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1<br />

<strong>COLLECTION</strong> 6


Oryanne Dufour I Aynur Pektas I Dirk-Peter Wiegmann I Anina Brosius I Juan<br />

Ernesto Oliveros Muller I Carina Jahn I Deborah Frey I Fabian Kalker I Erwin<br />

Stranintzky I Birge George I Romain Grandveaud I Anna Willert I Martin Strauss<br />

I Andrea Hoppe I Dana Mikelson I Silke Wilhelm I Valquire I Philipp Bruening I<br />

Franco Erre I Thomas Gastl I Gonny Glass I Georg Szablowski I Charli Howard I<br />

Christine Kreiselmeier I Urban Spree GmbH I Attila Huber I Daisy Walker I Jenna<br />

Lee I Sherion Mullings I Robert Logemann I Jochen Sand I Gabriella Barouch I<br />

Fotis Vazakas I Tussunee Roadjanarungtong I Steve Pletscher I Irmela Schwengler<br />

I The WYE GmbH I Marc Majewski I Fabian Blascke I Fak Yeah Clothing I<br />

Sven Stienen I Vatilis Neufeld I Stefan Nott I Christian Born I Contentement I<br />

Zsuzsanna Majadan I Kristin Lawrenz I Richard Dubieniec I Rosa Morelli I The<br />

Candy Factory Studio I John Morrison I Lucie Le Hir I Michael Woischneck I<br />

Marine Drouan I Jerome Karsenti I Torsten Grewe I Astafyeva Tatiana I Katrin<br />

Cremer I Anthracite I Shantu Bhattacharjee I Frank Wilde I Danielle Shami I<br />

Karsten Schulz I Karl Slater I Peter Wiklund I Robert Sacheli I Birte Meyer I<br />

Robert Kothe I Orestes Hellewegen I Kobald TV I Caroline Burnett I Florian<br />

Mass I Mads Dinesen I Marie Staggat I Sören Münzer I Felipe Torres Basave I<br />

Mario Seyer I Marc Handke I Eva Vorsmann I David Bennett I Arkadij Koscheew<br />

I Chantal Henken I Helge Langensiepen I Karina Schönberger I Anna-Christina<br />

Faust I Lisa Ladke I Voodoo Market I Suzana Holtgrave I Anita Krizanovic<br />


Spectacular programme with<br />

More then 100 talents from all over the world.<br />

(The Netherlands)<br />

6 th edition of<br />

the international and<br />

interdisciplinary<br />

fashion festival<br />

June<br />

in Maastricht<br />

June<br />

1 15<br />

until<br />

web<br />

fashionclash.nl<br />

fashion shows / exhibition / performances / designer market and more.

photo: hordur ingason

Editor-in-Chief<br />

Fashion Editor<br />

Art Director<br />

Art Editors<br />

Music Editors<br />

Movie Editor<br />

Marcel Schlutt<br />

mschlutt@kaltblut-magazine.com<br />

Nicolas Simoneau<br />

nsimoneau@kaltblut-magazine.com<br />

Amanda M. Jansson<br />

ajansson@kaltblut-magazine.com<br />

Emma E.K. Jones<br />

ejones@kaltblut-magazine.com<br />

Amy Heaton<br />

amyheaton@kaltblut-magazine.com<br />

Ange Suprowicz<br />

ange.suprowicz@kaltblut-magazine.com<br />

Claudio Alavargonzalez Tera<br />

calvargonzaleztera@kaltblut-magazine.com<br />

“If death doesn’t kill you, my demons will!”<br />

That could certainly be one way of summarising the past few<br />

weeks we’ve had here. The last months have been a difficult<br />

time for us at KALTBLUT. You could even talk of a cloak of<br />

darkness that was veiled over us. But we wouldn’t be KALT-<br />

BLUT Magazine if we didn’t turn this around into something<br />

positive. We learnt a lot, both in terms of trust and how the<br />

magazine and fashion markets work. It’s not always easy to stay<br />

true to yourself but KALTBLUT Magazine stands for candour,<br />

strength and morality and this will always remain the same<br />

regardless of darker times.<br />

Noire is the theme for this issue. Black in fashion, in art and<br />

in music. Why the fascination with black? It was revealing to<br />

see how artists formed their own version of the theme. This<br />

issue celebrates two years of KALTBLUT Magazine and at<br />

this point of the journey we’d like to thank all our friends and<br />

family, artists and agencies. You continued believing in us, supported<br />

us and never shied away from offering us constructive<br />

criticism. Due to you we managed to grow up.<br />

We are more proud than ever to show our latest issue. A lot has<br />

changed. We’ve deliberately decided to publish the magazine<br />

with 208 pages, meaning we’re able to lower the price from<br />

30 EURO to 14 EURO. We hope you like it and support the<br />

change.<br />

This issue is the most personal one for us all. A lot of tears were<br />

shed, it was a difficult journey but it was certainly worth it.<br />

Yours Marcel and the team<br />

Photo by Lucio Aru & Franco Erre<br />

Fashion Assistant<br />

Brazil Editors<br />

UK Editor<br />

Translation /<br />

Proofreading<br />

www.kaltblut-magazine.com<br />

Nico Sutor<br />

nsutor@kaltblut-magazine.com<br />

Mauricio & Aleesandro Lázaro<br />

brazil@kaltblut-magazine.com<br />

Karl Slater<br />

karlslater@kaltblut-magazine.com<br />

Amy Heaton, Ange Suprowicz ,<br />

Amanda M.Jansson, Bénédicte Lelong<br />

Pernille Sandberg / Photographer<br />

www.pernillesandberg.com<br />

Pernille is a well-known photographer based in Berlin and Copenhagen. For this issue, Pernille<br />

visited the fashion label Augustin Teboul in their studio and had a chat about the fashion.<br />

Nik Pate / Photographer<br />

www.nikpate.com<br />

Nik is a London-based fashion photographer and digital artist. Mister Pate is an upcoming<br />

artist in the UK and this is our first collaboration with him and we are proud to showcase two<br />

of his works.<br />

Suzana Holtgrave / Photographer<br />

www.suzanaholtgrave.com<br />

Once again, the Berlin-based photography icon has produced 2 amazing editorials for us.<br />

Suzana has been part of our journey from the very beginning. We are sure you’re familiar with<br />

her work.<br />

Agnese Pagliano / Graphic designer<br />

www.agnesepagliano.com<br />

Agnese is a freelance graphic designer. She has already worked with severals magazines and has<br />

made a notable contribution to this issue. She is obsessed with typography and loves to create<br />

new fonts in her free time.<br />

Eileen Rullmann / Photographer<br />

www.art-photographie.com<br />

Eileen is a still life photographer based in Hamburg. She specialises in macro photography,<br />

particularly focussing on insects. Her eye for detail and her aesthetics have allowed her work<br />

to be published in Vogue Italia.<br />

Model: Melanie Gaydos, Photography by Maren Michaelis,<br />

Dress by Augustin Teboul, Postproduction by Florian Hetz<br />

- florian.hetz@me.com -<br />

KALTBLUT Magazine is published by KALTBLUT Media UG,<br />

Nicolas Simoneau & Marcel Schlutt<br />

KALTBLUT MAGAZINE I Grünbergerstrasse 3 I 10243 Berlin I Germany

11<br />

p.12 Dark Travelers<br />

Fashion Story<br />

p.20 Darkside<br />

Interview<br />

p.26 Sketch Book<br />

Illustrations by Jean Khalife<br />

p.30 The Last Supper<br />

Fashion Story<br />

p.38 Melanie Gaydos<br />

Fashion Story + Interview<br />

p.46<br />

Berlin Faces<br />

You Should Know<br />

p.50 The Widows<br />

Fashion Story<br />

p.58 Pins<br />

Interview<br />

p.60 Decode<br />

Fashion Story<br />

p.66<br />

Article<br />

Pictures of<br />

The Dead<br />

p.68 Paint It Black<br />

Fashion Story<br />

p.77 Joseba Eskubi<br />

Interview<br />

p.80 Nachkriegszeit<br />

Fashion Story<br />

p.86 Horror-Shaping Art<br />

Article<br />

p.88 Heraista<br />

Beauty Editorial<br />

p.96 Into Brackets<br />

Interviews<br />

p.100 Black Metal<br />

Fashion Story<br />

p.106 Augustin Teboul<br />

Interview<br />

p.112 Marika<br />

Fashion Story<br />

p.120 Mehryl Levisse<br />

Interview<br />

p.124 Cunt Cunt Chanel<br />

Interview<br />

p.126 Must Have<br />

p.127 Dear Bad Bed Bug<br />

p.128 Queen of Sorcery<br />

Fashion Story<br />

p.134 Gesaffelstein<br />

Portrait<br />

p.136 Lines Of Life<br />

Fashion Story<br />

p.142 Eirik Lyster<br />

Interview<br />

p.145 Love & Malice<br />

Fashion Story<br />

p.150 Austra<br />

Interview<br />

p.154 Ana Alcazar<br />

Fashion Story + Interview<br />

p.164 c355p001<br />

Interview<br />

p.166 Concrete<br />

Fashion Story<br />

p.174 Gustavo Jononovich<br />

Interview<br />

p.178 The X-Insider<br />

Interview with M<br />

p.180 Termites<br />

Photo Story<br />

p.184<br />

Column<br />

What's Left Of<br />

The Noire?<br />

p.186 Trentemøller<br />

Interview<br />

p.190 Susanne Bosslau<br />

Interview + Fashion Story<br />

p.196 Kerby Rosanes<br />

Interview<br />

p.198 Must Wear<br />

p.200 Sorry My Love<br />

Fashion Story<br />

p.206 Humphrey Bogart<br />

Portrait<br />

p.208 CraZay Giveaway<br />

p.209 (End).itorial

12<br />

Jacket: Sadak<br />

Dark Travelers<br />

Photographers: Lucio Aru and Franco Erre www.errearuphotography.com<br />

Stylist: Crystal Birch www.therealcrystalbirch.com<br />

Agency: Glossartistmanagement.co.za<br />

Assistants: Micheal Mosel and Moritz Jasper<br />

Hair and Make-Up artist: Janine Pritschow www.janinepritschow.com<br />

Agency: Glossartistmanagement.co.za<br />

Models: Franz and Nicholai at ultmodels

13<br />

Hat: Mads Dinesen, Coat: Studio Laend Phuengkit, Scarf: Stylist’s own, Cape: Preview5, Trousers: Comme des Garçons, Shoes: Ann Demeulemeester<br />

Shirt: Sopopular, Coat: Julia Heuse

Shirt: Sopopular<br />

14<br />

Hat: Mads Dinesen, Shirt: Preview5

15<br />

Hat: Mads Dinesen, Coat: Studio Laend Phuengkit, Scarf: Stylists own, Cape: Preview5, Trousers: Comme des Garçons, Shoes: Ann Demeulemeester

17<br />

Franz (left) Top: Sadak, Trousers: Ethel Vaughn, Shoes: Tiger of Sweden, Nicholai (right) Coat: Laend Phuengkit, Knitwear: Tiger of Sweden, Trousers: Bobby Kolade, Shoes: Ann Demeulemeester

18<br />

Nicholai (below) Shirt: Sadak, Trousers: Julia Heuse, Boots: Ann Demeulemeester, Franz (above) Jacket: Sadak, Trousers: Sopopular, Shoes: Tiger of Sweden<br />

Trousers: Ethel Vaughn

19<br />

Nicholai (left) Glasses: Kuboraum, Knitwear: Tiger of Sweden, Trousers: Sadak, Shoes: Tiger of Sweden, Franz Hat: Mads Dinesen, Coat: Bobby Kolade, Trousers: Ethel Vaughn, Shoes: Ann Demeulemeester


20<br />

A Lesson In Patience<br />

Experimenting with electronic music at the<br />

tender age of 14, making his debut on Wolf<br />

+ Lamb three years later, forming his own<br />

record label and releasing his critically acclaimed<br />

debut album before turning 21 or<br />

graduating: Nicolas Jaar may have gotten off<br />

to an early start, but he’s in no hurry to get<br />

anywhere fast. Disinterested in dwelling on<br />

the past or former glories, he’s invested in<br />

new beginnings and startling collaborations.<br />

The electro wunderkind has paired up with<br />

multi-instrumentalist Dave Harrington to<br />

create Darkside; a project that sees Jaar bringing<br />

his raspy baritone to air amongst warmly<br />

played keyboards, tactile electronic textures<br />

and other sundries. Slowhand Dire Strait<br />

leads might be the last thing you’d expect an<br />

electronic producer to bring to his records,<br />

but if there’s anything we’ve learnt from Jaar<br />

in the last years it’s: don’t expect. Subtlety,<br />

strangeness and difference: the precocious<br />

producer is giving listeners what they want.<br />

Nicolas Jaar is invested in developing a singular<br />

style and letting it patiently evolve over<br />

time.<br />

As a producer who’s known for bringing dance<br />

music down to 100 BPM or lower, he’s created<br />

an atmosphere that’s unconventional and<br />

unprecedented. The crowd’s patience is not<br />

left underserving; Jaar delivers in pitches<br />

that persist and peak. In remixing the entirety<br />

of Daft Punk’s Random Access Memories<br />

earlier this year and renaming their project<br />

Daftside, Jaar and his musical partner shed<br />

a light on their unequivocal ability to find<br />

something else in the music- their inclination<br />

to take big moments and make them small,<br />

turning them inward – an achievement noted<br />

for its remarkable turnaround rate. In contrast,<br />

the duo’s full-length album took a full<br />

two years to produce and reflects Jaar’s eye<br />

for detail and the care he dedicates into every<br />

aspect he presents. Released on Jaar’s brand<br />

new imprint and subscription service, Other<br />

People, predecessor to his first record label<br />

Clown & Sunset, Psychic beckons the listener<br />

to slow down and move at its pace.<br />

Exploratory, confrontational and wandering,<br />

Psychic is full of characteristically long Jaar<br />

songs, that feeling of “the song has you” for<br />

the seven minutes of its duration; and in a<br />

record that fits an incredible amount of music<br />

into a compact 45 minutes, the silences<br />

themselves are moments of active listening<br />

too, with unintentional things happening between<br />

the beats. The opening track is eleven<br />

minutes long and it takes four full minutes<br />

for the tinkering to do its thing, to dissolve<br />

from a space-radio crackle into a beat that’s<br />

both melodic and methodical as it meanders<br />

and experiments into a heavy-lidded, inebriated<br />

swell. The first single Paper Trails with its<br />

singed blue riffs in the middle of the record<br />

is the album’s one only narrative and Freak,<br />

Go Home encompasses a constant fluidity<br />

between acoustic and digital percussion.<br />

Unhurried yet insistent; the record cogs away<br />

before it can get personal; Jaar and Harrington<br />

tease the concept of scale, the desire to<br />

instil wonder. The record is intimate: it’s a<br />

journey- from start to finish, to the celestial,<br />

to the otherworldly- that beckons you further:<br />

the longer you spend with Psychic, the more<br />

you sink into its depths, speeds, sounds and<br />

findings. Dropping you in from nowhere,<br />

there’s a driving force but don’t try to define<br />

it; it takes its time to coalesce, and as soon<br />

as an ostensible connection is made, it’s gone<br />

again- fleeting and departing as quickly as it<br />

appeared. What grounds the record is Jaar’s<br />

uniquely congested vocals that eke in over a<br />

gentle pulse of synth-dappled drones leaving<br />

the listener engulfed in the realisation that<br />

he has a voice where you never expect him<br />

to mean exactly what he says. Live, the duo<br />

gives a performance that displays both restraint<br />

and a high level of skill- like the feel<br />

of the whole album: the sounds bulge as soon<br />

they burst, never giving away too much. In<br />

conversation, Jaar and Harrington are articulate,<br />

dedicated and gregarious; the former<br />

passionate and insightful- with a careful,<br />

organised sense of self that belies his age.<br />

The pair’s full-length effort spills with sounds<br />

that self-ignite, over take one another, and<br />

combine at imperceptible speeds, whether<br />

solo or layered. Patiently and steadily, the<br />

rhythms, the meaning, the story rises and<br />

reaches a state of euphoria without divulging<br />

that it was up anything at all- which, come<br />

to think of it, is much like the collaboration<br />


21<br />

Interview by Ange Suprowicz<br />

Photo credit: Other People / Matador

22<br />

“…Sometimes things take their time. It’s sad<br />

sometimes; it’s frustrating sometimes<br />

but it’s also just very real… and I love the<br />

very simple fact when something finally<br />

happens you realise ‘Oh, it couldn’t have ever<br />

happened before. It needed to<br />

happen now.”<br />

KALTBLUT: First of all, huge congratulations on the<br />

album. It’s sensational. The recording process spun over<br />

two years and critics have been quick to comment that<br />

the record reflects that. I like to think you’re teaching listeners<br />

the virtue of patience and deliberation. Does this<br />

ring true?<br />

Nico: That’s nice.<br />

Dave: That is really nice.<br />

Nico: Patience…<br />

Dave: Patience…<br />

Nico: We had a song called ‘Patience’, we haven’t written<br />

yet.<br />

Dave: I think that those things are things that we both value.<br />

We share that in things that we like… and more important<br />

than just things, the experience of music for both of<br />

us has a lot to do with that and that is a very real point of<br />

connection and so if that’s coming through, then it’s very<br />

honest.<br />

Nico: And life takes its time y’know, sometimes things<br />

take their time. It’s sad sometimes; it’s frustrating sometimes<br />

but it’s also just very real and I love the very<br />

simple fact if something just takes two years to happen;<br />

something you’ve been waiting for finally happens then<br />

you realise ‘Oh, it couldn’t have ever happened before. It<br />

needed to happen now.’ Y’know that feeling of in... inevit…<br />

what is it?<br />

Dave: Inevitability.<br />

Nico: Inevita... Inevitability! Boom. That’s very real. We<br />

didn’t necessarily write songs or tracks we just wrote a<br />

fifty minute thing in a way, and so in the light of that we<br />

did want to tell a story that was a little bit more subdued,<br />

that hopefully you could sink into and that maybe the first<br />

time you listen to it you would tell yourself ‘this is an orb<br />

that maybe I want to sink into’. And I’m saying that in the<br />

friendliest way possible… it’s not a challenge at all.<br />

KALTBLUT: It’s interesting, the theme of challenge. When<br />

you first started together you said it was tough, wasn’t<br />

what you expected and it required a lot of work. What was<br />

it that kept you pushing and motivated?<br />

Nico: When did we say that?<br />

Dave: Doesn’t sound like something I’d say.<br />

Nico: Nope, I think that’s probably like a bad German<br />

translation…<br />

KALTBLUT: I was surprised it didn’t seem like something<br />

that would apply to you…<br />

Dave: Maybe you could set the record straight. It’s so easy<br />

and fun and that’s why we kept doing it.<br />

Nico: It came about naturally. The end of anything is much<br />

harder because we needed to actually make some true,<br />

miniscule decisions. But at the beginning, no- that was all<br />

play. That was all fun.<br />

KALTBLUT: Nico, the idea of Darkside came to you to<br />

make a more blues orientated guitar heavy project…<br />

Nico: No, it didn’t really come to me. It was more the combination<br />

of Dave and I sitting down one day and making<br />

music together. It wasn’t a project that I had I in mind and<br />

I’m gonna do this. It was more… Dave and I just met each<br />

other and we decided to make music one day and then it<br />

happened.<br />

KALTBLUT: You started Darkside two years ago in Berlin<br />

and Nico you’ve commented that Berghain is your favourite<br />

place to play. How is it for you both to be back in this<br />

venue and city at the start of your Psychic tour?<br />

Dave: Yeah we made our first song in Berlin.

