap 11 år siden markerede netop dette køb starten på en seriøs addiction. Jeg kan tydeligt huske, da jeg gik ud af butikken med en gigantisk Chanel pose i hånden og var helt høj, fordi jeg aldrig havde ejet noget så extravagant. Det er svært at sige, hvilket par, jeg værdsætter mest, men mine nittebesatte bikerboots fra en af Number (N)ine’s tidlige kollektioner står højt på listen. De er de perfekte bikerboots uden sam-menligning. Bonuseffekten er, at når man går, så sætter de aftryk på jorden med et hjerte og en tåre, jeg håber, de

holder evigt. Jeg vil også altid elske mine tårn-høje og umuligt smukke ankelstøvler fra Haider Ackerman. De er smukke, og man får fantastiske ben, når de er på. Beten er bare, at man ikke rigtig kan gå i dem. Jeg havde dem på til fest engang, hvor jeg endte med ikke at kunne bev-æge mig for smerte. I skam gik jeg ud på toilettet for at kravle ud af vinduet, løbe hjem i bare fødder, skifte sko og vende tilbage til festen. Derfor står de nu på reolen og ser fine ud. Mine drømmesko er de der pokkers Balenciaga plateau harness ankelstøvler fra en ældre kollektion, som er umulige at finde. De har stået som fast søgning på min Ebay profil i årevis uden held. Jeg har vurderet en kopimodel i desper-ation, men det går ikke med en støvle som den. Det er originalen eller intet. Jeg har Olsen-søstrene mistænkt for at have opkøbt dem alle.”

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Marie Fisker: Guitarer

Marie Fisker har udgivet et meget rost debutalbum i 2009. Hun har en solid og udsøgt samling af guitarer, som ikke bare pynter, men bruges. Hver guitar har sin helt egen lyd og historie. Hun fandt fem særlige frem til Intermission. En håndfuld seksstrengede med patina og anekdoter støbt i træet. “Min kœreste købte min første guitar. Han gav mig den i fødselsd-agsgave, da jeg fyldte 24. Jeg havde kigget på en del forskellige, men faldt pladask for denne akustiske swing-jazzguitar fra 50’erne. Dengang jeg fik min første guitar, var jeg så glad for den, at den stod i sovevœrelset de 2 første måneder, mens jeg sov. Indtil jeg vågnede om morgenen og kunne tage den med ind i stuen igen. Aldrig har jeg oplevet at blive så opslugt af en ting. Nu har jeg dog fået et mere fornuftigt forhold til den. Jeg bliver ved med at købe

guitarer, fordi jeg efterhånden har brug for flere måder at udtrykke min lyd på. Jeg er ikke guitar-samler, fordi de skal hœnge på vœggen, men fordi jeg har fundet glœden i at kunne give musik-ken forskellige nuancer ved forskellige stemninger. Når finanskrisen er ovre, skal jeg nok have en EKO 500 3V guitar fra 60’erne. Mama mia, den er så smuk og klassisk old-school i lyden, hvis man kan finde en i god stand. Min yndlingsguitar er den Har-mony, jeg altid spiller på live. Den er meget levende i lyden og med en mørk og varm klang. Det er en amerikansk ‘postordre-guitar’ fra 50’erne, den mest almindelige guitar for sin tid i Amerika. De blev nœrmest spyttet ud varme fra samlebåndet, men jeg elsker den.”

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Magnus Berger: Guitars

Magnus Berger is the editor and creative director of the NY-based Last Magazine. One among many obsessions is his gui-tar collection. Here he has chosen some of his favorites from his private collec-tion. His passionate stories about his guitars surely is intriguing reading.“There are many things I love about vin-tage guitars besides just playing them. I like the idea of something handcrafted and patinated by time and previous owners. Guitars needs to be played to remain it’s tone, especially hollow body instruments. It’s sad when you see collectors who don’t play. I started to play when I was about twelve. After a few inherited or borrowed instruments I got my own. My first electric guitar was a similar “Chiquita” mini guitar that Marty McFly (Michael J Fox) plays in the beginning of “Back to the future”, when he standing in front of the giant amp in Dr Brown’s lab and literarily gets blown away. Come to think of it, The guitar he plays when he is performing at his parents “The enchantment under the sea” dance, is very similar to my Gib-son ES-330. All though I’m pretty sure his was a 335. My Gibson ES-330 from 1964 is my favorite of any guitar I have ever played. It’s essentially a jazz guitar, but it just has an amazing tone if you crank it, such a rich sound whether you play with distortion or keeping it clean. John Lennon use to play the budget ver-sion called Epiphone casino. I guess that worked out just fine too.Eddie Van Halen made me go crazy with custom made guitars with Floyd

