intermission magazine

Endelig har vi skabt det magasin, vi har talt om længe, og som vi har sav-net på den danske magasin-scene. Et magasin som vil handle om ´vores´ Køben-havn og de mænd og kvinder fra bl.a. New York, London og Paris, som inspirerer os indenfor mode, kunst, film og musik. Vores 1st issue fylder 44 sider og er produceret i Køben-havn, New York og Paris siden april. I intervie-wet med den franske de-signer Pierre Hardy prø-ver vi bl.a. at finde ud af, om vi nogensinde vil se ham designe briller, som vi er mange, der har efterspurgt. Magnus Ber-ger, redaktør på The Last Magazine fra New York, poserer i vores obsessi-on feature med et udvalg af sine yndlingsguitarer, som han har samlet på fra han var ung teenager i Sverige. Intermissions moderedak-tør Jesper Hentze deler sin obsession med nøje

VELKOMMENudvalgte jakker fra Dior Homme by Hedi Slimane.Vi har desuden skudt før-ste del af vores ongoing Kbh portrætserie, som in-kluderer både ansigter fra den nye generation og nogle af de mere etable-rede kunstnere, designere og musikere. Vi har også nået at komme omkring 5 musikstudier i LA og sky-de nogle af de mest cool indiebands. Ellers kan du læse om NY kunstner Banks Violette, sommerens duf-te, 3 unge fund som vi tror på indenfor musik, foto og film samt foto-graf Luke Irons, der ta-ger en sidste afsked med modellen Randy Johnston, som døde på tragisk vis sidste efterår.

Daniel Magnussen

F U N DMY PLAYLISTO B S E S S I O N SS C E N TH O V E D S K U DF U N DPSYCHIN THE SOUTH LANDPIERRE HARDYDOUBLE TAKES T U D I OBANKSY VIOLETTESHED CHANGING, YOU’RE FINISHED RANDY JOHNSTON

4 - 56 - 78 - 121 314 - 1516 - 1718 - 2324 - 2728 - 313 233 - 353 63 7

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INDHOLD

Igangværende projekt:Indspilningen af en selvproduceret LPK a r r i e r e m å l :At dele min musik med så mange mennesker som muligtI n s p i r a t i o n s k i l d e r :Pablo Honey, Sam Cooke, Sun Giant EP, Jack KerouacDet bedste ved new york:Alt kan skeStørste bedrift:Sker ude i fremtidenH e l t e :Ralph Waldo Emerson, OdysseusB a r n d o m s h e l t e :Wolverine, Marthin Luther King Jr., Bruce SpringsteenFavoritsted for live optræden:The Rockwood Music HallY n d l i n g s g u i t a r :Min akustiske Seagull Rejser aldrig uden:iPod, en bog, en ekstra t-shirtSidst læst:Er i gang med One Hundred Years of Sol-itude, og elsker den indtil videreVærste mareridt:En tilbagevendende drøm om en tysk poltergeistAfhængig af:At rejse, mad fra dineren, fremmede sprog.

F U N D

Hayes PeeblesAlder: 17B e s k æ f t i g e l s e :Studerende/musiker bor New York

F U N DChristian BrylleAlder: 24B e s k æ f t i g e l s e :Model bor New York

Hvorfor ny:“The land of opportunities...” Det er en by, der aldrig soverKunne ikke leve uden:frihed til...Favorit fiktiv figur:Dorian GrayFavorit karakter af kød og blod:Som karakter, Jack NicholsonMest inspirerende person(er):Penn, Avedon, Newton, Bailey, LindberghMest inspirerende sted:P a r i sDet bedste ved københavn:Familie og vennerT i t e l s a n g : “I’ve got the world on a string” - Frank SinatraY n d l i n g s p l a d e :Singles collection: The Lon-don Years - The Rolling StonesIndbegrebet 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 så-som musik, film, kunst og mode. Men hellere være sig selv og omfavne diverse referencer.

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.