23<br />

Nico: That’s the only song we made in Berlin. It’s amazing<br />

being back. I can’t wait to play. I actually had Berghain in<br />

mind when I wrote the record. The sad thing about that is<br />

that when you really love a space, there’s few clubs in the<br />

world that I love and that I don’t want to play anywhere<br />

else. I just want to continue playing in this place hopefully<br />

until I’m like old y’know? (laughs) When you don’t have<br />

a show that’s as good as you want it, it’s such a shame<br />

because everything is so perfect. It’s a perfect club. The<br />

pressure is higher in a way because you want to, not live<br />

up, but you want to adhere to the club.<br />

KALTBLUT: You’ve said before that where you play your<br />

music changes everything. For those unable to experience<br />

you live, what would be the best sitting to listen to the<br />

record in?<br />

Dave: If you’re sticking around for the show you’ll see that<br />

it is and it isn’t like the record, just for the record (laughs)<br />

My answer to this would be: wherever they want to listen<br />

to it, in a meaningful way not like a (distorts his voice)<br />

“listen to it wherever you want to”. I love records where I<br />

feel like I make it my “this-record”, it’s the record I listen<br />

to when I can’t sleep or this is the record I listen to when<br />

it’s a beautiful day out and I’m walking around.<br />

Nico: Or if you’re driving.<br />

Dave: Yeah if you’re driving… things that are very personal.<br />

Hopefully people can be personal with it.<br />

KALTBLUT: It’s been said that there’s a gravitational pull<br />

in the record that only exists in music made by Nicolas<br />

Jaar. What is this pull, this hype that surrounds you and<br />

how do you sustain it?<br />

Nico: Excuse me? I said that?<br />

KALTBLUT: No no, you didn’t… (laughs)<br />

Nico: Oh, thank god. I honestly don’t see how any of the<br />

music that we made as Darkside has that much to do with<br />

me. I think why I decided to make this project, to be in this<br />

position of being in a duo instead of doing my own thing<br />

etcetera etcetera is because I believe in the fact that we’re<br />

creating a different sound than what I do and that whatever…<br />

thing that he’s talking about y’know, maybe that’s his<br />

own subjective way but for me this is a band and a band<br />

that makes songs together and if anything I’m excited to<br />

not be the sole maker of decisions and the sole maker of<br />

the music. I’ve been doing that for five years and now it’s<br />

exciting to not do it.<br />

KALTBLUT: So let me ask you: do you think you establish<br />

connections between genres or pronounce differences?<br />

Something that’s very apparent is that there are no rules<br />

to your work…<br />

Nico: I… I love the idea of no rules by the way. That’s… I’m<br />

happy that at least you can see that because that’s very<br />

exciting to me. One of the most important things about<br />

just talking about genre, which I like talking about… I don’t<br />

hate talking about genre; I actually like talking about it a<br />

lot because it is interesting. I don’t think it’s interesting to<br />

make music in a very specific genre in order to do certain<br />

things… I mean you can use genre, I think that’s the most<br />

exciting thing. But one thing I wanted to say, in the ‘base<br />

form’ there are certain things about music that have been<br />

co-opted by music’s ability to sell. And genre is one of<br />

them and so I get very excited when I see music that can<br />

be appealing but that maybe finds a way out of very, very<br />

specific cultural and musical statements because in my<br />

utopian mind that I still think I have, music that makes you<br />

“The most important thing is to defy<br />

being used, defy being labelled,<br />

defy all these things, maybe create a<br />

tiny space for yourself where you<br />

don’t have rules because rules are the<br />

things that create a lot of the problems<br />

that this time has.”

question it makes you question a lot<br />

of different things if you actually think<br />

about it, not only music. I think that’s<br />

the small role that an artist can have<br />

today because our role is getting<br />

smaller and smaller and we’re getting<br />

used more and more, right? We’re just<br />

getting used more by everyone. Not<br />

me, artists in general so I think the<br />

most important thing is to defy being<br />

used, defy being labelled, defy all these<br />

things, maybe create a tiny space<br />

for yourself where you don’t have rules<br />

because rules are the things that<br />

create a lot of the problems that this<br />

time has.<br />

KALTBLUT: Drawing on the point<br />

about music being co-opted by it’s<br />

ability to sell … you’ve said before<br />

that you hate CDs and you think<br />

the music industry is just out to sell<br />

drinks.<br />

Nico: The CD thing is just a stupid<br />

thing I thought for a while. I don’t<br />

know why I was so against them, I<br />

actually don’t really care. I don’t want<br />

to be mean to your question though;<br />

the truth is I actually don’t care... I’m<br />

not anti- it… in one interview, in the<br />

one stupid interview where I said that,<br />

because I do feel stupid that I talked<br />

about it in that way… what I actually<br />

meant to say is that CDs were invented<br />

with a specific amount of time,<br />

with a weight and with a design that<br />

was easiest to sell and we should<br />

think about that. That’s all I was saying.<br />

The context of that is huge.<br />

KALTBLUT: So you designed The<br />

Prism as a contrast to that?<br />

Nico: Yeah, but that’s also a primitive<br />

idea of hopefully a better idea that I’ll<br />

have at some point, because that’s<br />

still not the answer at all.<br />

24<br />

i<br />

KALTBLUT: It’s been noted that you<br />

have some distinctly old fashioned<br />

ideas about art and integrity. Your<br />

sound and musical tropes reference<br />

things before your time. Simply put,<br />

do you think things were simpler in<br />

the past?<br />

Dave: I wouldn’t really presume to<br />

know (laughs) I mean, the short<br />

answer is no. I think that’s kind of a<br />

binary that relies on facile idea of<br />

history that Nico and I wouldn’t think.<br />

If there are sounds or things that are<br />

feel that they’re from another time<br />

then its because we live in the era of<br />

the über-archive, like the total and<br />

so, what that means is that…what<br />

ends up becoming the fabric of internal<br />

life, one’s creative life is built on<br />

thousands of years of history because<br />

now we’ve fully archived it in a very<br />

intense way. On a fundamental music<br />

level that means you become influenced<br />

by, and this is my impression,<br />

things that aren’t in your city, in your<br />

year… right now I’m reading the biography<br />

of Derek Bailey, a free improviser<br />

guitarist and he talks about growing<br />

up in England before WW1 if you<br />

wanted music, he grew up in a small<br />

industrial town, you had to go see it<br />

at the pub, that’s a real thing. They<br />

couldn’t afford records, if you wanted<br />

to hear music; this was 70 years ago…<br />

Nico: Only…<br />

Dave: Yeah, only 70 years… you’d have<br />

to go down the street or drive to the<br />

next town to hear whoever had taught<br />

themselves whatever it is they were<br />

going to do over there and so now and<br />

we live on the opposite end of that<br />

spectrum. If I’m hungry and I’m curious<br />

about different things, they inevitably<br />

seep into you because you live in<br />

this archive.<br />

KALTBLUT: True to its title, Psychic<br />

is not a heart to heart but an extra<br />

sensory telepathic exchange. How<br />

important was the name giving of both<br />

Darkside and Psychic on a personal<br />

level?<br />

Nico: You mean the actual words? So<br />

the second we finished our first song,<br />

this word ‘dark side’ was in the air<br />

between us. It wasn’t the band name;<br />

we were just using it a lot.<br />

Dave: It became a descriptor of a<br />

feeling or experience, y’know if something<br />

got deep we’d be like ‘dark<br />

side’ or if something was a little bit<br />

crazy…<br />

Nico: So when we finished our first<br />

song, we were like ‘dark side’. And<br />

then we were like, whoa that should<br />

be our name. And that’s it. We never<br />

spoke about it again. It’s a placeholder.<br />

And it’s meant to be that. There’s<br />

no meaning. There’s no meaning. It’s<br />

a placeholder. It’s a colour of a shirt,<br />

right? It’s just a black shirt; it doesn’t<br />

say anything. But it says a little bit…<br />

because it’s black, it’s not white, it’s<br />

not stripy. It’s just a black shirt. Psychic<br />

is…. (hearing music in the background)<br />

Oh, they’re playing Val…the<br />

DJ is.<br />

Dave: Oh, snap!<br />

Nico: Isn’t that so cute?<br />

Dave: That’s amazing.<br />

Nico: That shit blows my mind. What<br />

were talking about?<br />

KALBLUT: The naming of Psychic…<br />

Nico: So Psychic was a little more<br />

deliberate because we did feel like<br />

there were certain things about the<br />

record that we wanted to give to people;<br />

like these were some of the things<br />

we were thinking about. And the idea<br />

of each other’s mind and creating a<br />

telepathic exchange is exciting to us…<br />

that’s so exciting to us.<br />



25<br />



MACHT SCHÖN ...<br />

MACHT LAUT ...<br />







SHL 5705<br />









26<br />

SKETCH<br />

Almost like an extension of themselves, the sketch book is an indispensable part to every artist. Bursting with<br />

ideas, thoughts and doodles, it’s where the magic begins. Every issue we approach one artist and present them<br />

with a blank page to allow their imagination run wild.<br />

The first guest for this brand new feature is Jean Khalife, product designer of Vans Europe.<br />

Jean can also be found on Instagram via his illustrator name JOHN KAISER KNIGHT.

THE LAST<br />

31<br />

SUPPER<br />

Photographed by Gal Reuveni Styled by Marina Milcheva<br />

Models: Blake Myers, Sofya Titova, Natasha Ramachandran @Next Model Management<br />

Top - Balmain, Rings - Topshop, Belt - Evis, Model: Natasha Ramachandran

33<br />

Leather Biker Jacket - Evis, Skirt - Zara , Belt - Balmain, Sunglasses - Ray Ban, Model: Blake Myers

35<br />

Leather Vest & Leather Biker Jacket – Evis, Models: Natasha Ramachandran & Sofya Titova

37<br />

Jumpsuit - Gucci, Belt - Moschino, Model: Sofya Titova

38<br />

Melanie<br />

Gaydos<br />

The Queen From Outta Space!<br />

Interview by Marcel Schlutt<br />

Photography by Maren Michaelis<br />

www.marenmichaelis.com<br />

Styling: Carrie Bass (alter.ego)<br />

Hair & Make-up: Deniz Mouratoglou (alter.ego)<br />

contact@alterego-art.de<br />

Some human beings are so special,<br />

they must simply be from<br />

outer space, can’t come from<br />

this planet. New York based model<br />

and artist Melanie Gaydos<br />

is one of them. Officially born in<br />

Connecticut, but I am sure this<br />

is a legend, Miss Gaydos is gifted<br />

with the most special looks<br />

and a big heart. She was born<br />

to be a model. During these last<br />

years, we have worked with so<br />

many models but none of them<br />

revealed that much of her own<br />

personality in front of the camera.<br />

She is not afraid of being<br />

naked and so easy to work with,<br />

that I would like to just book her<br />

again and again, right away. Together<br />

with photographer Maren<br />

Michaelis, she has produced<br />

one of the most amazing editorials<br />

for our magazine. Yes, she<br />

is not that typical boring beauty<br />

model. Her beauty is on another<br />

level. I don’t see how any of the<br />

“normal” models could compare<br />

to her. I had the pleasure of interviewing<br />

Melanie and after the<br />

interview I am 100 % sure that<br />

she is not from Earth. She is : The<br />

Queen From Outta Space!

39<br />

KALTBLUT: Hallo Melanie. First at all I<br />

have to say: I adore your photos in our<br />

editorial, and having had a look through<br />

your portfolio. You have some amazing<br />

photographs. On every photo you look<br />

so strong, as if you are born to do this.<br />

Was modelling something you always<br />

wanted to do?<br />

Melanie: Hallo! Thank you so much,<br />

when I was younger I had a dream of<br />

being on a billboard. I never thought<br />

I would be modelling, though I am<br />

sure this is something every little girl<br />

may dream about. I don’t think I ever<br />

thought I could model, but I wanted to<br />

be someone important. I guess in general<br />

I always had a fascination with<br />

something being “larger than life.”<br />

KALTBLUT: You take some amazing<br />

photos in each shot: which story or editorial<br />

is your favourite so far?<br />

Melanie: I really enjoy all of the photo<br />

shoots that I take part in so it is so hard<br />

to choose!! My favourite projects would<br />

have to be (in chronological order) the<br />

Rammstein video shoot for “Mein Herz<br />

Brennt” directed by Eugenio Recuenco<br />

and the current editorial by Maren Michaelis<br />

for your magazine KALTBLUT. I<br />

also really loved one of my last projects<br />

in Germany, a collaboration with photographer<br />

Christian Martin Weiss.<br />

KALTBLUT: Can you tell us something<br />

about your background? All I know is<br />

that you live in New York. Are you born<br />

and raised there? How did little Melanie<br />

grow up?<br />

Melanie: I grew up in Connecticut, a<br />

suburban town an hour or so outside<br />

of NYC. I moved to NYC about<br />

three years ago while transferring art<br />

schools. I had kind of a rough childhood<br />

with my peers and family life, but I always<br />

found solace in artwork and the<br />

outdoors. Since moving to NYC, I miss<br />

living in the forest most of all!<br />

KALTBLUT: What was your dream<br />

growing up? And why?<br />

Melanie: I had always wanted to be an<br />

artist growing up. This really paved the<br />

way for all of my childhood and before<br />

I started modelling, I was a fine artist<br />

and studied in school for a degree.<br />

Being an artist is the complete freedom<br />

to do whatever you wanted to do,<br />

and basically the freedom without any<br />

excuses to just be who you are.<br />

KALTBLUT: You have quite a unique<br />

look: and as I can see in your portfolio<br />

you don’t have any problems with<br />

being nude in front of a camera. Where<br />

is this confidence coming from?<br />

Melanie: Sometimes it surprises me<br />

how comfortable I am with nudity as<br />

well. I think it comes from a variety of<br />

things but I’ve always just been comfortable<br />

with it. I’ve had to endure a lot<br />

physically and psychologically when I<br />

was younger so I think I’ve had to learn<br />

at an early age how to accept and be<br />

comfortable with my own body. Nudity<br />

is our purest form and most natural<br />

state. It doesn’t matter to me if I am<br />

clothed or nude, there is so much our<br />

bodies can say regardless.<br />

KALTBLUT: You have a very good body.<br />

Do you work out a lot in the gym? Or is<br />

it nature? How important do you think<br />

it is for a model to stay in shape?<br />

Melanie: Thank you, no I don’t work<br />

out or go to the gym. I do have a very<br />

high metabolism and am naturally thin.<br />

I used to go to the gym when I was<br />

younger just to stay fit or accompany<br />

friends. I always think it is a good idea<br />

to stay healthy and really enjoy being<br />

active in general. Living in cities or even<br />

the forest really helps, you just walk<br />

everywhere! When I first started modelling,<br />

I worked primarily in the ˝art<br />

nude“ world where the subject’s body<br />

is encouraged to have character and<br />

to really embrace who you are outside<br />

of society’s ideals. As I shoot more on<br />

industry related sets, I definitely see<br />

and can understand the pressure models<br />

have nowadays to maintain their<br />

image. As individuals, we evolve and<br />

our ideals change. I think all people<br />

have the right to be happy and healthy.<br />

KALTBLUT: Do you live from modelling?<br />

Or do you have a normal job to<br />

pay the rent?<br />

Melanie: I am a full time model so yes<br />

this is how I live! At times it is difficult,<br />

especially just being a freelancer in<br />

general but I can not think of anything<br />

else I would rather be doing. I’m very<br />

open to creativity and opportunities,<br />

but modelling is by far the most enjoyable<br />

for me.<br />

KALTBLUT: As I said before you live<br />

in New York: capital of all cities in the<br />

world. How does a normal day usually<br />

pan out for you?<br />

Melanie: Haha well it is probably a lot<br />

less exciting or stable than one would<br />

think! My schedule varies day by day. I<br />

also live in Brooklyn which is a borough<br />

separated from Manhattan (”the city”).<br />

Life in Brooklyn is a lot more relaxed<br />

than living right in the heart of New<br />

York. A typical day is waking up and<br />

having breakfast, then taking the subway<br />

into Manhattan or wherever my<br />

shoot may be. The subways are pretty<br />

much amazing here because they<br />

usually pan out anywhere you need to<br />

go. Once I leave my neighborhood, it is<br />

very busy and I just get swept into the<br />

momentum of the city. I love waking up<br />

to go to shoots and then depending on<br />

how much time I have in between shoot<br />

schedules, or how long of a day it was,<br />

I love running errands after and having<br />

dinner.<br />

KALTBLUT: As you know the theme of<br />

our issue is Noire. We just love every<br />

thing dark. What kind of imagery does<br />

this word conjure up for you?<br />

Melanie: Noire to me is like a sexy<br />

smoke screen. There are a lot of layers<br />

and hidden subtleties. It is very mysterious<br />

and elegant in my opinion.<br />

KALTBLUT: Can you share one of your<br />

worst nightmares with us? We all have<br />

bad dreams from time to time. What is<br />

yours?<br />

Melanie: This may sound awful, but as I<br />

get older I can no longer really tell what<br />

would constitute as a bad dream. Sure<br />

I have unpleasant dreams but when I<br />

wake, I have the understanding that it<br />

is my subconscious and I always really<br />

try to learn from those messages: such<br />

as why do I have fear, and how could<br />

I overcome it? When I was younger I<br />

would always have nightmares, now<br />

that I am older I don’t have as many<br />

and I guess in the rarity that they do<br />

occur, it is a visitation to something in<br />

my past. I don’t like to dream about<br />

people that I’ve had negative experiences<br />

with!<br />

KALTBLUT: Where would you say is<br />

the darkest place in New York?<br />

Melanie: I think the darkest place in<br />

New York is the darkest place anywhere<br />

in the world, in the negativity of one’s<br />

own mind.<br />

KALTBLUT: Our shoot was on location<br />

in Berlin. Do you like our hometown?<br />

How many times have you been here?<br />

And where do you hang out when you<br />

are here?<br />

Melanie: I absolutely LOVED Berlin!<br />

Absolutely. I have been to Berlin once<br />

before during a video shoot for the<br />

band Rammstein, but I did not get to<br />

travel around the city or see much as<br />

I was on a tight production schedule.<br />

Even though I was in Germany for<br />

about a month, I was shooting almost<br />

everyday and I had spent a few days<br />

in Munich as well. The times I did get to<br />

hang out in Berlin, I really liked walking<br />

around Mitte, and Kreuzberg for a bit.