Rose tremolo in my early teens until I just finally had it with all that crap and got the most basic guitar of them all. The Telecaster is the choice of a lot blues and rock players who just wants the basic, no frills. It’s been played by all the legends. Jonny Greenwood of Radio-head has one, Bruce Springsteen made it even more iconic on the Born To Run cover. Then of course it’s Keith Richards, the anti guitar hero. He’s just all Rock’n Roll. He is the reason I bought my black Fender Telecaster from 1978. I was in music school and I just had it with all technical stuff we were playing. I got into Keith who had realized that less is more, also in music. It’s heavy as hell but it’s the most basic, cool piece of Rock’n Roll you will ever need. I remember this footage when Keith is hitting an attacking fan in the head on stage dur-ing a show. Damn, that must have hurt... Another great piece is the Gibson EB-1 bass which was very popular in the seventies mainly by reggae and afro-beat musicians. The Guild all black acoustic just reminds me of Jonny Cash, can’t think of a better excuse. My Harmony acoustic, I bought for $75 at the flea market. It’s so beat up it barely holds together but it has an amazing tone. Sounds like Django Reinhardt. Well… maybe if he would play it.”

26

Visse spillelister er værd at lytte til. Intermission har fået fingrene i fire styks,

der både er eklektiske og kompetente i forhold til genrer og perioder.

Få indblik i et par tunge NY-redaktørers inspirationskilder og læs,

hvad der kan få en cool cat som Freja Beha på dansegulvet.

M Y

L I S T

27

pLAy

28

Jacob Brown

features editor, v and vman magazine

1. salem Whenusleep

2. salem Water

3. adiam dymott Pizza

4. the sounds Home is Where Your Heart Is

5. phoenix 1901

6. deerhunter Famous Last Words

7. peter bjorn & john Blue Period Picasso

8. chris garneau No More Pirates

9. salem Redlights

10. hayes peebles At Ease

Christopher Bollen

editor-in-chief, interview magazine

1. fever ray When I Grow Up

2. joni mitchell Coyote

3. the fryars The Ides

4. cocteau twins Song to the Siren

5. the kills Last Day of Magic

6. golden animals Wind to Wind

7. fleetwood mac Gypsy

8. bronksi beat Smalltown Boy

9. bonnie prince billy New Partner

10. sinead o’connor Black Boys on Mopeds

29

Jacob Brown

features editor, v and vman magazine

1. salem Whenusleep

2. salem Water

3. adiam dymott Pizza

4. the sounds Home is Where Your Heart Is

5. phoenix 1901

6. deerhunter Famous Last Words

7. peter bjorn & john Blue Period Picasso

8. chris garneau No More Pirates

9. salem Redlights

10. hayes peebles At Ease

Christopher Bollen

editor-in-chief, interview magazine

1. fever ray When I Grow Up

2. joni mitchell Coyote

3. the fryars The Ides

4. cocteau twins Song to the Siren

5. the kills Last Day of Magic

6. golden animals Wind to Wind

7. fleetwood mac Gypsy

8. bronksi beat Smalltown Boy

9. bonnie prince billy New Partner

10. sinead o’connor Black Boys on Mopeds

freja Beha Erichsen

model

1. etta james Fool That I Am

2. yeah yeah yeahs Dull Life

3. yeah yeah yeahs Runaway

4. depeche mode Little Soul

5. bob dylan Lay Lady Lay

6. jimi hendrix Bold As Love

7. jeff buckley Calling You

8. joe cocker With a Little Help From my Friends

9. johnny cash Hurt

10. ella fitzgerald Someone to Watch Over Me

Lizzi Bougatsos

gang gang dance

1. movado Gangsta for Life

2. pressure Love and Affection

3. pressure Ghetto Life

4. basement jaxx Raindrops

5. i wayne Book of Life

6. collie budz U’re still my light

7. bugle What I’m Gonna Do

8. movado 1000 Bill

9. sensational fix I don’t Wanna Go

10. howard devoto Rainy Season

30

hovedskud

Dette er første del af vores københavner-portrætserie. Vi viser hver gang ansigter fra den