Jacob Brownfeatures editor, v and vman magazine1. salem Whenusleep2. salem Water3. adiam dymott Pizza4. the sounds Home is Where Your Heart Is5. phoenix 19016. deerhunter Famous Last Words7. peter bjorn & john Blue Period Picasso8. chris garneau No More Pirates9. salem Redlights10. hayes peebles At Ease

Christopher Bolleneditor-in-chief, interview magazine1. fever ray When I Grow Up2. joni mitchell Coyote3. the fryars The Ides 4. cocteau twins Song to the Siren5. the kills Last Day of Magic6. golden animals Wind to Wind7. fleetwood mac Gypsy 8. bronksi beat Smalltown Boy9. bonnie prince billy New Partner10. sinead o’connor Black Boys on Mopeds

MY PLAYLIST

Freja Beha Erichsenmodel1. etta james Fool That I Am2. yeah yeah yeahs Dull Life3. yeah yeah yeahs Runaway4. depeche mode Little Soul5. bob dylan Lay Lady Lay6. jimi hendrix Bold As Love7. jeff buckley Calling You8. joe cocker With a Little Help From my Friends9. johnny cash Hurt10. ella fitzgerald Someone to Watch Over Me

Lizzi Bougatsosgang gang dance1. movado Gangsta for Life2. pressure Love and Affection3. pressure Ghetto Life4. basement jaxx Raindrops5. i wayne Book of Life6. collie budz U’re still my light7. bugle What I’m Gonna Do8. movado 1000 Bill9. sensational fix I don’t Wanna Go10. howard devoto Rainy Season

Christopher Bolleneditor-in-chief, interview magazine1. fever ray When I Grow Up2. joni mitchell Coyote3. the fryars The Ides 4. cocteau twins Song to the Siren5. the kills Last Day of Magic6. golden animals Wind to Wind7. fleetwood mac Gypsy 8. bronksi beat Smalltown Boy9. bonnie prince billy New Partner10. sinead o’connor Black Boys on Mopeds

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, ejermændene knyttede til deres kære ting.

ObsessionsDaniel Magnussen: Bøger

Daniel Magnussen er magasinets Creative Director, fordi han har et godt øje. Dette øje finder glæde i bøger og magasiner med visuel og grafisk kvalitet, hvorfor Daniel i en snes år har samlet på den slags. Her følger nogen af dem, der har gjort størst

indtryk.“Jeg begyndte for alvor at samle på foto-bøger for 7 år siden efter mit første besøg i New York. Favoritforlaget har altid været Steidl, som har arbejdet sammen med nogle af mine yndlingsfotografer og -grafikere som Inez Van Lamsweerde/Vinoodh Matadin, Jason Schmidt, Hedi Slimane og Ezra Petronio etc. Her har jeg samlet nogle af favoritterne:”

1: Artist jason schmidt 2: V Best stephen gan3: Berlinhedi slimane

4: Bold and Beautiful ezra petronio5: In the American West richard avedon

6: Balenciaga Parisfabien baron7: Selected Works ezra petronio/suzanne

koller

Jesper Hentze er moderedaktør på Intermission. Det kom ikke som nogen stor overraskelse, 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 om-kring fire år. Ud af de viste jakker er min favorit læderjakken fra Dior Homme med de fire lommer. 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 læder-jakke fra Balmain.”

Jesper Hentze: Jakker

obsessions

Magnus Berger: Guitars

Mag-

n u s

Berger

is the ed-

itor and

c r e at i v e d i -

rector of the NY-

based Last Magazine-

One among many o b s e s -

sions is his guitar col- l e c t i o n -

Here he has chosen some of his favor-

ites from his private collection- His passion-

ate stories about his guitars surely is intriguing

reading- -There are many things I love about vintage guitars be-

sides just playing them- I like the idea of something handcraft-

ed and patinated by time and previous owners- Guitars needs

to be played to remain it-s tone- especially hollow body in-

struments- 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 Gibson ES----- All though I-m pretty sure his was a ---- My