40<br />

Dress: Moga E Mago

41<br />

Dress: Augustin Teboul

Blouse: Stylestalker<br />


43<br />

Clothing: Immortal by Thomas Hanish

45<br />

KALTBLUT: What makes Berlin a<br />

place to be for you? And what is<br />

different here to New York?<br />

Melanie: I really love Berlin’s energy.<br />

I feel a certain sense of calm and<br />

relaxation. I think I feel most grounded<br />

there, naturally without even<br />

trying :P The air is fresh and crisp,<br />

and really that is the difference<br />

there than in New York! This was<br />

the first time I was able to “live” somewhere<br />

outside of the USA for a<br />

while, and in returning, I see a large<br />

difference in the way people interact<br />

with one another. I think people<br />

are much more friendly and open<br />

than in New York. New York is just<br />

a very busy city, everyone is living<br />

their own lives.<br />

KALTBLUT: I know you have<br />

worked with Rammstein. For the<br />

video “Mein Herz Brennt”. How<br />

was it to work with the international<br />

superstars?<br />

Melanie: It was very, very nice. A<br />

really wonderful experience to be<br />

on a large production set, I had<br />

learned a lot from that shoot and<br />

had only been modelling for about<br />

five months at the time. The band<br />

mates are all very nice and sweet<br />

guys as well.<br />

KALTBLUT: Do you know any other<br />

German artists? Are there any<br />

you would particularly like to work<br />

with?<br />

Melanie: I would really love to meet<br />

and shoot with Karl Lagerfeld. I<br />

don’t know of many other German<br />

artists aside from the people<br />

I have met and shot with during my<br />

last trip. They’re all very beautiful<br />

and amazing people, I am so happy<br />

to have met them. I really loved<br />

Germany though, and would visit<br />

again any time!<br />

KALTBLUT: Melanie thank you<br />

very much for the photos, the interview<br />

and your time for KALT-<br />

BLUT. It will be not the last time we<br />

work together. I swear!<br />

Melanie: Xoxo, thank you KALT-<br />

BLUT so much!! I really loved shooting<br />

with you and look forward to<br />

talking with you again!<br />

Dress: Augustin Teboul<br />

Hairpiece: Moga E Mago

46<br />

BERLIN<br />

Faces<br />

By Fleur Helluin<br />

“When it comes to the future,<br />

there are three kinds of people:<br />

those who let it happen, those<br />

who make it happen, and those<br />

who wonder what happened.”<br />

John M. Richardson.<br />

KALTBLUT is here to introduce<br />

you to some of the kind<br />

who make it happen. They are<br />

extraordinary, creative, outstanding,<br />

special, notable and<br />

unique and they will change<br />

the world soon. That’s why we<br />

have to keep an eye on these<br />

three people and you better do<br />

the same.<br />

Photo by Marcel Schlutt

47<br />

concentrated amount of information.<br />

Darkness is needed as counterpoint of<br />

light to give her a sense. Some of my<br />

early work plunges into darkness to<br />

come back with a reflection of the self<br />

concentrated in high symbolic pieces.<br />

KALTBLUT: Is there a light at the end of<br />

the tunnel?<br />

Beatriz: There is even light in the most<br />

absolute of darkness. No tunnel out<br />

there.<br />

KALTBLUT: Some of your projects are<br />

very elaborate and quite complex, like<br />

Interstitial, while some of your pieces<br />

seem to flow naturally. How do you make<br />

a difference and how do you see your<br />

different pieces co-existing?<br />

Beatriz: The different kinds of artistic<br />

expressions are for me like different<br />

languages. My discourse in art is<br />

permanent, it is part from some seed<br />

convictions, I’m questioning myself,<br />

which I try to understand and solve<br />

through art. Depending on what I want<br />

to explore or explain, I decide which<br />

one of it is more interesting. The writing,<br />

the performance, videos or installations,<br />

collaborative and participative<br />

art, drawings or paintings… all of them<br />

flow in a very natural way. Some look<br />

more complex because the questions<br />

were also complex or because the<br />

answers had been very abstract cooking<br />

inside me, and concentrating like<br />

a short poem, in which all the different<br />

meanings of each word are in the<br />

play...<br />

KALTBLUT: What is your favourite black<br />

thing?<br />

Beatriz: Coal with its shimmery hard<br />

surface, and the vegetal charcoal from<br />

willow. It’s like velvet for the eyes. So<br />

delicate and deep in his tone.<br />

Beatriz Crespo is a luminous young woman full of talents. I met her at the<br />

Neukölln gallery EXPO, and was soon surprised by how elegantly she managed<br />

forms and power in her work. I kind of thought she’d be a woman<br />

who wouldn’t get scared in the dark, so I interviewed her to find out.<br />

KALTBLUT: Dear Beatriz, what was your<br />

darkest hour?<br />

Beatriz: I broke my right hand last year<br />

in an accident. The healing time was<br />

long and full of incertitude. I nearly<br />

went crazy… but all this impotence<br />

and energy shouting inside me, ended<br />

flowing through the left hand. Now I’m<br />

ambidextrous!<br />

KALTBLUT: Why do we draw in black so<br />

often?<br />

Beatriz: The act of drawing a black<br />

line over paper or a surface, is determination,<br />

you take a position in which<br />

you divide the space and lead the eye<br />

trough the narrative of your discourse.<br />

Then black lines are incredibly graphic,<br />

I love this characteristic in art.<br />

When you take some black bituminous<br />

colour, or coal or charcoal and you<br />

start to make some Graphism, it has<br />

something quite strong and primitive<br />

about it. I like to think that in this primary<br />

act of tracing a line all this energy<br />

of the human being of past, present<br />

and future eras is conveyed. We are<br />

repeating the same act once and again<br />

and this act takes you to the origins, to<br />

the primitive.<br />

KALTBLUT: How do you cope with dark<br />

times?<br />

Beatriz: You may learn quite quick that<br />

it gets dark at 4pm during the winter<br />

here in Berlin, but that’s already perfect<br />

for me. I‘m a painter of the night, I<br />

work with the low light and during the<br />

slow rumours of the night that I paint<br />

my best. I like to see the darkness as a<br />

KALTBLUT: Is black the new black?<br />

Beatriz: Definitely! (laughs)<br />

KALTBLUT: Where shall we meet in five<br />

years?<br />

Beatriz: Somewhere in the East...<br />

KALTBLUT: 2013 recently came to a<br />

close, what were your last projects of the<br />

year?<br />

Beatriz: I opened another solo show in<br />

Valladolid Spain. It was a show called<br />

“Soul’s Topography” that was selected<br />

by the CreArt European project.<br />

Addressing the human body from unusual<br />

viewpoints, I concluded ethereal<br />

works in which the male’s physiognomy<br />

becomes a rugged landscape<br />

carved by the passage of time. “Topography<br />

of the Soul” is an ode to man<br />

and the beauty implicit in the erosion<br />

caused by the experience. Following<br />

this exhibition, I explored how our<br />

brain attempts to hold images and<br />

memories that are meaningful. I tried<br />

to paint or represent my memories and<br />

tried to deal with the holes that time<br />

created in them.<br />


48<br />

If you’re an attentive reader of KALTBLUT Magazine, the brand Moga e<br />

Mago is probably not new to your eyes. I met the incredibly talented Elisa<br />

Lindenberg and Tobias Noventa a few years ago and have been following<br />

them very closely ever since. Sometimes, I have this special feeling for<br />

something and the brand fulfils this. That’s a pretty vague description,<br />

so without further ado, let’s introduce their latest SS14 collection “Notturno”,<br />

consiting of chiselled lines, precise fabrics and an innovative vision.<br />

KALTBLUT: “Black is black” or “Paint It<br />

Black”?<br />

Moga e Mago: ‘Black as the dark night<br />

she was...’<br />

KALTBLUT: Seeing black or feeling blue?<br />

Moga e Mago: Seeing black cats in<br />

dreams.<br />

KALTBLUT: What was the most depressing<br />

day of your life?<br />

Moga e Mago: May 7th, 2008.<br />

KALTBLUT: Why are so many fashion<br />

people dressed in black?<br />

Moga e Mago: Black is still the new<br />

black.<br />

KALTBLUT: Did you experience appetite<br />

loss, great fatigue, paranoid ideas or<br />

insomnia in the last months?<br />

Moga e Mago: Yes, the last week before<br />

fashion week (laughs)<br />

KALTBLUT: What’s the perfect piece for<br />

Collection Noire?<br />

Moga e Mago: The perfect black piece<br />

of our NOTTURNO SS14 is a superlight-weight<br />

goat-on-fabric coat.<br />

KALTBLUT: What’s the darkest corner of<br />

Berlin?<br />

Moga e Mago: Berghain’s dark room?<br />

KALTBLUT: Best remedy to feel good?<br />

Moga e Mago: Travel.<br />


49<br />

Emmanuel Hubaut is a poem of<br />

a man. I was 13 the first time I<br />

saw him; he was on stage with<br />

his infamous band LTNO. He’s<br />

been working on prestigious<br />

projects with Karl Lagerfeld,<br />

ORLAN, Maurice Dantec and<br />

others, and it’s always impressive<br />

how he can maintain<br />

professionalism and be so cool<br />

at the same time. Lately, he’s<br />

been working with David Maars<br />

and Andreas Schwartz to host<br />

“Ich bin Ein Berliner” parties<br />

at SO36 and has been producing<br />

the third album with his band<br />

DEAD SEXY.<br />

KALTBLUT: “Black is black”<br />

or “Paint It Black”?<br />

Emmanuel: Paint it Black. I’m definitely<br />

a Rolling stones fan... I’m<br />

very fascinated by their late 60’s/<br />

early 70’s period when Kenneth<br />

Anger got close to them. And back<br />

when the hippie movement turned<br />

into nightmare at Altamont, or with<br />

Charles Manson families ...<br />

KALTBLUT: Seeing black or feeling<br />

blue?<br />

Emmanuel: Listening to Blue<br />

Velvet.<br />

KALTBLUT: What was the most<br />

depressing day of your life?<br />

Emmanuel: My birthday... people<br />

are mean and want me to<br />

celebrate it every year!<br />

KALTBLUT: Why are so many<br />

rockers dressed in black?<br />

Emmanuel: Baudelaire’s<br />

Fault, he’s also responsible for<br />

green hair !<br />

KALTBLUT: Did you experience<br />

appetite loss, great fatigue, paranoid<br />

ideas or insomnia in the last<br />

months?<br />

Emmanuel: You mean 3 Tage Wach?<br />

KALTBLUT: What’s the perfect music<br />

for our Collection Noire?<br />

Emmanuel: Heresie by The Virgin<br />

Prunes, amazing double album<br />

released in 1982 on “l’Invitation au<br />

Suicide” label.<br />

KALTBLUT: What’s the darkest<br />

corner of Berlin?<br />

Emmanuel: Gustav Meyer Allee<br />

between Brunnenstrasse and<br />

Hussitenstrasse. I regularly passed<br />

this place at different times at night<br />

because it was on my way to a club<br />

I was DJing at. I always had a very<br />

weird, scary feeling when I passed<br />

the hill on the left side in the park. I<br />

eventually found out that it’s a fake<br />

hill made after the WWII to uncover<br />

the Leitturm Bunker Humboldthain.<br />

Berlin is very relaxed and open-minded<br />

city maybe also because of a<br />

very hard and dark and sad history...<br />

KALTBLUT: Best remedy to feel<br />

good?<br />

Emmanuel: Turn off the light.<br />

Photo by Karl Lagerfeld<br />


50<br />

Veil – Rene Walrus<br />

Shirt – Obscure Couture<br />

Ring – Georgia Wiseman<br />

The<br />

Widows<br />

Photography – Nuala Swan<br />

www.nualaswan.com<br />

Fashion – Molly Sheridan<br />

Make Up – Molly Sheridan<br />

Hair – Anna Wade<br />

Models – Jude and Rosie @ Model Team,<br />

Kirstin @ Superior

51<br />

Body Suit – Kirsty Elizabeth MacLennan<br />

Jacket – CuriouScope<br />

Skirt – Obscure Couture<br />

Ring – Georgia Wiseman<br />

Shoes – Model’s Own

Headpiece (worn around the neck) – Rene Walrus<br />

Top – Staysick<br />

Jacket – Obscure Couture<br />

Skirt – Matthew Houston<br />


53<br />

Headpiece – Rene Walrus<br />

Shirt – Matthew Houston<br />

Jacket – CuriouScope<br />

Shorts – Obscure Couture<br />

Ring – Georgia Wiseman<br />

Shoes – Stylist’s Own

Necklace – Rene Walrus<br />

Top – Staysick<br />

Jacket – CuriouScope<br />

Trousers – Katy Clark<br />


55<br />

Hood – Chouchou/Rene Walrus/MYB Lace<br />

Bodysuit – Obscure Couture

Hood – Chouchou/Rene Walrus/MYB Lace<br />

Shirt – Matthew Houston<br />


57 Kirstin<br />

Bodysuit – Kirsty Elizabeth MacLennan<br />

Jacket – CuriouScope<br />

Skirt – Obscure Couture<br />

Rosie<br />

Jacket – CuriouScope

N<br />

PI S<br />

58<br />

There’s a lot of testosterone floating around in<br />

our Noire music section, but something tells me<br />

the PINS girls would kick those boys’ asses, and<br />

then some. Hitting the spot with their lo-fi tinge<br />

of mancunian melancholia and atypical girl<br />

band aesthetic, Faith Holgate (vocals, guitar),<br />

Lois McDonald (guitar), Anna Donigan (bass),<br />

and Sophie Galpin (drums) released their<br />

reverb-soaked debut album “Girls Like Us” this<br />

September on Bella Union. Having been an<br />

avid follower of their velvetine droning since<br />

the release of the single “Eleventh Hour” back<br />

in February, I was chuffed that they didn’t<br />

disappoint with their full length, but what kind<br />

of girls are they exactly? We find out!<br />

Photo taken exclusively for the Noire issue by PINS<br />

Interview by Amy Heaton<br />

KALTBLUT: For our readers who don’t<br />

know you yet, can you tell us a bit about<br />

the name, how did you decide on PINS?<br />

PINS: It was actually suggested to us by<br />

a friend and we thought we’ll keep it for<br />

a while and see if it sticks then Faith and<br />

Anna went to see Dum Dum Girls at the<br />

Deaf Institute in Manchester and spoke<br />

to Dee Dee after the show, we told her we<br />

were starting a band and asked her what<br />

she thought of the name, we said y’know<br />

cos like pins, as in girls legs because<br />

we’re all girls in the band and she said<br />

oh we call them stems in America, so we<br />

considered STEMS for a little while but<br />

eventually settled on PINS. I’m glad, we<br />

like it, it’s a good name.<br />

KALTBLUT: Was it hard to find female<br />

band members in Manchester when you<br />

started in 2010?<br />

PINS: It really was! There was almost a<br />

year between starting the band and completing<br />

the lineup. Prior to meeting Anna,<br />

Faith had been trying to make a band or<br />

join a band for like a year too, so it was<br />

a very long process for them! For Lois it<br />

was also about finding the right people to<br />

work with. We tried lots of different ideas<br />

out and it’s important to be open minded<br />

and try styles that might not be your first<br />

choice, we have a good balance of that as<br />

a group.<br />

KALTBLUT: How did you envision the band<br />

to sound?<br />

PINS: Well, Faith always said heavy toms,<br />

reverb, fuzz, delay..referencing bands<br />

like The Jesus and Mary Chain, Black<br />

Tambourines, The Stooges. Anna was<br />

imagining dark and broody, listening to<br />

Zola Jesus and Lower Dens at the time,<br />

and we all like experimenting, so wouldn’t<br />

say that we have ‚a sound’ or at least not<br />

one that we are sticking too. We like our<br />

sound to develop, at the beginning we all<br />

had very varied music tastes, and we still<br />

do but we’re aware of much more music<br />

from other genres now cos we talk about<br />

it all the time. We wrote Eleventh Hour<br />

pretty early on when it was cold, dark and<br />

miserable in Manchester. As we’ve progressed<br />

as a band we’re definitely up for<br />

a lively pop song to dance to. Our moods<br />

(and the seasons) sometimes have a<br />

strong influence on what songs we write,<br />

but the sound is always developing, it’s a<br />

natural process of maturing as a band.<br />

KALTBLUT: Would you place yourself in the<br />

Riot Grrrl genre?<br />

PINS: It’s a very distinct sound, we’re<br />

definitely inspired by the attitude, and we<br />

liked some Riot Grrl bands, as a teenager<br />

Bikini Kill were one of Faith’s biggest<br />

inspirations so it’s possible that some of<br />

that shines through in the songs or the<br />

lyrics or whatever but we wouldn’t classify<br />

PINS as a Riot Grrrl band, saying that<br />

though we wouldn’t classify our band as<br />

grunge or punk or shoegaze or post punk<br />

or garage rock or any of the other genres<br />

that people attach to us.<br />

KALTBLUT: You all have different musical<br />

backgrounds, what instrument(s) do you<br />

each find most comfortable to use?<br />

PINS: We all come from different musical<br />

backgrounds. The guitar is Faith’s one<br />

true love, “I’m pretty jealous that the other<br />

girls can all play the piano but I’m going<br />

to learn!”. Lois played piano and tried out<br />

clarinet, but on hearing Nirvana taught<br />

herself to play guitar instead, playing piano<br />

and guitar are different experiences<br />

for her, but both cathartic. Anna had never<br />

played the bass guitar until she joined<br />

Pins. “I feel so comfortable on it though<br />

and love the power of it and the solid<br />

backbone it gives to the band with the<br />

drums.” She played the piano and cello

“There<br />

lot of<br />

is still a<br />

sexism<br />

in music”<br />

from when I was young but the piano is more of an instrument, she<br />

enjoys playing to herself rather than in front of an audience. Sophie’s<br />

been playing instruments since she was four, starting on piano, then<br />

took up violin and guitar too, but only started the drums properly back<br />

in February when she joined PINS, “but now I feel like a real drummer<br />

and absolutely love the drums. It’s a whole new experience.”<br />

KALTBLUT: What was the first album you heard that really made you<br />

want to be part of a band?<br />

PINS: Well as a band of four members there’s a few answers to that<br />

one! Faith used to try and make these bands when she was a little kid,<br />

probably most inspired by the Spice Girls or Britney... getting dressed<br />

up with friends and making up dance routines, singing the songs... rehearsing<br />