nye generation af udøvende inden for de æstetiske kunstarter. Et par af de mere etablere-

de har også fundet vej, og dette er såmænd konceptet i al sin enkelhed: Et portrætfoto-

grafi, et navn og beskæftigelse. Hold øje.

1. Anika Lori, Kunstner

2. Martin Gjesing, Direktør, Acne

3. Henrik Vibskov, Designer

4. Agnete Hegelund, Model

5. Karl-Oskar Olsen, Creative Director, WoodWood

6. Shila Gaonkar, Studerende

7. Adrian Sølberg, Model

8. Jesper Elg, Gallerist, V1

9. Daniel Magnussen, Editor-in-Chief, Intermission

10. Adrian Bosh, Model

11. Rie Rasmussen, Skuespiller, Film Instruktør

12. Emma Leth, Skuespiller

13. Sassie Bare, Stylist

14. Caroline Berner Kühl, Associate Editor, Intermission

15. Frederik Lindstrøm, Photo Editor, Intermission

16. Olga Ravn, Studerende

17. Mathias Lauridsen, Model

18. Kristoffer Sakurai, Danser, Kgl. Ballet

19. Jacob Guldager, DJ

20. Magnus Carstensen, Autodidact

21. Amalie Adrian, Danser, Kgl. Ballet

22. Stine Goya, Designer

31

Dette er første del af vores københavner-portrætserie. Vi viser hver gang ansigter fra den

nye generation af udøvende inden for de æstetiske kunstarter. Et par af de mere etablere-

de har også fundet vej, og dette er såmænd konceptet i al sin enkelhed: Et portrætfoto-

grafi, et navn og beskæftigelse. Hold øje.

1. Anika Lori, Kunstner

2. Martin Gjesing, Direktør, Acne

3. Henrik Vibskov, Designer

4. Agnete Hegelund, Model

5. Karl-Oskar Olsen, Creative Director, WoodWood

6. Shila Gaonkar, Studerende

7. Adrian Sølberg, Model

8. Jesper Elg, Gallerist, V1

9. Daniel Magnussen, Editor-in-Chief, Intermission

10. Adrian Bosh, Model

11. Rie Rasmussen, Skuespiller, Film Instruktør

12. Emma Leth, Skuespiller

13. Sassie Bare, Stylist

14. Caroline Berner Kühl, Associate Editor, Intermission

15. Frederik Lindstrøm, Photo Editor, Intermission

16. Olga Ravn, Studerende

17. Mathias Lauridsen, Model

18. Kristoffer Sakurai, Danser, Kgl. Ballet

19. Jacob Guldager, DJ

20. Magnus Carstensen, Autodidact

21. Amalie Adrian, Danser, Kgl. Ballet

22. Stine Goya, Designer

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s

c ent

33

Et nøje kurateret udvalg af

dufte. Dette er sommerens

briser fra nogle af de store

huse, der fermt har dirigeret

og doseret de rette duftnoter,

både til mænd og kvinder.

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The Binges“Rock Rewind”

There came a point in time, maybe about 15 or so, when you realized that classic rock radio is what it is: a cheesy blend of stoner anthems and MOR balladry. You needed to branch out and find some new jams, so you discovered obscure indie bands and dance music. Then, when you hit your late 20s, you came full circle and stopped caring what everyone else thought and you dusted off that copy of Bad Company’s 10 From 6 that you listened to while smoking out for the first time in the back of your buddy’s