Gibson ES---- from ---- 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 keep-

ing it clean- John Lennon use to play the budget version 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 Radiohead 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 ----- 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 during a

show- Damn- that must have hurt--- Another great piece is the Gibson EB-- 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

--- at the flea market- It-s so beat up it barely holds together

but it has an amazing tone- Sounds like Django Rein-

hardt- Well- maybe if he would play it--

Marie Fisker har udgivet et meget rost debutalbum i 2009. Hun har en sol-id 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 In-termission. En håndfuld seksstrengede med pati-na og anekdoter støbt i træet. “Min kœreste købte min første guitar. Han gav mig den i fødsels-dagsgave, da jeg fyldte 24. Jeg havde kigget på en del forskellige, men faldt pladask for denne akustiske swing-jazzgui-tar fra 50’erne. Dengang jeg fik min første guitar, var jeg så glad for den, at den stod i sovevœrel-set 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, for-di jeg efterhånden har

Marie Fisker: Guitarer

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 musikken forskel-lige nuancer ved forskel-lige stemninger. Når fi-nanskrisen 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 ynd-lingsguitar 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.”

Maria Leonhardt: Sko

Maria ejer modeforret-ningen 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 kær-lighedsforhold til sko.“Mine første sko i sam-lingen var et par Chanel-støvler til 10.000 kro-ner. For knap 11 år siden markerede netop dette køb starten på en seriøs ad-diction. 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 sammenligning. Bonusef-fekten 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 tårnhøje 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. J e g

havde dem på til fest en-gang, hvor jeg endte med ikke at kunne bevæge mig for smerte. I skam gik jeg ud på toilettet for at kravle ud af vinduet, løbe hjem i bare fød-der, skifte sko og vende

tilbage til festen. Der-for står de nu på reolen og ser fine ud. Mine drømmesko er de der pokkers Balenciaga pla-

teau harness ankel-støvler fra en æl-dre kollektion, som er umulige at finde. De har stået som fast søgning på min Ebay profil i årevis uden held. Jeg har vur-deret en kopimodel i desperation, men det går ikke med en støvle som den. Det er originalen eller intet. Jeg har Ols-en-søstrene mistænkt for at have opkøbt dem alle.”

obsessions

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.

SCENT

Anika Lori, Kunstner

Olga Ravn, Studerende

Frederik Lindstrøm, Photo Editor, Intermission

Caroline Berner Kühl, Associate Editor, Intermission

Jesper Elg, Gallerist, V1

Adrian Sølberg, Model

Shila Gaonkar, Studerende

Karl-Oscar Olsen, Creaive Director, WoodWood

Henrik Vibskov, Designer

Martin Gjesing, Director Acne

Amalie Adrian, Danser, Kgl. Ballet

Mathias Lauridsen, Model

HOVEDSKUD

Dette er første del af vores københavner-por-trætserie. Vi viser hver gang ansigter fra den nye generation af udøvende inden for de æstetiske kunstarter. Et par af de mere etablerede har også fundet vej, og dette er såmænd konceptet i al sin enkel-hed: Et portræt-fotografi, et navn og beskæfti-gelse. Hold øje.