day after day for the imaginary show we had... “I discovered<br />

Hole when I was about 14 though and that changed everything.” Lois<br />

reckons Nirvana’s “Nevermind”, or Greenday’s “Dookie”. “I remember<br />

hearing it for the first time and thinking, what is this and how can I<br />

make that much noise? I started a band with my friends Beki and<br />

Natalie and we lasted one practice in the garage. I quit.” For Anna it’s<br />

probably Arcade Fire’s “Funeral.” “I loved how many different instruments<br />

they play and how they keep swapping about on stage. I’m keen<br />

to slip a hurdy-gurdy into a PINS song.” Sophie wanted to be in the<br />

Spice Girls, but it was Elvis that inspired her to learn guitar.<br />

59<br />

KALTBLUT: What about when your debut single<br />

release of “Eleventh Hour / Shoot You” sold out?<br />

Amazing! How was that experience for you?<br />

PINS: Exciting! Especially because it was<br />

something we did on our own, we’re grateful for<br />

all the help and all the people we get to work<br />

with now but when that release came out it was<br />

just us doing it for ourselves and it was really<br />

special. The experience of recording a couple of<br />

songs early on then deciding to release them on<br />

(gold) cassette and make a video to then have it<br />

sold out within a couple of hours was amazing!<br />

Until that point we never realised how much<br />

there was going on in the ‚blogosphere’ so to<br />

have people recognising and noticing what we<br />

were doing was very humbling.<br />

KALTBLUT: “Girls Like Us” looks like one hell of<br />

video, but what girls are you exactly?<br />

PINS: [Laughs] It’s difficult to sum yourself up<br />

like that so we’re not going to but what we will<br />

say is that the song “Girls Like Us” isn’t about<br />

being girls like us it’s meant to be about being<br />

yourself and about being happy to be yourself.<br />

KALTBLUT: Is sexuality a prominent topic with<br />

your music? Or is it just a big F.U to anyone who<br />

makes a big deal out of it?<br />

PINS: There is still a lot of sexism in music<br />

just like there is in most industries. We rarely<br />

experience it first hand, it’s usually some sad<br />

troll on the internet or some wannabe journalist,<br />

basically it’s never anyone who’s opinion you<br />

actually value.<br />

KALTBLUT: What made you decide to start your<br />

own label “Haus of PINS”?<br />

PINS: It began as a platform for us to release our<br />

own music, at the time of the “Eleventh<br />

Hour / Shoot You” release we couldn’t settle on a<br />

label, also it felt a little premature to be working<br />

like that so self releasing seemed like the best<br />

option. After that, we thought it’d be fun to work<br />

with bands that we really love who are at a<br />

similar place.<br />

KALTBLUT: I’m a big fan of your all-girl mix for<br />

i-D magazine, it contains some of my favourites<br />

like Bikini Kill and Siouxsie and the Banshees,<br />

are these your main musical inspirations?<br />

PINS: Faith chose Bikini Kill, “I love them... as<br />

for many teenagers they had a huge impact on<br />

me. I was too late for the Riot Grrl movement,<br />

but, getting into Bikini Kill helped me discover<br />

a whole bunch of other music from that time,<br />

and was my first introduction to feminism.” We<br />

have loads of musical inspirations, and if we did<br />

another mix today it’d be different depending on<br />

how we’re feeling and what we’re into. Sophie<br />

adds, “I’ve been getting into bands that we have<br />

been compared to more retrospectively, I never<br />

really actively listened to the Banshees until we<br />

were compared to them.”<br />

KALTBLUT: You’ve been touring a lot this summer?<br />

Do you have a favourite gig so far? Or one<br />

coming up maybe?<br />

PINS: We have been touring with our friends<br />

Abjects, September Girls and Post War glamour<br />

Girls and we’ve had so much fun with them.<br />

Brixton Academy next week. Oh. My.<br />

KALTBLUT: What was it like opening for Best<br />

Coast at Manchester’s Ritz?<br />

PINS: It was special because it was our first experience<br />

of a big stage in a venue where we’ve<br />

seen some of our favourite bands, it felt like a<br />

milestone. “I like Best Coast but I don’t think they<br />

were the highlight for me”, Faith comments, “I<br />

have a tendency to over romanticise everything<br />

but it was definitely a night that I won’t forget.”<br />

Sophie was actually in the audience at that gig, “I<br />

thought, I would like to be in this band.” Little did<br />

she know...<br />

KALTBLUT: Are you excited to support Warpaint at<br />

the end of this month?<br />

PINS: It’s safe to say that we are all very excited<br />

to be supporting Warpaint. We hung out at End Of<br />

The Road Festival - they are SUCH babes. Will be<br />

a pleasure.<br />

KALTBLUT: This time our theme is all about the<br />

Noire, the underground, the grime, the downright<br />

dark. I noticed you use black & white imagery a<br />

lot in your work. What is it that draws you to this<br />

aesthetic?<br />

PINS: I think we like a lot of imagery from the<br />

past, sorta 60’s era and it probably comes from<br />

there. It has a classic look. We do work with<br />

colour too, but even then I think the colours<br />

are very specific or of a certain era, the “Stay<br />

True” video for example. Faith comments, “to be<br />

honest, black is my favourite colour, I’ve always<br />

dressed in black, even as a kid, I don’t know<br />

what draws me to it.”<br />

KALTBLUT: How important is your image as a<br />

band, in comparison to the sound...?<br />

PINS: Our music comes first! We don’t really<br />

ever consider our image... it just is what it is. We<br />

love getting involved with all the design, videos<br />

and photoshoots creatively where we can, but<br />

just because we want to make stuff that we like<br />

and are proud of. The image is just an extension<br />

of ourselves. We’re just projecting who we are.<br />

KALTBLUT: If you could shoot a music video with<br />

any director, who would it be?<br />

PINS: Faith - I’d stick with our pal Sing J Lee.<br />

Lois - Stanley Kubrick. Anna - Anton Corbijn.<br />

Sophie - Chris Cunningham - that would be<br />

fuuucked uuup.<br />


61<br />

DECODE<br />

Photography: Anny CK<br />

www.annyck.com<br />

Model: Anastasia Bresler<br />

Hair & Make-Up: Anne Timper @Nude Agency<br />

Styling: Pablo Patané<br />

Retouching: Aurore de Bettignies<br />

@ One Hundred Berlin<br />

Fashion by Moga e Mago

66<br />

Pictures<br />

the<br />

of DEAD<br />

Text and photos by Amanda M. Jansson and Emma E. K. Jones<br />

Admittedly, the Victorian Age is one of<br />

the strangest and most absurd eras in<br />

world history. One of the weirdest traditions,<br />

amidst covering piano legs and<br />

other absurdities, were post-mortem<br />

photographs, which is not as insane<br />

as it seems at first.<br />

Post-mortem photography, which is<br />

also known as memento mori and consists<br />

of memorial portraits or mourning<br />

portraits, is basically an arranged portrait<br />

of a dead person shortly after the<br />

person’s death and it is often intended<br />

to appear life-like.<br />

When photography was invented and<br />

in its early stages, this specific art was<br />

often used for occult practices and to<br />

capture scientific or paranormal activities,<br />

as well as to document spaces.<br />

With the invention of daguerreotype<br />

in 1839 portraits became less expensive<br />

and easier to set up, gaining them a<br />

great popularity especially among those<br />

who could not afford to sit for a painted<br />

portrait or those who were simply fascinated<br />

with this new invention. Even<br />

though affordable to the middle classes,<br />

portrait photography was still far from<br />

a daily practice. Portraits of beloved<br />

ones remained rare and were supposed<br />

to serve as a form of remembrance.<br />

These are the circumstances that gave<br />

rise to what seems now to be the creepiest<br />

form of photography; of taking<br />

pictures of the deceased. In the nineteenth<br />

century people usually died at<br />

home, and often at a relatively young<br />

age, which meant it was easy to have<br />

someone to take a picture, and often<br />

resulted that this picture would be the<br />

one and only treasured photograph of<br />

the departed and the only means of<br />

keeping their memory alive. As a result,<br />

it was customary to arrange them in<br />

an upright position to allow them to

look as alive as possible and to<br />

have them posed with siblings or<br />

other family members. Infants<br />

were often positioned in cribs as<br />

well, while for adults an arm chair<br />

was more common. In these cases,<br />

eyes were propped open and the<br />

pupil was later enhanced on the<br />

print. Sometimes, cheeks were<br />

tinted pink to give the corpse a<br />

more lively appearance. Of course,<br />

there are also many pictures of the<br />

deceased in flower filled coffins,<br />

peacefully sleeping while surrounded<br />

by mourners, especially in<br />

the earlier days. As it goes with<br />

everything, fashions also came and<br />

went with post-mortem photography,<br />

but the exact composition was<br />

usually up to the photographer<br />

and the family to decide.<br />

When it became possible to reproduce<br />

this photograph of the dead,<br />

it was often sent out to relatives<br />

and other family members as part<br />

of the mourning and remembering<br />

process.<br />

Eventually, by the early 20th century,<br />

this practice ceased as family<br />

photos and all sorts of photos became<br />

a part of every day life with<br />

the arrival of the snapshot and<br />

when personal cameras were made<br />

available to the public.<br />

Initially a part of life, these death<br />

portraits were not viewed as macabre.<br />

In the 20th century they came<br />

to be viewed as creepy, morbid or<br />

unspeakable because of the revulsion,<br />

reject and lack of familiarity<br />

with death that the modern world<br />

brought with it. By now, still<br />

causing shivers, they have become<br />

an accepted method of as keeping<br />

somebody’s image and memory,<br />

rather than being regarded as violation<br />

or lack of respect.<br />

However, in a world stripped of<br />

magic, there is one aspect that is<br />

overlooked today, and it was a<br />

very widespread belief in the 19th<br />

century: people would believe that<br />

the soul of the recently deceased<br />

would linger around the body and<br />

room for several days before the<br />

burial. A portrait made during this<br />

time acquired a special meaning.<br />

As already mentioned, photography<br />

film was often used during<br />

séances or to capture auras and<br />

other supernatural phenomena<br />

and experiments. The sensitivity<br />

of film and the magic of its workings<br />

gave and still gives room<br />

for plenty of speculation. It was<br />

firmly believed, as it still is in many<br />

cultures, that a photograph could<br />

trap or at least depict a person’s<br />

soul. And occasionally this was the<br />

very purpose of such a picture. To<br />

always keep the actual soul of the<br />

depicted dead very much alive.<br />


68<br />

Paint It<br />

Black<br />

Photography: Ali Kepenek www.alikepenek.com<br />

Styling: Hakan Bahar www.hakanbahar.com<br />

Hair & Grooming: Daniel Dyer, Aveda Haircare and Shu Umera Skincare<br />

Body Painting: Kai Sued<br />

Photo Asistant: Andre Titcombe<br />

Model: Jasper Harvey @Elite Models London<br />

Raincoat by Alexander Wang

71<br />

Left Page: Trenchcoat by Rodarte, This Page: Pants by Dries Van Noten

Top by Thom Brown<br />


Jersey by Elif Cigizoglu<br />


This Page: Leather Jacket by Vintage Raberg<br />


77<br />


www.flickr.com/photos/josebaeskubi/<br />

Interview by Emma E. K. Jones & Amanda M. Jansson<br />

Joseba Eskubi’s art has been a real<br />

revelation to us. Living and working<br />

in Bilbao, Spain, he is currently<br />

teaching at the Faculty of Fine<br />

Arts of the University of the Basque<br />

Country. His abstract, yet very<br />

theatrical work often consists of a<br />

stage and one single figure, silhouetted<br />

against the background. This<br />

figure becomes the very definition of<br />

decomposition, through the soft and<br />

amorphous qualities that accentuate<br />

the tactile sense of vision. Highly<br />

suggestive and haunting, difficult<br />

for some and addictive to others,<br />

his imagery is definitely among our<br />

favourite modern classics.<br />

KALTBLUT: When and how did you begin<br />

painting? What were you doing<br />

before that? Any kind of art you<br />

were interested in? Or did paintings<br />

come first?<br />

Joseba: I started painting many years<br />

ago. At first I also drew a lot.<br />

In my early works many similar forms<br />

of the actual painting had already<br />

appeared: organic and oneiric. Later,<br />

I realized some sculptural objects<br />

where I mixed different techniques<br />

but basically, painting has<br />

always been my primary interest.<br />

Many times I create photographs,<br />

digital works, and other kinds of<br />

processes where I find new ways. I<br />

have also made some manipulations<br />

of classical painting reproductions,<br />

altering the forms and original<br />


78<br />

KALTBLUT: Your style is very specific<br />

and distinctive. How would you<br />

describe your style?<br />

Joseba: Style becomes something<br />

recognizable in dealings with the<br />

matter, a mechanism that aims to<br />

limit and structure desire. In my<br />

painting the brushstrokes are very<br />

marked, creating collisions, knots,<br />

contrasts. In recent years I have<br />

worked on a type of composition<br />

where a landline appears and generates<br />

a theatrical space.<br />

KALTBLUT: Technically speaking,<br />

what kind of material and colours<br />

work best for you and why?<br />

Joseba: I am interested in enhancing<br />

the colour intensity, so that<br />

the painting has a certain energy<br />

and electricity. I like the colours<br />

to be vivid and vibrant. In<br />

many cases I use very intense reds,<br />

as a first sight of the vision that<br />

weaves the emotions. Black is another<br />

fundamental colour in my work.<br />

Many of the figures are silhouetted<br />

against this indefinite plane. Itʼs<br />

amazing to discover how many shades<br />

of black can exist .... all depends<br />

on small nuances. I love oil<br />

painting, its ductility and ability<br />

to create shades. The technique is<br />

something dynamic, changing during<br />

each process to adapt to new contexts<br />

and transgressing its own rules.<br />

The diversity of media creates<br />

new starting points, to maintain a<br />

certain emotion and encounter with<br />

an unknown image.<br />

KALTBLUT: What colours do you use<br />

most depending on your emotions? Do<br />

certain colours represent certain<br />

emotions for you as a person?<br />

Joseba: Of course. The colour inevitably<br />

determines our emotions<br />

and the perception of the image. I<br />

am interested in the contrast between<br />

dark and cold zones and the<br />

carnality of the central figure. It<br />

is a resource very common in Baroque<br />

painting. The shapes are cut<br />

in front of a vacuum, and the co-

79<br />

lour of the live element acquires<br />

an increased presence. I also like<br />

to emphasize the saturation of certain<br />

colours (red, yellow..), creating<br />

a surreal atmosphere where colour<br />

breaks the logic of a realistic<br />

view.<br />

KALTBLUT: There is something extremely<br />

unique about your work but also<br />

something classic about it. What<br />

are your influences in terms of art?<br />

Joseba: I am interested in combining<br />

different sensations inside<br />

the image, one that unbalances<br />

things and another that arranges<br />

everything in a certain order, a<br />

structure against its ruin. In many<br />

of my works, there are still life<br />

resonances and echoes of Baroque<br />

painting. I also like a lot of actual<br />

artists like Allison Shulnik<br />

for example. There is so much visual<br />

information today that sometimes it<br />

is difficult to digest all this visual<br />

universe that we receive.<br />

KALTBLUT: Where do you get ideas for<br />

a new painting from?<br />

Joseba: There are many inspiring<br />

things. Small residues found in soil<br />

can hold an entire universe of sensations.<br />

Attention is the tool. I<br />

donʼt use natural models. The painting<br />

itself offers many paths and<br />

possibilities.<br />

KALTBLUT: You work a lot with black.<br />

So, NOIRE what comes to mind? What<br />

would you paint to that word?<br />

Joseba: Itʼs a quite suggestive<br />

term. I imagine a bleak and hypnotic<br />

space, where it seems that<br />

everything is occult, submerged in<br />

a deep silence. Noire can be a place<br />

that everyone without revealing<br />

themselves are awaiting our visit.<br />

KALTBLUT: Some people may say your<br />

work is difficult, “hard to take“,<br />

why do you think they might feel<br />

that way? Does it strike a chord<br />

that makes them uneasy?<br />

Joseba: I donʼt see this as a difficult<br />

work. Perhaps the discomfort<br />

can sometimes arise from the difficulty<br />

of identifying the figures<br />

and elements of the image, its ambiguity<br />

creates a certain uneasiness.<br />

KALTBLUT: Your work is haunting.<br />

Colourful but dark at the same time.<br />

What scares you the most?<br />

Joseba: Anything that takes me to<br />

an unpleasant experience. The experience<br />

creates a way of perceiving<br />

reality. Some images may be a kind<br />

of catharsis to this fear.<br />

KALTBLUT: Of all paintings, is there<br />

one painting in which you would<br />

like to live? Touch it, feel it?<br />

Joseba: Wow, itʼs a quite fascinating<br />

question. Perhaps I would<br />

like to experiment the sensation of<br />

being inside of the painting ʼAgnus<br />

Day of Zurbaranʽ, touch the skin of<br />

the animal and feel the silence of<br />

the scene.<br />

KALTBLUT: What do you think attracts<br />

people in horror, darkness,<br />

strangeness? What fascinates us<br />

about things that frighten us?<br />

Joseba: The fascination for something<br />

that is strange but familiar<br />

at the same time. I think that<br />

there is a subtle difference between<br />

the suggestion and the purely explicit<br />

and descriptive way.<br />

KALTBLUT: If you had to sum up your<br />

body of work to 3 themes, what would<br />

you say are the 3 major themes in<br />

your work?<br />

Joseba: Metamorphosis, light, organic.<br />

KALTBLUT: What was the creepiest<br />

dream you ever had? Do you remember?<br />

Joseba: I remember one in which people<br />

were following me to the door of<br />

my house ... I tried to close the<br />

door and couldnʼt, all I wanted was<br />

to catch hands ... it was the end<br />

... a bad dream where the only way<br />

out was to scream!<br />

KALTBLUT: What would your self portrait<br />

look like? What colours represent<br />

you?<br />

Joseba: I donʼt know. I would paint<br />

it in white shades, quite bright.<br />

Perhaps it would start being real,<br />

but surely would change until it<br />

would become something unrecognizable.<br />

Every form leads to another as<br />

a river that always flows.