Nissan Altima. That’s what the Binges are, es-sentially—the musical manifestation of a second time around. “It’s about being comfortable and at peace with yourself and enjoying what you enjoy,” says Binges drummer Travis Smith with laid back California twang. And when you get right down to it, we all enjoy a little of that good ol’ rock ‘n’ roll from time to time. And yet, the Binges aren’t your prototypical rock band; Smith and frontman Dylan Squatcho are flanked by the Okai sisters—guitarist Mayuko and bassist Tsuzumi—making for an uncommon dynamic. “They just showed up from Tokyo in

Los Angeles is weird. You don’t have to be

here to know it either. It’s common knowl-

edge: the whole damn city is a psychedelic

freakshow. It’s natural that these five

Angelino bands are all weird in one way or

another. Whether they’re fronted by tiny,

thrashing Japanese sisters, or they have

holed up in the desert or by the beach, or

they’repre-occupied with death or sports,

Los Angeles is home. Let’s get weird.

PSYCHIN THE SOUTH LAND

35

1999,” says Smith. “They were playing knuckle-cracking piano in Japan, [but] they’re diehard for ’70s rock ‘n’ roll: Deep Purple, Black Sabbath, AC/DC.” On a whim, Mayuko auditioned for guitar when her boyfriend was called in to try out, and won the part over him. Tsuzumi joined a short while after that. With their major label sound and idiosyncratic look, A&R reps quickly came on to the band, but it was right as the industry was nosediving, and all their offers started to die down or stretch on. So, after waiting on empty promises for years, The Binges decided to self-release their long-shelved debut album this fall. “It [was] only available at Amoeba [Records] in Hollywood, on consignment, which sounds pathetic…” says Smith. But again comes the idea that sometimes you need a sec-ond chance to really get a hold of something, and there’s no doubt this record will propel the Binges back into the rock stratosphere.

The Entrance Band“Dark Days”

“We have met dark days,” wrote Lestar Bangs in his brilliant exegesis of Black Sabbath in 1972. “People will do almost anything to escape from the pall.” War was still raging in Viet Nam, and the heavy doom of Sabbath’s early records hung in the air like a death knell, yet was deeply moralistic, mused Bangs. Guy Blakeslee, the frontman for modern day doom-psyche trio, the Entrance Band, felt some-thing akin to that approach during the writing of Prayer of Death, an album of cabal of Sabbath-like dirges mostly centered on the prognostication of death. “I tried to have it have a positive spin: don’t take life for granted, because death is inevitable,” says Blakeslee, his voice crackling with passion over the phone. “Every day the news was about

all the stuff around it, but underlying it there were many deaths—you talk about war, you’re really talking about people killing each other. It’s a crass overgeneralization, but people weren’t talking about it like that.” All this stems from Blakeslee’s first incarnation of the band, known then as simply Entrance, which was Blakeslee, a six-string and a set of bluesy songs. “I didn’t want to be from this time period. And it was a practical decision to not have it be too dependent on other people,” says Blakeslee. “It goes back to old school American music. A lot of the gospel and blues singers, they were not only preaching biblical morality, but the idea that every-one’s going to die.” Adding multi-talented bassist Paz Lenchantin and drummer Derek James gave Blakeslee the gravitas to cut his history lesson with some slightly more contemporary influences. “I feel like what we’re doing now is trying to bring it back into a new sound that includes all the things I was always into,” he says. The Entrance Band of today takes the Charley Patton and Robert Johnson influence, a bandwide reverence for hardcore punk, a little bit of love for Tom Petty, and a healthy dose of the ghosts of Laurel Canyon circa 1968, and sloshes it all around to create a druggy concoction, albeit an optimistic one. “The new record has themes that are blatantly positive, about love and political action,” says Blakeslee. “We have a song called ‘MLK,’ paying tribute to what he was about. There may not be a leader like him, but we need to try and live by his example and make sure his works were not in vain.” With this kind of positive songwriting, per-haps dark days and prayers of death may soon give way to exaltations of living and blue skies.

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“There are no distractions. Time moves way slow-er. No one asking you to come to their opening or show or bar or party. There’s space out here for cheap or free and at this stage, being young, trying to make music together, we are able to fo-cus more on music than just trying to get by.”