Sassie Barré, Stylist

Emma Leth, Skuespiller

Rie Rasmussen, Skuespiller, Film Instruktør

Adrian Bosh, Model

Daniel Magnussen, Editor-in-Chief, Intermission

Agnete Hegelund, Model

Stine Goya, Designer

Kristoffer Sakurel, Danser, Kgl. Ballet

Emma LethAlder: 19Virke:Jeg vil bestræbe mig på at skabe film, som jeg selv elsker.Vigtig bedrift:Min vigtigste bedrift ser jeg stadig frem til.Værste mareridt:Jeg elsker at drømme og have mareridt, det gode ved dem er jo, at man vågner igen og er tilbage i virkeligheden. I den virke-lige verden ville mit værste mareridt nok være, at verden gik under.Enghave plads eller den lille havfrue:Enghave Plads. Vi bor på Sønderboulevard, og jeg er vokset op på Vesterbro og har en kæmpe kærlighed til Istedgade og alt, hvad der hører til.Græd sidst:Jeg vågnede af, at det tordnede, og jeg var apropos drømme midt i en rigtig god én. Jeg var så forvirret, at jeg begyndte at græde, og sagde til Anders, at jeg havde en fornemmelse af, at vi alle skulle dø.Lykkelig når:Jeg spiser min kærestes hjemmelavede tartar. Når jeg besøger min far i sit sommerhus. Når mine katte sover under dynen med os om natten. Jeg er et meget lykkeligt ungt menneske, da jeg har været god til at få mit liv præcis, som jeg vil have det. Stort set. Det har selvfølgelig også sine konsekvenser at flytte hjemmefra som 16-årig.Mest skræmmende person:Morderen i filmen “Profondo Rosso” af Dario Argento fra 1975.Det bedste ved københavn:Alt. Jeg kender mange, der flygter til London, Paris eller Berlin. Men jeg elsker det her. Jeg kan godt lide at gå ture på Vestre Kirkegård, det er helt absurd smukt, det er Københavns største kirkegård, og den ligger 5 minutters gang fra vores lejlighed. Jeg kan godt lide at holde påskefrokoster der og slappe af med de døde.

FUND

Los Angeles is weird. You don’t have to be here to know it either. It’s com-mon knowledge: the whole damn city is a psychedel-ic freakshow. It’s natu-ral that these five Ange-lino bands are all weird in one way or another. Whether they’re fronted by tiny, thrashing Jap-anese sisters, or they have holed up in the des-ert or by the beach, or they’repre-occupied with death or sports, Los An-geles is home. Let’s get weird. 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 mu-sic. 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 Com-pany’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 Tra-vis 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 prototypi-cal rock band; Smith and frontman Dylan Squatcho are flanked by the Okai sisters—guitarist Mayuko and bassist Tsuzumi—mak-ing for an uncommon dy-namic. “They just showed up from Tokyo in 1999,” says Smith. “They were playing knuckle-cracking piano in Japan, [but]

PSYCHIN THE SOUTH LANDthey’re diehard for ’70s rock ‘n’ roll: Deep Purple, Black Sabbath, AC/DC.” On a whim, Mayuko auditioned for guitar when her boy-friend was called in to try out, and won the part over him. Tsuzumi joined a short while after that. With their major la-bel sound and idiosyncrat-ic look, A&R reps quickly came on to the band, but it was right as the indus-try was nosediving, and all their offers started to die down or stretch on. So, after waiting on empty promises for years, The Binges decid-ed to self-release their long-shelved debut album this fall. “It [was] only available at Amoeba [Re-cords] in Hollywood, on consignment, which sounds pathetic…” says Smith. But again comes the idea that sometimes you need a second 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 Sab-bath’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 En-trance Band, felt some-thing akin to that ap-proach during the writing of Prayer of Death, an album of cabal of Sab-bath-like dirges mostly centered on the prog-nostication 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 real-

ly talking about people killing each other. It’s a crass overgeneraliza-tion, but people weren’t talking about it like that.” All this stems from Blakeslee’s first incar-nation 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 mu-sic. A lot of the gospel and blues singers, they were not only preaching biblical morality, but the idea that everyone’s going to die.” Adding multi-talent-ed bassist Paz Lenchantin and drummer Derek James gave Blakeslee the grav-itas to cut his history lesson with some slightly more contemporary influ-ences. “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 al-

ways into,” he says. The Entrance Band of today takes the Charley Patton and Robert Johnson influ-ence, a bandwide rever-ence 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 con-coction, albeit an opti-mistic one. “The new record has themes that are blatant-ly positive, about love and political action,” says Blakeslee. “We have a song called ‘MLK,’ pay-ing 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 songwrit-ing, perhaps dark days and prayers of death may soon give way to exalta-tions of living and blue skies.