80<br />


Photography: Oliver Blohm www.oliverblohm.com<br />

Stylist: Pablo Patanè<br />

Hair & Make-Up: Theo Schnürer @ Blossom Management<br />

Model: Nala Diagouraga @ M4 Models<br />

Photography Assistant: Mari Inoue<br />

Dress & Stockings by Unrath&Strano, Armour & Shoes by Amélie Jäger

81<br />

Dress & Sleeves by Amélie Jäger, Vintage Fur by Giulia Iovine Collection

Armour by Pablo Patanè<br />

Armour (Stomach + Neck) by Amélie Jäger<br />

Fur Sleeves by Amélie Jäger<br />

Stockings by Unrath&Strano<br />


83 Neckpiece by Amélie Jäger<br />

Mask by Guillaume Airiaud<br />

Dress by Unrath&Strano

84<br />

Dress & Stockings by Unrath&Strano, Chestplate, Sleeves, Shoulders by Amélie Jäger, Shoes by Amélie Jäger

85<br />

Neckpiece by Amélie Jäger, Mask by Guillaume Airiaud, Dress by Unrath&Strano

86<br />

Horror-shaping Art<br />

How is it possible that horror films could influence art<br />

in any way? What do they even have in common? If you<br />

think the answer is “nothing”, then you will be quite<br />

surprised to find out that not only do these two share more<br />

than you can imagine, but horror films do indeed influence<br />

entire art movements and actually always have.<br />

Art is the highest form of, well obviously, art, and horror<br />

films are like the lowest form of “art”, if it can be called<br />

so; or at least that’s what most people need to advocate in<br />

order to convince themselves they are artistic and cultivated<br />

enough. Obviously, this is far from true. Horror<br />

in all of its forms, be it film or literature, just like art, is<br />

there to push limits and to experiment, to investigate the<br />

human psyche and its deepest aspects, to give voice to<br />

troubling thoughts, to give expression to human feelings<br />

and emotions, to shape culture. Admittedly, no other genre<br />

has the power to shock us and stir us like horror does, and<br />

the very definition of good art is its potential to shock or<br />

provoke as well.<br />

Proof of all this is in the very beginnings of horror film<br />

history, which goes hand in hand with art. More than those<br />

of any other “serious” kind of film. When moving images<br />

were still in their infant stage, horror became a playground<br />

for emerging artists, who would design sets, costumes,<br />

absurd plots and be in charge of photography. Take Dali<br />

for example, along with ̔Un Chien Andalou̓. So, the first<br />

horror films actually were a firm part of contemporary<br />

art movements and influenced each other greatly. They<br />

did revive an interest in classical paintings and lighting<br />

and explored fears and nightmares, thus giving a huge<br />

boost to Expressionism, Dadaism and Surrealism and allowing<br />

them to literally take off and reach audiences they<br />

wouldn’t have been able to capture otherwise. Even names<br />

such as Francis Bacon, a master of the macabre, have been<br />

inspired by these early nightmarish images.<br />

But what about today? We have come a long way. Art has<br />

been through a lot of movements, some pleasant, others<br />

more unpleasant and vulgar to some, still in touch with<br />

their horror roots. And perhaps, by now, magnificent artists<br />

like Joel-Peter Witkins have made corpses acceptable<br />

as an art object, but that was not before horror directors<br />

made dismemberment, disfigurement and blood widely<br />

acceptable and even expected on screen. The acceptance<br />

of death in art did not come before the familiarity with

death in films that appealed to<br />

the masses; horror shapes and<br />

defines culture like only art<br />

can, and because of their pretty<br />

intimate relationship. It is<br />

necessary to mention the early<br />

Tim Burton imagery, heavily<br />

loaded with Edgar Allan<br />

Poe, German Expressionism<br />

and a Gothic aesthetic, and<br />

to remember how he changed<br />

the art landscape for over a<br />

decade. One can also observe<br />

how the empty and silently<br />

haunted-haunting atmosphere<br />

of Japanese horror influences<br />

so often creep into a brilliant<br />

young photographer’s work.<br />

Lately, it is horror films like<br />

̔Carrie̓, ̔Prom Nights̓,̔ I<br />

Spit on your Grave̓, ̔Poison<br />

Ivy̓, horror films dealing with<br />

teenage girl sexuality, and<br />

young girls’ culture that help<br />

shape an entire movement that<br />

remains to be named. The glitter<br />

and menacing atmosphere<br />

of a teenage world as depicted<br />

in some of these iconic films<br />

are forming a great archive for<br />

photographers willing to deal<br />

with the trauma of entering<br />

adulthood, the maddening burden<br />

of expectation, the mental<br />

inner massacre of being a<br />

girl and symbols for female<br />

sexuality.<br />

There is really no reason why<br />

we should be ashamed to<br />

face up to the fact that horror<br />

films are shaping our taste,<br />

our culture and yes, our art as<br />

well. Art because it is art and<br />

horror because it is so easily<br />

condemnable. These two, set<br />

our imaginations ablaze and<br />

play on our memories and<br />

stories of common experience,<br />

explore human nature and<br />

collective reaction; bring up<br />

issues we want to never have<br />

to deal with, question and<br />

expose. All this they both do<br />

visually. It couldn’t be a more<br />

perfect match.<br />

By Amanda M. Jansson and<br />

Emma E. K. Jones<br />

Photos by Michaela Knizova

88<br />

Foundation: Shiseido, Advanced Hydro Liquid Compact, Nr. 120<br />

Eyes: Benefit, Creaseless Dream Shadow, Bronze Have More Fun I Lips: Lancôme, L’absolut Rouge, Pense a Mio, Nr. 131<br />

Photography: Ulrich Hartmann www.ulrichhartmann.de Stylist: Silvia Naefe @ Basics<br />

Hair & Make Up: Stefan Kehl @ Close Up Model: Nele @ Modelmanagement<br />

Photographer’s Assistant: Patrick Jendrusch

90<br />

Embroidered Top: LUXXUS Berlin<br />

Foundation: Sisley, Skinleÿa, 01, Light Opal<br />

Eyes: Benefit, Creaseless Dream Shadow,<br />

Bronze Have More Fun<br />

Lips: Chanel, Rouge Allure, 99 Pirate

Foundation: Dior, Nude BB Creme Light 001 I Eyes: Écriture de Chanel, Black<br />

Lips: YSL, Rouge Volupté Shine, 05 Fuchsia in Excess

Dress: Comme des Garçons Hat: Traditional costume seen at Comme des Costumes<br />

Foundation: Make Up For Ever, Uplight Face Luminizer Gel, 21 Pearly White I Eyes: Givenchy, Le prisme yeux Mono, No. 03 Hop Grey<br />

Lips: Givenchy, Le Rouge, 307 Grenat Initié

93<br />

Dress: Saint Laurent<br />

Hat: Anna de la Russo for H&M<br />

Rings: Gregory’s Joaillier<br />

Black Panther: 267 Black Diamond<br />

9.42ct, 2 Emeralds 0.14ct. , 18kt. Black Gold<br />

Poisonous Frog: 416 Tasvoriten 5.20ct.,<br />

1.02ct. Black Diamonds, 0.11ct rubin 20g 18kt. Black Gold<br />

Gloves: Stylist’s own<br />

Foundation: Chanel Lift Lumière<br />

Eyes: Armani, Maestro Eye Liner<br />

Lashes: Armani, Eyes To Kill Excels<br />

Lips: Chanel, Rouge Allure Renovation, Nr. 104, Passion<br />

Lip Liner: YSL, Dessin du Regarde Crayon Yeux Haute Tenue,<br />

Velvet Black, No. 1

Link Page<br />

Eyes: RMS Beauty, Seduce<br />

Lips: Chanel, Rouge Coco, Nr. 19 Gabrielle<br />

And Obsessive Compulsive Cosmetics,<br />

Lip Tar, Green<br />

This Page<br />

Black sequenced jacket: Giorgio Armani Vintage I Mask: seen at Comme des Costumes<br />

Colors: Make Up For Ever, 12 Color Case. MAC

96<br />

Into<br />

noires<br />

Text and illustrations by Marianne Jacquet, www.wrangelkiez.org<br />

Think positive, just do it, everything is going to be fine, keep calm and carry on, just relax, it is not gonna last forever, tomorrow is another day,<br />

it’s half as bad, trust yourself, smile, it’s all good, don’t you worry, it’s going to work out, cheer up, head up, I got your back, don’t worry, your<br />

work is gonna pay, don’t give up, after the rain comes the sun, don’t be afraid, I believe in you.<br />

Between two ears and behind two eyes, I got caught up in the matière noire, where a rusty dream of a bright future as a musician stands.<br />

Breath in, it is not going to hurt... hum, well maybe a little bit.<br />


has raised its flag for more equality between male and female in the music industry and digital art. They got started in Berlin with the Perspective Festival<br />

at aboutblank and more recently have started hosting a regular party at Tresor. Kritzkom is a french music producer, graphic designer who lives in Berlin<br />

and joined the Female Pressure fight among many others artists. The message is clear: stop the painted black and fade to grey!<br />

KALTBLUT: How did the initiative of female pressure start?<br />

Kritzkom: Female pressure started 15 years ago in Vienna,<br />

founded by the Electric Indigo (Suzanne Kirchmayr).<br />

At first it was a database of female musicians and visuals<br />

artists, to bring them to visibility and encourage collaborations.<br />

Since the 8th of March 2013, the collective started to<br />

count how many women where playing in music festivals.<br />

The facts were then published in a press release: globally<br />

less than 10% of festival performers are women. After this<br />

shocking discovery, we decided to think about how we could<br />

make things better. The aim is mostly to invite promoters,<br />

bookers, and journalists to think about this too. Perspectives<br />

Festival was born, to show that there are women in the<br />

electronic music scene.<br />

KALTBLUT: How do you explain the fact that men and women<br />

are so unbalanced in the cultural field? Did it come as a surprise<br />

as a contrast to the developed countries in Europe?<br />

Kritzkom: First, even for us, who knew that it was quite bad,<br />

the count was a surprise because we didn’t expected such<br />

dramatic results. This became also a motivation. It’s a complex<br />

topic, but of course it starts with centuries of male power<br />

society. Even though it seems that girls are now educated<br />

in the same spirit as boy, in reality it’s very far from this<br />

ideal. Little girls are less encouraged to do whatever they<br />

would like to do, and to believe in themselves. The current<br />

cultural context produces a society where fewer women will<br />

become artists or musicians. Then the majority of bookers,<br />

promoters, organisers, label owners are men and, in turn,<br />

book mostly men.<br />

KALTBLUT: How far do you geographically extend this project?<br />

Kritzkom: Right now, the network is quite central in Europe.<br />

KALTBLUT: Do you think that this movement could develop<br />

into a label or other fields such as fine arts?<br />

Kritzkom: Of course it could, our group right now is more focussed<br />

on music, because most of us are musicians. But the<br />

topic is definitely more universal and concerns all women<br />

and men in all artistic fields.<br />

What is most important is that men and women should work<br />

on this together to get to a more balanced society. I don’t<br />

think a man can be proud to consciously exclude women.<br />

The art and music could only get richer.<br />

www.femalepressure.net www.kritzkom.com www.anna-otto.org<br />

KALTBLUT: One number we should all know?<br />

Kritzkom: Let’s remember that only 10% of the musicians<br />

are female and that’s at the festivals we counted around the<br />

world.<br />

KALTBLUT: How do you picture the perfect club scene?<br />

Kritzkom: Kind of balanced, no quota or rate, but a bit more<br />

equal. For now, 30% of women in music would be amazing.

97<br />


is american composer and conductor who lives in Berlin. His work questions the borders of art and the materiality of music. The recent solo show «Do You<br />

Have Black Thoughts» at the Esther Shippers Gallery, was a performative installation where the spirit of kraut rock meets Erik Satie. Ari Benjamin Meyers who<br />

collaborated with the artists Saâdane Afif, Philippe Parreno or Dominique Gonzales Foerster is giving us a little idea of what is music. Question are you ready<br />

to set yourself free? His ongoing installation «Chamber Music(Vestibule)» is a the Berlinische Galerie from April 27, 2013 - April 28, 2014.<br />