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Golden Animals “Sun & Moon”

Life is easier in the desert, explains Golden Ani-mals singer/guitarist Tommy Eisner. “There are no distractions. Time moves way slower. No one ask-ing you to come to their opening or show or bar or party. There’s space out here for cheap or free and at this stage, being young, trying to make music together, we are able to focus more on music than just trying to get by.” It’s a good trade-off for worldly excess and car horns and light-polluted nights—slough off the unneeded and head into the untamed frontier. The desert worms itself into the Golden Ani-mals sound. On last year’s debut album, Free Your Mind and Win a Pony, Eisner and drummer Linda Beecroft built a record that’s cracked and damaged and earthy. But Golden Animals weren’t always lawless desert-dwellers. Beecroft met Eisner, a Swedish expat moments after she arrived in Brook-lyn. “On a rainy winter night,” she reminisces. “We bonded immediately. We had a hard time staying together because of the law, so we started traveling together in Europe. We’d perform on the streets of Paris—me playing tambourine and Tommy playing acoustic guitar. It wasn’t until I moved to New York I started to play a drum kit.”Eisner and Beecroft married at City Hall in New York in 2007. “Marriage was our only option to just saying goodbye to each other and sticking to our own side of the sea,” says Eisner, “Marriage represented the coming down of big wall in front of us, which was immigration trying to separate us. We don’t wear rings or consider ourselves to be traditionally husband and wife. Somehow we both share the same vision for what we are creating. It’s a very balanced collaboration—an equilibrium, like the sun and moon.”

Later that year, after answering an Internet ad, the duo packed up and headed out to California to housesit for Gordon Kennedy, author of the much-fetishized natural living guidebook Children of the Sun, at his home on the Salton Sea. “The book explains the history of the ideals that predate what became so intertwined with the movement in the ’60s,” says Eisner. “The book and Gordon were a perfect introduction for us to southern California and more importantly some rules to help the move away from conventions in society.” Now, preparing to embark on a summer tour across the the American south, Beecroft adds, “We have spent a lot of time alone in the wilderness playing music together. We want to capture that and bring something real to people.”

The Growlers“Growling Seas”

As the surf off the coast of Orange County sweeps the beach, a sunny romanticism sets in. This al-lows for a warm feeling of relaxation specific to the beachfront properties of the earth. “We’ve all just been learning this whole process,” says Brooks Nielsen, frontman of the Growlers, in a lassez-faire drawl typical to his locale. “No one in the band is in any way really amazing [musically]—if we need a keyboard player, instead of an actual clas-sic pianist, we get a guy who hasn’t played before, because he’s a cool kid.” It translates into a simi-larly ramshackle live show. “You just can’t have expectations,” laughs Nielsen. “That thing broke, [guitarist] Matt [Taylor]’s amp drank beer. I forgot this, someone messed up on that.” That isn’t to say the Growlers play music that’s amateurish; it’s more just elemental, of the sand and wind and sun. “A lot of the music I like is really basic,” says Nielsen. “The dumbed down as-

38

pect, more rootsy stuff, rather than the new gnarly shredders.” To keep it simple, the Growlers have carved themselves an enclave on the beach, fully fitted with a recording studio. “We’ve been really introverted,” Nielsen explains. “Not that we want to be hibernating—we record, mix, silkscreen, package CDs, do music videos all ourselves—the last one I made really ghetto.” Between the five of them—bassist Scott Montoya, keyboard player Miles Patterson and drummer Brian Stewart fill out the band—and despite their lackadaisical attitudes, they tend to get a lot done. Lately, Growlers have been putting together songs and packaging them as “couples,” a series of EPs leading up to their sophomore album, which is full of mid-tempo anthems that feel like the beach bonfire. But don’t call them psychedelic: “We always kind of joked around about ‘psych’ music,” says Nielsen. “It’s just kind of funny—the new Britney Spears song is psychedelic to me. I like psychedelics, but we don’t consider our music psych.” No matter what you call it, Growlers are keeping it simple, keeping it real and expecting the unexpected.

RTX“Royal Rats”

Here are three golden rules to being a hard rock lead singer: 1) obtain, or be born with, swagger and charisma to spare; 2) dance like a maniac, scream like a banshee; and 3) qualify as heroin chic. RTX lead singer Jennifer Herrema has enough of rules 1 and 2 that 3 needn’t even enter the conversation (it does anyway—about 10 years ago Herrema took some photos with Steven Meisel for Calvin Klein that practically defined the term).