Golden Animals “Sun & Moon”Life is easier in the desert, explains Golden

psychin the south land

Animals singer/guitar-ist Tommy Eisner. “There are no distractions. Time moves way slower. 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 mu-sic together, we are able to focus more on music than just trying to get by.” It’s a good trade-off for worldly ex-cess and car horns and light-pollut-ed nights—slough off the unneeded and head into the untamed frontier. The desert worms itself into the Golden Animals 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 dam-aged and earthy. But Gold-en Animals weren’t always

lawless desert-dwellers. Beecroft met Eisner, a Swedish expat moments af-ter she arrived in Brook-lyn. “On a rainy winter night,” she reminisces. “We bonded immediately. We had a hard time stay-ing together because of the law, so we started

traveling together in Eu-rope. We’d perform on the streets of Paris—me play-ing tambourine and Tommy playing acoustic guitar. It wasn’t until I moved to New York I started to play a drum kit.” Eisner and Bee-croft married at City Hall

in New York in 2007. “Mar-riage 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 immigra-tion trying to separate

us. We don’t wear rings or consider our-selves to be traditionally husband and wife. Somehow we both share the same vi-sion for what we are creat-ing. It’s a very balanced c o l l a b o r a -tion—an equi-librium, like the sun and moon.”

Later that year, af-ter 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 inter-twined with the movement in the ’60s,” says Eis-ner. “The book and Gordon were a perfect introduc-tion for us to southern California and more im-portantly 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 play-ing 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 roman-ticism sets in. This al-lows for a warm feeling of relaxation specific to the beachfront proper-ties of the earth. “We’ve all just been learning this whole process,” says Brooks Nielsen, front-man of the Growlers, in a lassez-faire drawl typical to his locale. “No one in the band is

in any way really amaz-ing [musically]—if we need a keyboard play-er, instead of an actual classic pianist, we get a guy who hasn’t played before, because he’s a cool kid.” It translates into a similarly ram-shackle live show. “You just can’t have expecta-tions,” laughs Nielsen. “That thing broke, [gui-tarist] 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 mu-sic I like is really ba-sic,” says Nielsen. “The dumbed down aspect, more rootsy stuff, rather than the new gnarly shred-ders.” To keep it simple, the Growlers have carved themselves an enclave on the beach, fully fitted with a recording studio. “We’ve been really in-troverted,” Nielsen ex-plains. “Not that we want to be hibernating—we re-

cord, 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 drum-mer Brian Stewart fill out the band—and despite their lackadaisical at-titudes, 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 an-thems that feel like the beach bonfire. But don’t call them psychedelic: “We always kind of joked around about ‘psych’ mu-sic,” 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, keep-ing it real and expecting the unexpected.

RTX

psychin the south land

“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 hero-in chic. RTX lead sing-er 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 practi-cally defined the term). Along with lead guitarist and co-songwriter, Brian

McKinley, and the rest of the band, Nadav Eisenman, Kurt Midness and Jaimo Welch, Herrema’s RTX are one of the heavier groups in LA, plugging into a seething mix of psyche-delic trash and destruc-tive 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 compet-itive edge. “I’m a huge Raiders fan,” Herrema ad-mits. It’s clear it’s be-cause the Raiders are the pirate-themed badasses of

the NFL. Brutal as a crushing tackle, RTX’s third al-bum JJ Got Live RATX was released late last year. The “Live” in the title is a reference to the pre-vious album’s pied pip-er theme, which featured Herrema leading rats to the coast. “In the spe-cial 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 re-corded 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 lis-ten (and headbang).