KALTBLUT: How did you slide<br />

from classical composing to contemporary<br />

art?<br />

Ari: I am still a composer. But<br />

the art scene really came about<br />

because of the work I was interesting<br />

in composing and<br />

writing. It started to become<br />

more difficult to realise it in the<br />

music context and to fit into the<br />

music industry and business.<br />

The structures that are available<br />

are very limited for the music<br />

industry, you can give a concert<br />

or you can make a record that is<br />

all the business allows to do. I<br />

was starting to think about doing<br />

work that lasted a very long<br />

time 7 or 8 hours, much longer<br />

that you can do in a concert. I<br />

started making work where I<br />

was thinking more of the audience<br />

like this piece that is<br />

for one performer and one audience<br />

only. Then it started to<br />

break down.<br />

Those kinds of thoughts and<br />

doubts were happening parallel<br />

at a time where I was collaborating<br />

with artists. Bit by bit I<br />

just found myself working exclusively<br />

in the art context and<br />

stopped doing concert. So I<br />

took the next step and worked<br />

with a gallery.<br />

KALTBLUT: Is it the reason why<br />

you came to Berlin?<br />

Ari: No, I have been in Berlin<br />

for 15 years. I came to Berlin<br />

on a full break grant for opera<br />

conducting, which is the ultimate<br />

classical western music.<br />

I have studied composition and<br />

conducting so from the opera,<br />

I was always interested in new<br />

music and I started to do Musiktheater<br />

and experimental<br />

music theatre and experimental<br />

opera. This naturally lead me to<br />

work with more artists.<br />

KALTBLUT: Are you still conducting?<br />

Ari: I still do conduct on certain<br />

specific projects and conducting<br />

in general is a part of<br />

my practice. One of my pieces<br />

is a solo for one conductor, it<br />

is a quite silent composition.<br />

Conducting is very interesting<br />

in that way, you train for years<br />

and years and it is considered<br />

like almost the pinnacle of musical<br />

knowledge or ability. And<br />

yet in a very real way if you take<br />

a step back I started to see<br />

the conductor as a dancer, you<br />

make no sound, you make no<br />

music in that sense. It is quite<br />

fascinating, of all of the job you<br />

could have, conductor certainly<br />

has to be one of the oddest. Basically<br />

you are dancing around<br />

on a little stage, in front of a<br />

hundred people to get them to<br />

do something, it is very bizarre.<br />

I am not an esoteric person but<br />

conducting has a thing, you almost<br />

telepathically, through the<br />

eyes, read the mind of people. I<br />

do explore this in my work. But<br />

for instance in the “Serious Immobilities”<br />

performance I do<br />

not conduct, the performers do.<br />

KALTBLUT: How far can they<br />

change the piece?<br />

Ari: Before every performance,<br />

we sat together and decided on<br />

the order. There are nine modules<br />

and they decided the order,<br />

the length. You can’t say that it’s<br />

improvised because the music<br />

is quite composed and written<br />

out but the structure is totally<br />

up to the performers.<br />

KALTBLUT: Is it more like a pattern?<br />

Do they have to play it all?<br />

Ari: They don’t have to play everything<br />

all the time. They can<br />

play only two modules for six<br />

hours.<br />

KALTBLUT: What was your idea<br />

when you chose the performers?<br />

Ari: In fact the three female<br />

singers are all dancers. The piece<br />

is written for non classical<br />

opera trained female vocals.<br />

The girls of course should have<br />

good voices and be able to sing<br />

but i wanted the piece to sound<br />

as if you sing it, or when someone<br />

ears it that would not feel<br />

intimidated to sing along.The<br />

melodies are quite catchy, the<br />

idea is almost like a strange lullaby<br />

that someone is singing to<br />

you and that you might join in or<br />

clap along. Another aspect of<br />

the piece is about space, movement<br />

through space, arrangement<br />

regards the audience<br />

and I knew the dancers specifically<br />

are working with this. So<br />

it was easier to train them to<br />

sing instead of training a singer<br />

to use the space and body. The<br />

two musicians are professional<br />

rock musicians.<br />

KALTBLUT: You wrote Serious<br />

Immobilities in Berlin, what was<br />

your inspiration besides the Vexations<br />

by Erik Satie?<br />

Ari: I knew I had that show at<br />

Ethers Shippers and I wanted<br />

a big part of the show to be a<br />

live performance and a composition.<br />

The inspiration was not<br />

so much a theme or a person<br />

but rather the situation. The<br />

issues and the questions I was<br />

trying to work on were: how do<br />

you create a composition that<br />

works in an exhibition? It is a<br />

piece that has no middle, beginning<br />

or end? I wanted to make<br />

a piece that could be strong for<br />

5 minutes but if you decided to<br />

stay could also be strong five<br />

hours. A piece you could come<br />

in and out without feeling you<br />

have missed something, like a<br />

sculpture. The people can look<br />

at it from different sides, leave<br />

and go. I was inspired by the<br />

space and I knew I wanted the<br />

piece to last as long as the gallery<br />

was open so it was seven<br />

hours.<br />

KALTBLUT: The audience was<br />

invited to interfere notably while<br />

playing on a grand piano that was<br />

tuned with one note. How did you<br />

incorporate it into the piece? Is it<br />

a reference to constraint writing?<br />

Ari: Like Georges Perec? This<br />

missing tone is not missing<br />

from my piece but from the Erik<br />

Satie’s Vexations but the situation<br />

is right. There was a form<br />

of controlled chaos, sometimes<br />

you would hear some sounds<br />

from the other room that would<br />

bleed into the performance.<br />

And there is also a part where<br />

the performance is going to the<br />

other room. The Serious Immobilities<br />

uses all tones but I understand<br />

about this idea of constraint.<br />

And it is true that the<br />

most constraints you have the<br />

more interesting the outcome<br />

can be.<br />

KALTBLUT: You erased the time<br />

constraint, the stage situation,<br />

the hierarchy, you are rule breaker?<br />

Ari: It is not quite the same as<br />

a constraint but it is similar. A<br />

constraint is where you set up<br />

some boundaries and here I<br />

was trying to get rid of certain<br />

parameters that we use. For<br />

instance time, a pop song or a<br />

rock song is four minutes long,

98<br />

and we use time to tell us if it is<br />

the beginning, the middle, the<br />

end of the song, it is the same<br />

in classical music you have<br />

symphony. Here I really wanted<br />

to remove this element of time<br />

through repetition. It was not<br />

easy to work for performers.<br />

Repeating two or three times is<br />

easy but It gets much more difficult<br />

when you get into a space<br />

where you are repeating so<br />

much that you don’t even have a<br />

feeling anymore. This was a big<br />

part for the audience to reach a<br />

point where they cannot think<br />

about where they are, when it<br />

is going to end. That was about<br />

removing the time dimension<br />

and the spacial dimension.<br />

The people could sit anywhere,<br />

could lay down and the performers<br />

were also all over the<br />

space. So those things are not<br />

so much about constraints but<br />

sort of trying to remove some<br />

various elements to get to something<br />

more essential about<br />

the situation.<br />

KALTBLUT: Is materiality a frustration?<br />

Ari: It is a frustration, especially<br />

as a musician or composer because,<br />

I think we have come<br />

to a point now where music<br />

really is something that we do<br />

not understand. It has become<br />

such a consummable product.<br />

Of course it is a process that<br />

started hundred years ago with<br />

the recording but now everyone<br />

is aware that we have reached<br />

a turning point where music is<br />

fundamentally changed to something<br />

constantly disposable,<br />

you have millions of songs<br />

on your hard drive. Somehow it<br />

gets way down by its materiality.<br />

This units that you store on<br />

your iPad, or even on your record<br />

shelf, the music itself has<br />

lost along the way what it really<br />

is, something about time, space<br />

and being in a certain moment.<br />

The single most property about<br />

music that makes it unique, is<br />

the fact that you cannot pause<br />

it. You cannot reduce it to a<br />

single unit. The smaller you get,<br />

there is always another unit<br />

smaller even down to the sound<br />

wave. A film you can pause but<br />

music is something that exists<br />

purely in time, it is a totally time<br />

based phenomena. Along with<br />

the way we consume music we<br />

got caught up in the surface<br />

of it: the way it sounds. There<br />

is much beyond the way it<br />

sounds and yet I think we tend<br />

to leave it to only this. Maybe<br />

we should take a step back and<br />

understand that the way music<br />

sounds is only one aspect, it<br />

might be an important one but<br />

it is only one out of many.<br />

KALTBLUT: Do you tend to work<br />

on a most scientific approach?<br />

Ari: No, this is just my opinions<br />

and thoughts I am not trying<br />

to make a statement. As a<br />

composer I try to understand<br />

more about the essence of music.<br />

And I have the feeling that<br />

music is not found on a cd, on<br />

a concert hall where you sit<br />

down, you are quiet and the<br />

band is on a stage in the dark<br />

and you clap your hands. The<br />

essence is somewhere else, it<br />

is between people, something<br />

very physical, body based and<br />

by its very nature music is a<br />

social phenomena because<br />

it exists in space. If you think<br />

about headphones, I use them<br />

but I don’t particularly like<br />

them, as they are isolating you<br />

from the space. What it does,<br />

it takes the social phenomena<br />

and by putting directly the<br />

music into your brain, it turns it<br />

into something visual. You cannot<br />

help it, when you listen with<br />

headphones, music becomes a<br />

private soundtrack to whatever<br />

you are doing. If this the prime<br />

way you consume music, I think<br />

it cuts out 80% of what music<br />

originally was about.<br />

KALTBLUT: When you read you<br />

hear your voice, do you picture or<br />

visualise the music when you write?<br />

Ari: I sort of do. When I am<br />

writing I am very aware. If I do<br />

have a kind of picture it tends<br />

to be what is the relationship<br />

between what is happening<br />

musically, with the listener, the<br />

audience, their expectations,<br />

how would I play with it, with<br />

the time and what is the situation?<br />

The great thing about composition<br />

and music is that you<br />

can also exist in a very abstract<br />

level. You don’ t have to convert<br />

always into signs that mean something.<br />

KALTBLUT: Can you picture for<br />

me a black thought?<br />

Ari: Sure the funny thing about<br />

the black thought is a sort of<br />

a joke with myself. The title of<br />

the show: «Do you Have Black<br />

Thoughts» really means music.<br />

There was a grand piano in the<br />

show what was black of course,<br />

there was a score I wrote by<br />

hands with that graphite pencil<br />

which is black, the lines of the<br />

music paper are black, printed<br />

notes are black, somehow music<br />

in some ways is a black phenomena.<br />

But also going back<br />

to Satie, it really is a quote of<br />

his and I made the assumption<br />

that it was what he was talking<br />

about. In some ways, music is<br />

the black thought.<br />

KALTBLUT: Can you tell us more<br />

about your piece at the Berlinisches<br />

Gallery?<br />

Ari: That piece is on for a year.<br />

It is a composition for a solo<br />

voice. I worked with an opera<br />

singer from the Deutsche Oper.<br />

It takes place in the foyer before<br />

you enter the museum. It is a<br />

simple idea that leads to interesting<br />

situations because the<br />

piece can be played only when<br />

all the doors are closed. It is a<br />

decision that people have to<br />

make, to stay in this transition<br />

space. They have about five seconds<br />

between the two doors<br />

and if they stay they will hear<br />

the composition but of course<br />

many people don’t notice which<br />

is a part of the process. It is the<br />

opposite of a music box. There<br />

is a bench which is part of the<br />

piece too and of course an absurdity.<br />

I found this space of<br />

the museum very interesting;<br />

it represents the moment between<br />

outside and inside, public<br />

space and private space,<br />

between reality and art and to<br />

have something right there was<br />

quite interesting.<br />

www.aribenjaminmeyers.com<br />

Meet Jack The Box,<br />

the House music duo revealed by the Chicago House legend Tyree Cooper and the talented DJ and<br />

radio host Bobby Starrr! The two Berliners share a passion for fun and music History. Their first album<br />

“Side A“ released on Mood Music records is a punch to get moving and carrying on the beat. Talking<br />

about moving on, theses two hyperactive producers are unstoppable. Among an incredible longevity in<br />

the music industry, they are producing music, hosting a weekly radio show on sweatlodge radio and<br />

organiSing parties with old-school DJs and emerging talents at Tresor! What is their youth therapy?<br />

And how do they pursue the impact of music in our virtual world?<br />

KALTBLUT: Is hip house over?<br />

Tyree Cooper: No,it never ended.<br />

KALTBLUT: What do you think of the hip<br />

hop attitude nowadays?<br />

Tyree Cooper: Since everything is kind<br />

of corporate, they sell you a product they<br />

don’ t sell you music. It has no tangibility,<br />

has no sustainability, it is just a product<br />

like a simile line that keep turning over<br />

and over, just like a car. The way they<br />

feed it to the kids is something new and<br />

the kids don’ t know, they cannot get the<br />

education from the other ones because<br />

the corporations, the video or records<br />

companies have taken control and sell it<br />

a natural thing. At the same time theses<br />

companies say that it is bad but they do<br />

sell a lot of music so there is a lot of hypocrisy.<br />

Bobby Starrr: There are no long term sales<br />

anymore.<br />

Tyree Cooper: Long term sales only determines<br />

how long the records stays in<br />

the chart.<br />

Bobby Starrr: They build artist form an LP.<br />

Tyree Cooper:This is the whole point,<br />

they build artist from singles, they don’<br />

t get an album deal anymore. EDM is<br />

just another way of chasing the music<br />

that we do. To be accepted by the masses.<br />

Instead of calling it house music<br />

they call it electronic dance music so<br />

they compose it all outside of hip hop.<br />

Though everything in hip hop is made<br />

with electronics but they never put the<br />

two together. And as old as I have been<br />

in the early 90‘s the reason why the world<br />

dance music is in our culture is because<br />

they tried again to change house music

99<br />

to dance music, to make it acceptable for<br />

the masses and by the masses equivalent<br />

to white kids.<br />

Bobby Starrr: It is quite funny with the hip<br />

hop scene in Berlin to see especially in<br />

Neukölln and Kreuzberg you have got this<br />

under current quite aggressive scene and<br />

on the other side there is also a lot of international<br />

people here who got more a<br />

love for the jazz side of hip hop, it is a quite<br />

funny mix you see on the street.<br />

KALTBLUT: Regarding the great return of<br />

the 90’s, what is hip and what is deep?<br />

Bobby Starrr: It is funny how people keeps<br />

going about the 90’s into a certain period<br />

of house music, I guess it is good and bad<br />

I suppose.<br />

Tyree Cooper: Eight years ago it was all<br />

about Chicago, again it is the 20 years<br />

cycle. Some of these kids are just finding<br />

out about what this music is. This music<br />

has been going on for so long and some<br />

of them are between 20 and 32 years old<br />

and have never been exposed to any of this<br />

music. So the 80’s return was a few year<br />

ago, now they are going to the 90’s and I<br />

guess they will catch up with themselves<br />

and go to the 2000. And by the time they go<br />

to the 2000’s, I would imagine we will catch<br />

up with each other, but until then, the corporations<br />

are still going to dictate what is<br />

cool and what is not.<br />

KALTBLUT: The techno scene in Detroit<br />

came out as a result of an economical<br />

change. You live in Berlin, the city is known<br />

for its economical and social issues regarding<br />

the rest of Germany. Do you get some inspiration<br />

from that context?<br />

Tyree Cooper: Hell yeah! Just like you said,<br />

generally good music comes out of an oppressed<br />

time. In the 80’s we had hip hop,<br />

house and techno from the urban area.<br />

Bobby Starrr: What about heavy metal?<br />

Tyree Cooper: No, I never put heavy metal<br />

in the mix, because these white guys they<br />

have a chance; these black kids, they had<br />

no chance. That is why you get this music,<br />

it came out of an oppression of the people.<br />

Here in Berlin, it was like that for a while.<br />

Therefore, electro and minimal music was<br />

created because Berlin didn’t have any<br />

money during the early part of the millennium.<br />

They were the ambassadors of something<br />

that already existed but still, they<br />

were able to created out of oppression.<br />

Bobby Starrr: When I came to Berlin the<br />

first time, I felt the whole city was swamped<br />

by a certain sound and I was looking<br />

forward to seeing some love. But there<br />

was not that much love in what was being<br />

played. It was quite intriguing and two or<br />

three years later I have moved in and saw<br />

Daniel Wang play disco. Then I knew there<br />

would be some chance that the scene<br />

would change at some point.<br />

KALTBLUT: House music has never been so<br />

popular and the way of broadcasting have never<br />

been so multiple, you have quite of a record<br />

of longevity in the music scene, though<br />

it is still hard to release a good record?<br />

Tyree Cooper: Hell yeah! Let’s say you release<br />

a record digitally, in the week of your<br />

release there will be probably 70, 000 to 100,<br />

000 of records released that day. Then you<br />

have to compete with the 60, 000 from the<br />

week before etc. So yeah, it is super difficult<br />

nowadays to release a record specifically<br />

digitally. Vinyl has become another<br />

new source but again, when they saturate<br />

that market, it is going to be equally as<br />

hard. So until they come out with another<br />

format, music is going to be rough unless<br />

you have the right tools and place to get<br />

your music exposed.<br />

Bobby Starrr: With digital you are in the instant,<br />

the music is out, people buy it and<br />

after two weeks, it is gone. At least with<br />

vinyl, it is still present in shop for at least<br />

six weeks.<br />

Tyree Cooper: You can also have thousands<br />

of records on a shelf and it is not selling<br />

though you have visibility. The only thing<br />

the digital game did, is to make it easier<br />

for the consumer to get their music, thank<br />

you Napster.<br />

KALTBLUT: What is your vision of the music<br />

Industry in the future?<br />

Tyree Cooper: A flapping bass and a smiling<br />

face (laughs)<br />

Bobby Starrr: The most important thing is<br />

to keep carrying on; you will never know<br />

what is going to happened in the market<br />

space. It is always going to change and<br />

it has been proven. I mean you build something<br />

out of it which is not only making<br />

money by just selling records. Every single<br />

avenue you have to click, from doing your<br />

own party, t-shirt….<br />

Tyree Cooper: Socks, shoes, bra, eyeliner,<br />

ice cream… (laughs)<br />

KALTBLUT: So is art total?<br />

Bobby Starrr: It is getting more in that direction.<br />

Tyree Cooper: It is no longer music, it is the<br />

whole marketing branding, it is a lifestyle.<br />

KALTBLUT: Are we living a fluxus life style<br />

finally?<br />

Tyree Cooper: Well, there is individualism<br />

still. There is not a city unified so capitalism<br />

still plays a big part in this individualism,<br />

so what can you do?<br />


Black Metal<br />

Photography & Postproduction by Valquire Veljkovic / www.valquire.de<br />

COncept & Production by nicolas simoneau & Nico Sutor

mountain xl ring sabrina dehoff<br />


103 chain: humana

sunglasses: ray ban<br />


105 wide square stone zebra and leo ring: sabrina dehoff,<br />

originals 1950’s cufflinks: Antique & Vintage Jewellery Oliver Rheinfrank

106<br />

BERLIN’S<br />

Best<br />

Text & Atelier photos by Pernille Sandberg www.pernillesandberg.com<br />

Feat. ‘Holy Me SS14 Collection’ photos by Ingrid Pop<br />

I am in Neukölln, Berlin and it is a rainy evening beyond<br />

normality. The hard wind makes everyone on the street<br />

walk fast, trying to avoid getting completely wet, myself<br />

included. Berlin seems completely grey and pale, the overall<br />

atmosphere is gloomy and the air is thick just before it gets<br />

dark. This feeling changes immediately as I step into the<br />

universe of Augustin Teboul, created by the duo Annelie<br />

Augustin and Odély Teboul. Situated on the ground floor<br />

in what looks like an old grocery store with panorama<br />

windows covered on the inside with patterned paper it is<br />

impossible to tell that this is a studio when seeing it from<br />

the outside. Even though it is already 9pm in the evening<br />

the productivity is still high. Young assistants are sewing<br />

hectically on the sewing machines, boxes are constantly<br />

relocated and the styling and fitting are intensely discussed.<br />

This studio has been the base of Augustin Teboul since<br />

December last year. The stylist of Augustin Teboul’s presentation<br />

this season shows me around. In one room people are<br />

working and in the other one the final pieces hang, along<br />

with long racks filled to the brim with exclusive rolls of<br />

different black fabric – and only black fabric.<br />

My interview is held in the small kitchen of the studio.<br />

This is the place for their cigarette break – it also contains<br />

a smaller moodboard. The open window keeps smashing<br />

into the wall because of the cruel weather. Odély Teboul<br />

seems completely calm and professional and she gives me<br />

her full attention even though her time schedule is tight.<br />

Annelie Augustin has gone home as she just had a baby.<br />

What is special about this brand is that they have never<br />

done a runway show. They do presentations. They want to<br />

keep it simple and minimal and give people time to really<br />

explore the pieces that the models are wearing. What is<br />

even more special about them is their brand development –<br />

they started out dramatically by having a presentation during<br />

Paris Fashion Week in cooperation with the fashionable<br />

store L’Éclarieur and have had a presentation at Plazza<br />

Athénée. Now they are based in Berlin although they still<br />

have a showroom and a press agency in Paris. Everything<br />

is now produced in Berlin, all the prototypes made by hand<br />

in-house and then the collections are produced somewhere<br />

else in the city, going through different steps before it hits<br />

the shops...