Along with lead guitarist and co-songwriter, Brian McKinley, and the rest of the band, Nadav Eisen-man, Kurt Midness and Jaimo Welch, Herrema’s RTX are one of the heavier groups in LA, plug-ging into a seething mix of psychedelic trash and destructive metal. Herrema takes the interview from her hot tub (awesome) and proceeds to explain that she learned “discipline and being part of a team” from the competitive sports she played before she gradu-ated early and moved to New York to go to school and join her first band, the much loved Royal Trux, with Neal Michael Hegarty when she was just 16 (awesomer). But she never lost that competitive edge. “I’m a huge Raiders fan,” Herrema admits. It’s clear it’s because the Raiders are the pirate-themed badasses of the NFL. Brutal as a crushing tackle, RTX’s third album JJ Got Live RATX was released late last year. The “Live” in the title is a reference to the previous album’s pied piper theme, which featured Herrema leading rats to the coast. “In the special story in my head,” says Herrema, “I didn’t want to kill the rats. I wanted to bring them to a place where they could just listen.” A double entendre exists there, too. The album was recorded mostly live in the studio, a departure from their previous approach. “It was in real time,” Herrema says, “I would sing out loud with them [before overdubbing the final vocals]. There’s ghost vocal tracks on the record.” RTX are setting a new standard for rock music, leading their fans into a chaotic sea of stomping recklessness, where they can just listen (and headbang).

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Here are three golden rules to being a hard rock lead singer: 1) obtain, or be born with, swag-ger and charisma to spare; 2) dance like a maniac, scream like a banshee; and 3) qualify as heroin chic.

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DOUBLE TAKE

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Jack Dahl ejer det grafiske bureau Homework, som nok kan skrive et par nævneværdige klienter på porteføljen.

Jack har blandt andet tidligere arbejdet for Self Service Magazine og Jil Sander og sk-aber i det daglige grafisk design, så det kan mærkes og forstås.Hvor lang tid bruger du i snit på dit arbe-jdssted?Indtil for nyligt brugte jeg måske for lang tid på kontoret. Men privat arbejder jeg også ofte på mere personlige projekter.Hvad betyder dine omgivelser, når du arbe-jder?Mine omgivelser betyder en hel del. Lys, ro og plads på bordene — også på min skærms skrivebord. hvordan afspejler dit job sig i dit arbejdsrum? Enten i form af orden og struktur (men med et fyldt hoved). Andre gange i form af rod (men med et mere roligt hoved,ville jeg ønske jeg kunne sige).Hvad kan du ikke arbejde uden?Øjne og hænder. Computer og musik. Kær-lighed og mod. Intuition, indsigt, oversigt og udsigt.Hvad ville du redde, hvis en tsunami, et jordskælv eller et fly stod for døren?Andre mennesker i bygningen. Men hvis nu alle var i sikkerhed, så helt klart min arbejds-back-up, et par portfolios og min hemmelige

kasse.Hvem gad du godt arbejde sammen med?Det var jeg engang rigtig god til at besvare, jeg havde altid en ny gulerod og drøm-meprojekt. Jeg er netop ved at afsluttte et arbejde med Casey Spooner på Fischer-spooners nye album Entertainment. Lang og møgspændende proces. Af læremestre på toppen ville jeg gerne have mødt Herb Lubalin [art director, grafisk designer og typographer 1918-1981]. Eller Ezra Petronio [red: Petronio Associates, Paris], hvor jeg år tilbage fik scoret mig en god designtjans. Jeg vil for øvrigt gerne arbejde med flere kun-stnere, og starter til sommer på 2 nye kun-stbøger for Aya Takano og Klara Kristalova for Galerie Perrotin I Paris/Miami. Jeg gad også godt finde nye japanske forbindelser. Rei Kawakubo har altid været et forbillede. Men jeg indrømmer blankt, at Madonna nok alligevel ville være skæggere end Bjørk…el-ler hvad?Kaos eller orden?Jack eller kaos?

STUDIOJack Dahl

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issue 1