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 design-er 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 craftsmanship, of the materials… ph: Well, I’m not so involved in researching new materials or new effects or whatever. I’m more in-terested in how to put them togeth-er. I’m not crazy about strange or very modern materials—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 fab-

PIERRE HARDY

I have fallen in love with Pierre Hardy, several times. These are not the words of a “shoe person,” ei-ther; 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, Hermès, 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 advertise-ments. His newest store opened at Paris’ Palais Bourbon last Febru-ary; the 110m2 architectural vision in dark lacquered parquet now hous-es 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 camb-lin: So you started your career at christian dior, in the 80s. but at what point in your life did you re-ally start with the shoes? How does one get into that? pierre hardy: When I was a fine arts student, in Paris, it was like

supposed to be a little bit loose or negligée… vb: Classicism with one added element of surprise? ph: It’s never everything match-ing everything else. It’s less pure than straight up classicism. Maybe that’s the interest of this look—it’s sophisticated but not stiff. vb: Perhaps when people think of Parisian style, they think of the women—of that gracefully aging wom-an 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 Gainsbourg 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 el-egance was more about an invention of character, 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. 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 liv-ing from the inside, and on the in-side I’m always trying not to do the same thing, to repeat it again and again. Because basically what

rication. In the end, I’m always working with quite classical ma-terials—basically, it’s all about leather. After that, what interests me is to give new shape, new im-age, 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 inter-esting—I would define myself as very French in taste, in a way. And that is very different from Ital-ian 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 necessarily 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

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 ma-jor fashion houses like Balenciaga and Hermès, there’s the Pierre Har-dy 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 dif-ferent 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 different; 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 communicate, 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 to-tally, 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 dif-ferent levels. It’s never the same job. At all. vb: Let’s talk about the Pierre Hardy label… p h : 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 equiva-lent 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 architecture? Your shoes have an architectural quality. ph: It’s true, I think I pre-fer space and volume to decoration, ornamentation… my tastes lean more towards a constructive feeling. But I think 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 “architecture” but on a dif-ferent 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 every-thing 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 cen-ter 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 ap-proach 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 coher-ent. Taste is what I’m do-ing, actually. vb: What about your glasses? ph: The rela-tionship to glasses is a little like the relation-ship 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 appearance. It’s like shoes: you can chose your shoes to make a big statement—very obvi-

ously heavy, bright, or whatever. Or you can choose a shoe that’s very discreet—just a finishing of your silhouette, that disappears, is al-most non-existing. So for me the glasses should be there very nor-mally: 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. Do-ing glasses puts you into a sys-tem. It has to be distributed, man-ufactured… it’s a big big business, you know? If I were to do it, I would have to re-consider it from a very different point of view. A bit more exclu-sive, or more lux-urious, maybe. vb: Any other unreal-ized projects you might one day want to go into, other

than eyewear? ph: There are lots of unreal-ized projects! The question for me is not so much, “do I want to go there?” It’s more, “Am I able to go there?”

PIERRE HARDY

DOUBLE TAKEDOUBLE TAKE

STUDIO

Jack Dahlejer det grafiske bureau Homework, som nok kan skrive et par nævnevær-dige klienter på por-teføljen. Jack har blandt andet tidligere arbejdet for Self Service Magazine og Jil Sander og skaber i det daglige grafisk de-sign, så det kan mærkes og forstås.Hvor lang tid bruger du i snit på dit arbejdssted?Indtil for nyligt brugte jeg måske for lang tid på kontoret. Men privat ar-bejder jeg også ofte på mere personlige projek-ter.Hvad betyder dine omgiv-elser, når du arbejder?Mine omgivelser betyder en hel del. Lys, ro og plads på bordene — også på min skærms skrivebord. hvor-dan 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. Kærlighed 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 bygnin-gen. 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 drømmeprojekt. Jeg er netop ved at afsluttte et arbejde med Casey Spoon-

er på Fischerspooners nye album Entertainment. Lang og møgspændende pro-ces. 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 kunst-nere, og starter til som-mer på 2 nye kunstbøger for Aya Takano og Klara Kristalova for Galerie Perrotin I Paris/Miami. Jeg gad også godt finde nye japanske forbindel-ser. Rei Kawakubo har al-tid været et forbillede. Men jeg indrømmer blankt, at Madonna nok alligevel ville være skæggere end Bjørk…eller hvad?Kaos eller orden?Jack eller kaos?