“I don’t really miss Paris but life is different here than<br />

in Paris. There is a lot of good energy and creative feeling<br />

here. It’s very inspiring. It’s dynamic here in a way<br />

because the city is still under construction. Paris is more<br />

established, especially in fashion.”<br />

Through time the duo has learned how to work together as a<br />

team.<br />

“It’s very interesting, because we have very different<br />

personalities and on the other hand it’s like a fusion, a<br />

creative fusion of two people sharing creativity. We’re<br />

very different from each other, but we complement each<br />

other. The more you work together the more you learn<br />

how to make it quick. I think when you don’t have an ego<br />

that is too strong and you’re interested in working as a<br />

team it’s more interesting than fighting. It depends on<br />

how you want to work.”<br />

The two women come from different backgrounds, but both<br />

expenrienced handicraft as a part of their childhood homes.<br />

Odély comes from France and Annelie from Germany. Odély<br />

tells us how she never has and never will sew her own clothes,<br />

but likes to work with the cloth.<br />

“I’ve done handicraft since I was a kid. I have always<br />

known that because my mom taught me how. Skills develop<br />

through time I guess. I think that’s important. When<br />

you know your techniques you can transform it into design.”<br />

Odély and Annelie met at Esmod (international fashion and<br />

business school in Paris since 1841) but this was not the place<br />

of birth for their brand that has only existed since 2009.<br />

Within these few years they have managed to achieve the<br />

highest prized German fashion award SYFB (Start Your<br />

Fashion Business), not to mention the three awards their first<br />

collection “Cadavre Exquis” received – along with the ability<br />

to sell worldwide.<br />

“I was working for Jean-Paul Gaultier in Germany. In<br />

2009 I had a job interview in London. Annelie was living<br />

in London while she was working for Y3 Yohji Yamamoto<br />

for Adidas. I needed a couch to sleep on and got her phone<br />

number. It turned out we were in the same personal<br />

situation, looking for something creative and the desire<br />

to build something new. It just worked out and one thing<br />

leaded to another and it somehow turned into a brand. We<br />

won a few awards and with a small amount of money we<br />

started slowly. It’s a young brand but very luxurious. It<br />

still has a creative touch and a lot of handmade elements<br />

to it. It’s placed on the expensive market. Basically it’s<br />

ready-to-wear in the sense that all the clothes that you<br />

see you can buy in a shop. Our way of working is not by<br />

measurements. We don’t see our clients and make clothes<br />

especially for them, but create a collection that can<br />

be bought in a shop. In the sense of craftsmanship and<br />

techniques it’s a lot of couture. There is so much embroidery<br />

and handmade details.”<br />

Their courage to take a risk combined with hard work has<br />

leaded them into the position they stand in today. Back then<br />

they worked on a very basic level. Every morning they woke<br />

up and started working with their hands in a complete mess of<br />

30 square meters, both sleeping in the same room, producing<br />

everything by hand. Things started to fit into place and magic<br />

started to happen.<br />

“It’s difficult. Nothing is easy. We started with nothing. I<br />

lived in a one-room flat of thirty square meters and that’s<br />

how we began. Slowly, slowly, you know...”<br />

Their brand and working conditions have obviously changed<br />

since then, but it is important for them to be able to monitor<br />

every step of the process in the making of their clothes.<br />

“It’s not our aim to create a big mass production. It will<br />

be interesting to enlarge the collection with more accessible<br />

pieces, once the label grows. For now we produce in<br />

Germany, and are focused on a production made in Europe.<br />

I think it’s important to be conscious with what you<br />

are doing when you’re involved in business. Nowadays<br />

there are so many brands; there is so much you can buy.<br />

It’s important for us to just concentrate on the quality of<br />

the pieces and all the finishing. That is where we want to<br />

put our energy.”<br />

Maybe that is the reason why every single piece in their<br />

collections is black. There is then room for complete focus and<br />

attention to the crafting, the embroidery and the details that<br />

makes the whole aesthetic. It is not a choice they have made to<br />

exclude a certain kind of woman – they design for every age<br />

and every style.


110<br />

“It came by coincidence more or<br />

less. The first product we did together<br />

was created out of this game<br />

we played. You know this game where<br />

you draw something, fold the paper<br />

and then the next one has to draw<br />

something? We are two fashion designers<br />

so of course it became very<br />

fashionable drawings. It was really<br />

interesting because it was so unrealistic<br />

in a way. We decided to make<br />

an interpretation of this drawing, all<br />

in black with details and texture. It<br />

was a good base to start with cause<br />

I was working with a lot of colours<br />

and Annelie was very minimal when<br />

we met. It was a good base for combining<br />

our different universes. Black<br />

was our only restriction. We did these<br />

drawings and it was a very good<br />

way of starting working together.<br />

We wouldn’t make one of shoulders<br />

if one of us didn’t liked it. It became<br />

our first mini-collection of six looks<br />

and we decided to develop it. That’s<br />

why we only design in black cause<br />

we wanted to explore all the fields in<br />

only one colour.”<br />

Something that hits me again and<br />

again while I talk to Odély is her charming<br />

kind of humility, it runs through<br />

every word that comes out of her mouth.<br />

She knows what her and her business<br />

partner Annelie have achieved, but she<br />

knows the importance of staying calm<br />

and safe with both feet on the ground.<br />

The adventure will continue. The last<br />

thing she tells me is this:<br />

“I don’t have something specific I’m<br />

proud of but I have moments where I<br />

can manage to look at some stuff we<br />

did and think ’wow, we achieved that,<br />

that’s cool’ and I feel… I don’t know<br />

if it’s pride or fulfilment. I think it’s<br />

important not to be too proud in life.<br />

When you manage to have a distance<br />

when looking at what you managed<br />

to do it’s difficult. Everytime I finish<br />

a creation I’m tired and feel that it’s<br />

disgusting. Then I look at it after a<br />

few months and think it’s good. Now<br />

when I wake up and come to the studio<br />

I realize that it’s such a big step<br />

from starting in one room, only two<br />

people working together.”<br />




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Blouse - Zara / Headband - H&M / Necklace - Asos<br />


113<br />

Photography – Julia Blank www.juliablank.com<br />

Model – Marika @ MegaModels www.megamodels.com<br />

Styling – Jeanna www.jeannastyling.com<br />

Make-up & Hair – Suzana Santalab www.suzanasantalab.com

114<br />

Cap - Pinko / Jacket - Krew / Shirt - Monki / Skirt - Glamorous / Tights - Falke / Overknees - Sensual Latex / Necklace & Bracelet - H&M

Shirt - Asos / Necklace - Limited Edition<br />


116<br />

Jacket, Skirt & Gloves - Sensual Latex<br />

Pullover - Freak of Nature<br />

Bra - H&M<br />

Leggings - Asos<br />

Shoes - Zara<br />

Earrings - Vintage<br />

Bracelet - Hermès

117<br />

Shirt - Moschino / Skirt - Sensual Latex / Tights - Falke / Shoes - Pleaser / Necklace - Asos / Ring - H&M

118<br />

Bathing Suit & Earrings - Asos<br />

Cap - Stylist's own<br />

Bag - Monki

119<br />

Pullover - H&M<br />

Shirt - Asos<br />

Skirt - Freak of Nature<br />

Necklaces - Limited Edition<br />

Headphones - Softwear<br />

Shoes - Buffalo

120<br />

MEHRYL<br />


Merhyl Lévisse is a sculptor and a photographer. He is also artist, an “Artiste plasticien”, one might say. The<br />

body takes a notable role in Merhyl’s work, perhaps because of Lévisse’s dance education. It was a real pleasure<br />

for me to discover his work; the beautiful pictures that he creates make me feel like a child peering in through<br />

the Christmas windows. There is so much going on; a whole world captured by a camera. To further showcase<br />

his work, I chatted to him about his passion, his inspirations and his meticulous way of crafting his art.<br />

Merhyl’s work is exhibited at his official gallery www.coullaudkoulinsky.com<br />

Interview by Nicolas Simoneau<br />

KALTBLUT: Hi Mehryl, How are you<br />

doing?<br />

Mehryl: Hi KALTBLUT! I think I’m fine…<br />

if I don’t sleep, if I’m stressed, if I have<br />

many ideas for my work, it’s normal I’m<br />

fine.<br />

KALTBLUT: Could you maybe tell us a<br />

bit more about your artistic background?<br />

Mehryl: I have one “bac+5” in contemporary<br />

art, I was the assistant of several<br />

artists, I have a formation in dance<br />

and in contemporary dance, and I lived<br />

in Morocco two years to work in artistic<br />

structures, I returned to France in<br />

January. I’m represented by the French<br />

Gallery Coullaud & Koulinsky.<br />

KALTBLUT: I’m totally in love with your<br />

“Captations Photographiques”. How do<br />

you choose themes for your pictures?<br />

Mehryl: It’s really complicated, I work<br />

in two different ways. Once per year,<br />

I choose a theme and I work on this<br />

theme (for example; “ton sur ton”,<br />

“sciences occults”, “pornographie”)<br />

because at different months of the<br />

year and with the time past my ideas<br />

change and I don’t think about any<br />

more similar theme. For the other “captations<br />

photographiques” I choose the<br />

theme with my desires, my material,<br />

the object, the wallpaper, the carpets<br />

and the body that I want to work. I<br />

never create more than one captation<br />

photographique by day, a lot of time is<br />

needed to built a photographic environment<br />

and I need to reflect and test my<br />

thoughts. When I sit and I don’t speak<br />

or I seem to make nothing in reality it’s<br />

there that I work most because I imagine<br />

in the slightest detail what will be<br />

my next images.<br />

KALTBLUT: What’s the process like<br />

when you work on a series? Do you<br />

have a clear idea before you start to<br />

shoot?<br />

Mehryl: My process is always similar. I<br />

work in a closed space, without daylight,<br />

and always artificial light. I begin<br />

in a room and I make the photographic<br />

space, I imagine the body, build the<br />

suit, accessory and I fit out the space.<br />

Usually, I have a specific idea for my<br />

photo, I think about the picture before<br />

starting to work and after I create<br />

the photographic space. Sometimes<br />

I forget this work method and I make<br />

the photo and think the body piece by<br />

piece, and then I forget the constraints,<br />

my code and at this moment I have<br />

absurd pictures (some are the ones I<br />

prefer in my work).<br />

KALTBLUT: Your finished work looks like<br />

a piece of theatre: there’s real direction<br />

in it. Every single picture you create<br />

looks like a different universe. Do you<br />

create all the set design on your own?<br />

Mehryl: I’m creating everything.<br />

I work alone, I don’t have assistants<br />

and it’s me who imagines and realises<br />

everything. It’s a lot of work. I choose<br />

to work alone, because I know<br />

where I’m going, when I speak with<br />

other artists they say, “I could have<br />

made that” and for me it’s really<br />

difficult to discuss that. Artists forget<br />

they aren’t me, I have a personal story,<br />

personal route they don’t know and<br />

they me and I think differently.<br />

Fortunately!<br />

KALTBLUT: Is there story behind each of<br />

your series, or is it more open to interpretation?<br />

Mehryl: Both, behind every pictures<br />

there is a story but I have chosen not<br />

to tell it to leave free to interpretation.<br />

It’s very important that every spectator<br />

imagine their own story. Each<br />

person imagines their own story,<br />

because we don’t have same<br />

real-life experience, the same<br />

memories, the same education,<br />

the same parents, the same family, the<br />

same route and my work calls on to all<br />

this, to the life of each person.<br />

KALTBLUT: As an artist, who are your<br />

main references?

This Page: BAUHAUSporn #5: Le monde des perversions.<br />


122<br />

This Page Up: BAUHAUSporn #4: Ornementation géométrique, This Page Middle: Epiphragme,<br />

This Page Down: Le dernier Jeu.<br />

Mehryl: I have a great deal of references<br />

for the painting, in the sculpture,<br />

by way music, cinema, literature,<br />

opera, dance etc… Dance is<br />

very important to me, I studied the<br />

dance and I hesitate to become a<br />

dancer in a company. I love Maguy<br />

Marin, each of the plays causes an<br />

artistic explosion in my guts.<br />

Of course I love Pina Bausch it’s<br />

obvious, but I was born too late to<br />

meet her. The Spanish choreographer<br />

Olga Mesa that I met in Morocco<br />

and with whom I was lucky enough<br />

to think the body, the Moroccan<br />

choreographer Meryem Jazouli<br />

inspires me enormously, with whom<br />

I worked in casablanca during two<br />

years also deserves metion.<br />

There is also Josef Nadj, Steven<br />

Cohen, Raimund Hoghe, Benoît<br />

Lachambre, Sasha Waltz… The movie<br />

that I prefer is “The Rocky Horror<br />

Picture Show”, that was an obvious<br />

fact and a revelation when I saw it<br />

as a child. I read Jean Giono, Jules<br />

Verne, Gilles Deleuze, Charles Baudelaire,<br />

Ionesco, Oscar Wilde and I<br />

listen to some electronic music, new<br />

wave and experimental and I’m into<br />

“Fan death”.<br />

KALTBLUT: What is the over-arching<br />

inspiration for your work?<br />

Mehryl: Life.<br />

KALTBLUT: Your shots look totally<br />

realistic. Does any postproduction<br />

take place in your photography work?<br />

Mehryl: Yes they are realistic, there<br />

is no post-production in my shots.<br />

My work isn’t retouched by computer.<br />

Special effects are realised<br />

during the photography used the<br />

lightings, make-up, false grounds,<br />

prostheses as in the theatre.<br />

I never use postproduction it’s really<br />

important to me that my pictures are<br />

true.<br />

KALTBLUT: Are you working with a<br />

digital or an analog camera?<br />

and why?<br />

Mehryl: I work with a digital camera,<br />

because for make one picture,<br />

sometimes I realise three hundred or<br />

four hundred photographs to obtain<br />

THE photograph which I imagine.<br />

The tool is not important, I’m not a<br />

photographer I’m an artist. My work<br />

isn’t the photography, the photography<br />

is a documentary track.<br />

My work is the construction of the<br />

space, the thought of the body, the<br />

suits, before the photography and<br />

not the photography itself.<br />

KALTBLUT: You’ve worked on a few<br />

collaborations, how was it for you<br />

sharing project space with another<br />

artist? What were you hoping to gain<br />

by collaborating?

123<br />

Mehryl: Actually I work on three new<br />

collaborations, an installation, a<br />

series picture and a movie. In collaboration<br />

I don’t share the space. We<br />

share the ideas, the thoughts and<br />

we work together on the project, but<br />

the photographic work is my work<br />

and nobody goes into the space.<br />

My associate works alone and then<br />

I work with his productions in the<br />

photographic space. I only think the<br />

space and it’s important to me. I<br />

love collaborations because our universes<br />

mix and takes me differently<br />

but the work is shared, the photography<br />

part is me.<br />

KALTBLUT: You also work in 3D. How<br />

does it compare working with photography<br />

and working with installations?<br />

Mehryl: The installations are the 3D<br />

of my photos. Both are connected<br />

and complement each other. These<br />

works are not comparable but additional,<br />

I both consider them as very<br />

important, but it’s true I realise less<br />

work in 3D and more photos.<br />

This Page Up: Joyeuses fêtes, This Page Middle: L’étude des figures,<br />

This Page Down: L’oisivore.<br />

KALTBLUT: Can you tell us a bit more<br />

about the piece “Le Dernier Jeu”.<br />

I love the dark humour of it.<br />

Mehryl: It’s about a very personal<br />

work on which I worked several years,<br />

and connected to my life and a<br />

lego’s series of the photo. There are<br />

two coffins, one white one in colour<br />

and it’s unique piece. A arrangement<br />

box, a note of 900 pages and<br />

two volumes, four days to build and<br />

more of 3900 scrub each.<br />

KALTBLUT: A lot of artists use their<br />

work as a way to purge their souls,<br />

would you say it’s the same in your<br />

case? If so, what do your demons<br />

look like?<br />

Mehryl: It’s really true!! I’m so neurotic…<br />

I work on me, I try to make<br />

efforts for the everyday life, it’s really<br />

difficult. I’m very stressed, I have<br />

many demons but I keep it for me.<br />

KALTBLUT: Do you also work by demand<br />

or do you decide the time scale<br />

for all of your projects?<br />

Mehryl: I obey to nobody except my<br />

own creative drives. I have some<br />

projects in command but I’m free in<br />

my creation.<br />

KALTBLUT: Your pictures are everything<br />

but simple. The patterns,<br />

colours, repetition, bodies; our eyes<br />

are really “served” with your work. Are<br />

you a fan of “abondance” in general?<br />

Mehryl: I work a lot. I destroy a lot!<br />

I work on the everyday life, on the<br />

objects which surrounds us and to<br />

whom we give an mystic way.<br />



124<br />


Searching for the soul in the very atmosphere itself Markus Nikolaus Büttner is currently<br />

producing his very first Solo-LP “The Monster Inside Of Me” (Suena Hermosa, Berlin), getting<br />

lost around Europe in search of hope through pleasure and pain, to overcome loneliness,<br />

weariness, hollowness and absurdity. Played between static contrasts, the songs are mostly<br />

minimalistic in structure with dreamy features, factory-like beats, distorted organ, deep<br />

bass, dental drills. His works are not so much arrangements or compositions, but simply<br />

pure expression. Let us introduce you to the sound of CUNT CUNT CHANEL.<br />

Photo by Bobby Anders I Interview: Amy Heaton<br />

KALTBLUT: For our readers who don’t know you, can you tell<br />

us a little summary of your project in your own words?<br />

C C C: Hello, my name is Markus Nikolaus. I am a live-act<br />

performing mostly solo under the name “Cunt Cunt Chanel”. If<br />

I’m asked to describe the music I make, I always feel like describing<br />

what a cake tastes like. You can never fully explain it<br />

to the person if they haven’t tried it themselves but for a little<br />

introduction. I play mostly digital with my computer, various<br />

midi-controls, a master-keyboard and use sound-pedals<br />

with the focus on the voice. Especially in a club I like to play<br />

with my drummer, who plays a Roland V-Drumkit on pads,<br />

instead of my own. My intention is to bring more profound<br />

diversity into the club scene, that I like very much myself,<br />

and to function in a way that’s both artistic and aesthetic but<br />

also poetic and soulful.<br />

KALTBLUT: Do you usually find yourself writing a text, and<br />

adding the music, or the other way around? Or is the whole<br />

process more organic?<br />

C C C: Usually I try to produce a lot before even thinking about<br />

making a song. When I do, I simply intend to find an interesting<br />

sound. I don’t think about the arrangement, if it is played<br />

right or about the harmony too much. I don’t produce, I actually<br />

just prepare and try to make something happen. I experiment<br />

with what I have. Sometimes I have a lot of equipment<br />

sometimes I only have my computer. For me, the piano is the<br />

only failsafe set-up. The digital equipment I use is always<br />

vague and destined to fail one day. Returning to the keys of<br />

the piano, i realise, it can only be me failin’.<br />

KALTBLUT: For me, music making is always at it’s most intense<br />

when it’s a solitary affair. Would you agree?<br />

C C C: I just try to prepare for a situation to pop-up. But I<br />

would agree that it is a solitary affair. Most of my strongest<br />

songs were made when I was on my own. Another person in<br />

the room steals your concentration. Either everyone goes into<br />

the same direction or it won’t work. The best way is to nicely<br />

ask the thieves of your creativity to leave. If that doesn’t seem<br />

to work. Get yourself a gun.<br />

KALTBLUT: I’m sure everyone asks you about the name, it’s<br />

brilliant. Where did you get the idea for it?<br />

C C C: To be honest, I didn’t have the idea, at the time I couldn’t<br />

think of one. It was a friend of mine, Matea. She came up<br />

with the name and I trust her opinion. She writes for the SPEX<br />

Music Magazine and in a pure moment of brainstorming she<br />

hit the spot. The word CUNT is not meant to be provocative but<br />

it seemed necessary to have a distance between the combination<br />

of words. I wanted to involve the huge opposites of<br />

FRANKFURT. The city has almost no middle-class. The huge<br />

skyscrapers and the poor and homeless sitting at the bottom<br />

You can hear the wistful tones of CUNT CUNT CHANEL over at www.soundcloud.com/bobbyblueisamusiclover<br />