Banks Violette er en kunstner, der leverer kommentar-er til vor samtid med tyngde og ikonisk gennemslagskraft.Banks Violettes kunst er ikke let forgænge-lig og skal sjældent forstås som et enkeltstående værk. Den Ny-baserede skulptør, tegner og mal-er griber om vor sociale samtid med sort pensel og voldstemaer. Hans opvækst i Ithaca ansporede en hang til det uskønne og makabre og formede hans kunstsprog. I Banks møder man en kunstner med en uomtvistel-ig fortælleevne. Med evner der når langt ud over New Yorks scene, rammer hans kunst os københavnske bysbørn, dér hvor den skal.

B A N K S V I O L E T T E

Number (N)ines sidste kollektion A Closed Feeling kommer i butikkerne til eft-eråret, derefter lukker det legendariske mærke ned. Et lige så stort tab for modeverdenen som Hedi Slimanes exit fra Dior Homme. Number (N)ine formåede at skabe sig en position indenfor herremoden som ingen kunne måle sig med. De klare referencer til fortidens ikoner gjorde at kollektionerne skilte sig ud og skabte en magi omkring mærket. Blandt andet er kollektionen her på siden inspireret af Gus Van Sants film My Own Private Idaho. Der var historier bag kollektionerne, hvilket gjorde dem mindeværdige og gjorde at de ikke blot forsvandt i glemslen. En gennemgående inspiration for designeren bag, Takahiro Miyashita, var hans fascination af Amerika og han brugte landets ikoner som musikerne Axl Rose, Kurt Cobain og Johnny Cash til at opbygge et univers omkring. Selvom referencerne var utrolig nøjagtige blev det ikke utroværdigt, for gennem alle kollektioner kunne man fornemme at der var et klart aftryk af Number (N)ine. Mærket har formået at opretholde en mystik omkring sig ved ikke at over-eksponere sig selv eller på nogen måde gå en kommerciel vej. Hans butikker er aldrig placeret åbenlyse steder, men gemt på obskure steder i storbyer som Tokyo og New York. Number (N)ine var ikke kun et ledende mærke i Japan, men tværtimod i hele verden. Det var kreativitet, inspiration og gennemført god stil. Number (N)ine vil blive savnet og er et stort tab for modeverdenen. redaktionen

WHEN YOU’RE FINISHED CHANGING, YOU’RE FINISHED

Number (N)ine lukker og slukker. Intermission følger til dørs.

RANDY JOHNSTON, MODEL

“Det at have fået lov at møde og fotografere Randy på så unikt et tidspunkt i hans liv vil jeg al-tid huske. Allerede i den første uge af hans kar-riere så jeg et polaroid-billede af ham, og vidste med det samme, at ham ville jeg fotografere. Han var anderledes og et meget unikt individ med sine egne tanker og følelser omkring livet. Han besad en livsstyrke og en fri-hed, som var utrolig be-friende i denne branche, som synes domineret af en meget kold og busines-sagtig omgangstone. Jeg har altid elsket at være omgivet af mennesker, som har passion, frihed og energi, da det minder mig om barndommens totale frihed, og denne rå ener-gi følte jeg altid i Ran-dy. Hans tilstedeværelse i kombination med hans uforudsigelighed gjorde

Fotografen Luke Irons siger respektfuldt farvel til modellen Randy Johnston, der døde oktober 2008. En kærlig homage fra en ven.

ham interessant at have på et shoot. Det var for-friskende, at han var så ukonventionel, og både hans udseende og væremåde mindede mig om nogle af de drenge, jeg plejede at surfe med hjemme i Aus-tralien. Han levede sit liv fuldt ud med denne fuldstændige frihed, og hans ansigt sagde én no-get. Jeg vil selvfølge-lig altid huske den sid-ste gang, jeg så ham og fotograferede ham, og jeg vil altid tænke på hans familie og venner med den største medfølelse, da deres tab af ham må være fuldstændig uoverkomme-ligt.”

intermission magazine

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