of it. I can’t think of any other place in Germany where<br />

people are so far away from each other, divided into<br />

the class-of-finance and the class-of-poverty but on<br />

the other hand, you see bankers and bank-robbers sitting<br />

in the same bar, café or club. When Matea said the<br />

name CUNT CUNT CHANEL it just hit me. In my head was<br />

this picture of a woman sitting at Goethestraße, Frankfurt<br />

($$$) in front of the Chanel-boutique injecting, like<br />

she’s trying to reach somehow a moment of happiness<br />

which the rich and beautiful praise with their extraordinary<br />

lifestyle. It is mass-madness. The rich live in<br />

complete illusion of money and the poor are completely<br />

disillusioned in life by having none.<br />

KALTBLUT: Are you into fashion? How do you construct<br />

your image as an artist?<br />

C C C: I like fashion but I can’t afford it. I try to dress<br />

rather decent and I like to mix a more old-fashioned<br />

style with something that was clearly not made for me<br />

to wear. Peacocking in an Oscar Wilde’ish way. When I<br />

play live I try to only wear black, oftentimes because of<br />

the black light I use to paint things like the microphone<br />

or myself during the show. But what the hell is my<br />

image? My image as a construct is maybe to be seen as<br />

someone who clearly escapes his habitus, his surroundings,<br />

hometown and family in a way to free himself<br />

whatever the cost, at all cost. The place where I grew<br />

up definitely influences my projection on the audience<br />

as for example a working class-kid; half-orphan growing<br />

up at my mothers butchers shop, ADHD, son of a<br />

butcher and so forth. I try to let all these pieces take<br />

somehow part in what I do. But I didn’t do blood yet on<br />

stage, I leave this to Hermann Nitsch for now.<br />

KALTBLUT: Your music is inspired by the electro scene<br />

in Frankfurt, how do you find it compares to Berlin?<br />

Which scene do you prefer?<br />

C C C: I use Frankfurt to create anything but the usual<br />

and I use Berlin to step back from the far outs. Frankfurt<br />

has a very common sound. In Berlin everybody just<br />

tries to be so very different, they are so far out that it<br />

almost scares me. I use both to seek and find inspiration<br />

and to come back to what I’ve learned. I like both<br />

and prefer none.<br />

KALTBLUT: From the clips I’ve heard and the live show

125<br />

experience you put a lot of yourself into your music... gutwrenching,<br />

soul searching, atmospheric: would you say<br />

this is true of your work?<br />

C C C: I would say so because it is a part of me writing<br />

these songs and it is a part of me performing but since<br />

individualism became mainstream I see myself as a part<br />

coming shaped out of the same big thing and the same<br />

reasons trying to speak to the ones who think and feel<br />

likewise. I don’t want to be different, I want to place myself<br />

in the warmth of a circle of friends and with my music I am<br />

able to find these.<br />

KALTBLUT: You’re producing your L.P at the moment “The<br />

Monster Inside Of Me”, can you tell us a bit more about<br />

that monster?<br />

C C C: Confused in a moment, grey in grey, like a prophet,<br />

take the nearest exit or at him another hit, heartbeating<br />

piece of meat, once there was a time to carry truth out<br />

on the street, hard voices, widow, doubt, skin, unfaithful,<br />

sweat, panic attack, summer dress, blurred faces, main<br />

station, someone I know that is now someone random,<br />

glory, words, most likely somewhere out of reach, one<br />

single night a thousand feet deep, details, devils, save my<br />

soul, journey, pilgrim, sightless view, body presence, soul<br />

absence, muse breathing, out-loving, pictures, weakness,<br />

losing suitcase, the injuries that to myself I do, loss is fortune<br />

ever fixed, fleeting year, one shot revolver, have years<br />

told, now it is over, chance or nature’s changing course,<br />

well as long as man can breathe, bring me life approaching<br />

death, of this, our time, it’s worth to sing, have eyes<br />

to wonder, french kiss, black tongue, as long as ocean’s<br />

open, muscle works, one way I go, such is my love.<br />

KALTBLUT: Although your lyrical content is deep, imbued<br />

with layers of meaning, there’s a gentle dreamlike quality<br />

to your sound. Is this juxtaposition intentional?<br />

C C C: It is the dreamlike sound that gives the listener the<br />

biggest space for imagination. After minutes of atmospheric<br />

sounds it only needs a word or a line to get hooked on<br />

a thought. I don’t think it is my lyrics that are deep. I think<br />

it is the listener who creates this deepness in a moment of<br />

thinking when listening to my songs.<br />

KALTBLUT: The otherworldliness of your tracks is almost<br />

cinematic. Do you include any visuals when you play live?<br />

Or have you collaborated with any film makers?<br />

C C C: Truth is I’ve been experimenting with some people<br />

so far but for the visualisation of the show, I’ve not found<br />

the right person yet. For videomaterial I always like to take<br />

a filmer with me on the road or lock us up in my cottage<br />

nearby the forest. For the cut I have only one guy, Max<br />

Sternkopf, he’s got the right eye for it plus he’s magnificent<br />

in a way because he grows with the challenge. Whenever<br />

we have too little material he finds a way to cut 10 minutes<br />

material even better than a 3 day shot production. I don’t<br />

need rocket-scientists to make decent movies but what<br />

you need is a handful of very fine minds that have a sense<br />

of your own imagination.<br />

KALTBLUT: Which other artists in the music scene are most<br />

exciting for you right now?<br />

C C C: Julien Bracht (Cocoon) and Rouge Mecanique (Rekids).<br />

Both of these live-acts combine rock elements with<br />

club music and play solo, this is what made it interesting<br />

for me to learn because usually the club is not prepared<br />

for live-acts to that extend. Julien for example plays techno<br />

with very intense live drums. He is one of my closest but<br />

everytime I see his songs live, he leaves me with amazement.<br />

Romain, Rouge Mecanique, plays guitar throughout<br />

his show and the first time I heard him live at Heideglühen<br />

in Berlin, I knew it was something new. Both are very special<br />

artists and go into directions where I imagine to be.<br />

The perfect crossover of club-culture and concert music.<br />

When it comes to good pop music I think Ballet School<br />

(Bella Union, UK) is one band to keep an eye on. Rosalind<br />

Blair’s soprano voice brings my ear to frequencies I hardly<br />

heard live. Plus, Louis McGuire is a machine on the drums.<br />

A very fine one.<br />

KALTBLUT: Thanks so much for the cool photograph you<br />

made especially for us, what kinds of things did you think<br />

about when I told you about our theme: Noire?<br />

C C C: Of course first thing that comes to one’s mind is<br />

the night. Not very imaginative. After I thought about it for<br />

a while, I felt like going on one red thread most people<br />

would run on. The well trodden path, so to say. So, what<br />

I did was that I jumped into one of Berlins Photoautomat<br />

boxes at Kottbusser Tor and it was one out of four shots. I<br />

gave it to an acquaintance, Ludwig Kempf, he made it look<br />

like a bit more special. Noire is also a ¼ note in music.<br />

Take four of them and a bass drum and you have a club<br />

beat. So, NOIRE, for me is a artistic expression on music<br />

for the uncontrolled and spontaneous mind.<br />

KALTBLUT: Where would be your favourite location to play<br />

a gig in Berlin? Maybe you already have played there…or<br />

somewhere on your watchlist?<br />

C C C: Most people would probably answer Panorama Bar<br />

but Berlin is full of beautiful off-locations, rooftops, cellars,<br />

basements, outside places along the Spree. I could<br />

imagine though to play in the attic of the CHALET just as<br />

much as I would like to give a show at a lakeside or at<br />

an off-location somewhere in the nature of this town. This<br />

year I enjoyed to play outside in the yard of the Kater Holzig.<br />

Burning trash cans under the wide open sky, people<br />

from all over the world screaming my lyrics back into my<br />

face. I was very interactive.<br />

KALTBLUT: If I saw you in a cafe, book in hand, you would<br />

be reading…?<br />

C C C: It was very likely to see me with the book of gaelic<br />

wisdom called ANAM CARA by John O’Donoghue. Translated<br />

from the gaelic it means “soul-friend”. I treated it like<br />

my bible but since I gave it to a friend because I got it from<br />

a friend and wisdom is there to share, I would probably be<br />

reading one of Rilke’s book. I know I should at some point<br />

start to read something out of the 21st Century. Maybe better<br />

not care.<br />

KALTBLUT: What about your plans for the coming year, will<br />

you be touring outside of Europe at all?<br />

C C C: Europe is a small continent but with a lot of very<br />

diverse nations living on it. It takes some time to explore<br />

all the nooks and crannies of this continent. This is what I’d<br />

like to do before I start thinking about spreading my wings<br />

to overcome the huge swimming pool of an ocean. Though<br />

a friend of mine, the brazilian writer Ricardo Domeneck<br />

and I have started working together this year combining<br />

poetry and music and we intend to play a few shows in Rio<br />

and Sao Paolo and hopefully some nice, little extraordinary<br />

places. Brazil is a very tough but interesting country<br />

that offers huge possibilities and space for art in general.<br />

I definitely want to be there someday.<br />

KALTBLUT: If you could live and create anywhere outside of<br />

Germany, where would it be?<br />

C C C: To really create songs I think I would only need a<br />

place in the mountains and my dog. But think it’s a relief to<br />

be able to work anywhere just with a pair of headphones.<br />

It’s different with the singing. It doesn’t always work to<br />

improvise on a rather high emotional level. For that I need<br />

to be absent from people. As an artist I cut out stencils on<br />

my own. If I like one I can recreate it unlimited in front of<br />

every audience without hesitation or the feeling of shame.<br />

Then the stencil is like carved wood in my head.<br />

KALTBLUT: You mentioned you’ve retreated to the countryside<br />

to work on your recordings, what is it about peaceful<br />

surrounds that you prefer as a base (as opposed to the<br />

hustle and bustle of the inner city)<br />

C C C: I don’t like silence very much but absence from<br />

everything that is not existential is very important. I start<br />

to hear more clearly and to overcome the deadly silence I<br />

instinctively start to sing. I am always surprised how this<br />

seems to work for me. The voice is my most important instrument<br />

and whatever happens, I always have it with me.<br />

KALTBLUT: How do you feel about music in the digital age?<br />

On the one hand it frees musicians from the shackles of<br />

traditional constructs, on the flip side of that it does make<br />

it harder to earn a living from being a musician these<br />

days...<br />

C C C: Musicians shouldn’t earn anything from their music<br />

if they put it online themselves. Nowadays most music is<br />

given out like flyers, its only the commercial for the actual<br />

product. I really (try to avoid the word “hate”) don’t like<br />

that especially if your songs come from deep down of your<br />

heart, it makes you feel like the music one makes is cheap<br />

but it is not. I want the people to download music illegally,<br />

put it up again for everyone to spread. I want the people<br />

to steal it and let them guess its actual value themselves.<br />

Nothing is expensive or cheap when you steal it but one<br />

has to discover what it’s worth. The audience should be<br />

forced to find it, if they adore it, overcome borders, break<br />

the law and literally rip it out of the hands of the industry.<br />

That is pure admiration for the artist. The artist doesn’t<br />

need the industry but the industry needs the artist. People<br />

need to be excited. Excitement is important. Boredom a<br />

killer.<br />

KALTBLUT: When can we expect to hear the new album?<br />

C C C: Never. there will always be a “new album” I don’t<br />

ever want to retire from this. I want this to be my profession<br />

and the start of making music is always my destination.<br />

However, there will be a techno-release this year with<br />

Florian Meindl, in which I did sing and my long awaited<br />

“Monster Inside Of Me” will be released on the berlinbased<br />

label Suena Hermosa end of this year.

126<br />

MUST<br />

You certainly can live without these ITEMS, but life is so much More Beautiful with THEM.<br />

Selected by Marcel Schlutt<br />

The Son by<br />

Jo Nesbo<br />

I love reading crime and mystic<br />

books. One of my favorite is<br />

The Son by Jo Nesbo. A<br />

thriller from no 1 bestselling<br />

crime author,<br />

Jo Nesbo, which sees<br />

a charismatic young<br />

prisoner escaping<br />

jail to find out the truth about his father's<br />

death. He listens to the confessions of other<br />

inmates at Oslo jail, and absolves them of<br />

their sins. Some people even whisper that<br />

Sonny is serving time for someone else:<br />

that he doesn't just listen, he confesses to<br />

their crimes. A book you should own.<br />

DOCKERS Bomber Jacket<br />

Bomber jackets are this year an<br />

absolute must-have for every fashion<br />

boy out there. This Quilted Bomber<br />

Jacket by Dockers makes any look<br />

more comfortable and modern.<br />

Their lightweight nylon with<br />

quilted detail looks casual and<br />

keeps you warm.<br />

www.dockers.com<br />

Philips M1X<br />

Dj System<br />

Mix like a DJ with Philips M1X-Dj , give your music through any device, and share it with<br />

others. Create incredible sets that will delight your friends, and stream the songs on the<br />

Lightning-Anschluss/Bluetooth. And take your music with you wherever you are for a big<br />

party at any location.<br />

www.philips.de<br />

The Walking Dead Monopoly<br />

The last thing you want to do, when the zombies hit the fan<br />

(so to speak), is to worry about real estate deals. What you DO<br />

want to be doing is making sure the property you own is well<br />

protected and ready to withstand the advancing zombie menace.<br />

Let this be your mindset when you play The Walking Dead<br />

Monopoly. It's Monopoly mashed up with Robert Kirkman's The<br />

Walking Dead. Don't just buy properties - fortify them!<br />

www.thinkgeek.com<br />

HANIWA NO. 1<br />

The label JEONGA CHOI BERLIN was founded in 2012 and provides unique<br />

and sophisticated hats and accessories. Each piece is lovingly handmade<br />

with the highest quality materials. The HANIWA NO. 1 hat is one of our<br />

favorite items from the young Berlin<br />

based label. And girls if you want<br />

something unique and special just<br />

have a look at their webpage. You<br />

surely will find the right thing<br />

for you.<br />

www.jeonga-choi-berlin.com<br />

Nike Air Max Ice<br />

The next Nike lightweight in Hyperfuse mode! The Air Max 90 ICE<br />

stands out not only because of its color and geometric pattern on the<br />

outside, it has also got an Ice sole. Red, seamless, Hyperfuse upper with<br />

a clear 'ICE' midsole, a red 'ICE' Air<br />

unit and bold color airbag and<br />

outsole. Absolute eye catcher<br />

and very comfortable!<br />

www.nike.com<br />

Forever 21<br />

The colorful Forever<br />

21 rain coat finally<br />

brings color to<br />

the gray everyday<br />

life. The 90s style<br />

of the print should<br />

be in every<br />

wardrobe of<br />

a hip girl.<br />

It fits in a<br />

backpack.<br />

Is easy to<br />

clean and<br />

goes with<br />

any outfit.<br />

www.forever21.com<br />

Straw Duffle Backpack<br />

Straw Duffle Backpack<br />

We have seen this wonderful green Straw<br />

Duffle Backpack at Topshop.com and<br />

we love. Spring is coming and yes<br />

we all have to buy new stuff for<br />

our spring wardrobe. Topshop is<br />

offering always some great items for<br />

those who like to spend their money<br />

for more than just clothing.<br />

www.topshop.com<br />

Zweena Pure Argan Oil<br />

Argan Oil is the new big thing for your skin. Argan oil is a rich<br />

source of antioxidants and Vitamins E, A, and F, containing 80<br />

percent unsaturated essential fatty acids including Omega 6 and<br />

Omega 9. Referred to as “liquid gold,” organic argan oil is<br />

produced from the kernels of the rare and ancient Moroccan argan<br />

tree. It has been valued for its abundant cosmetic and medicinal<br />

substances for centuries by the Moroccan people. Many consider<br />

argan oil a “superfood” for the skin due to its healing,<br />

moisturizing, anti-inflammatory and anti-aging properties.<br />

www.zweenabodycare.com<br />

DRMTM Cap<br />

The Duesseldorf-based street wear label<br />

DRMTM has the right thing for the<br />

coming spring and summer:<br />

the most beautiful Cap to<br />

forget winter once and<br />

for all. We are very<br />

excited about Roses<br />

Cap. And hope to<br />

see you all in it this<br />

summer, on<br />

the street or<br />

at parties.<br />


127<br />


By Amanda M. Jansson & Emma E. K. Jones

128<br />

Clothing : Harue Nagamoto<br />

Queen of<br />

Sorcery<br />

Photography: Tomokazu Hamada<br />

Styling: Linda Brwnlee<br />

Hair: Yoko Sato (AVGVST)<br />

Make Up: Yuka Hirata (A.K.A)<br />

Model: Symone<br />

Postproduction: Chaos

129 Clothing : Yuya Nakata

Clothing : Harue Nagamoto<br />


131<br />

Clothing : Harue Nagamoto

Clothing : Harue Nagamoto<br />


133 Clothing : Harue Nagamoto

134<br />

Gesaffelstein:<br />

Prince of<br />

Darkness<br />

There’s something undeniably terrifying<br />

about music that has the power to rip your<br />

head clean off: contort, cajole and crystallise<br />

your movements as if you were suddenly<br />

transported outside of yourself helplessly<br />

looking in. Everyone has a fearless<br />

beast living inside of them, and Gesaffelstein<br />

is the man who knows just the way to<br />

set it free. Naming himself after two of the<br />

most confident and unwavering concepts<br />

in human history is a pretty demonstrative<br />

start. Gesamtkunstwerk: the German ideal<br />

of the total or universal artwork, bringing<br />

together music, the visual arts and narrative<br />

into a single intoxicating vision. Albert<br />

Einstein: the ultimate example of human<br />

intellect, the man who explained the universe.<br />

When Mike Levy, the Paris-based DJ-producer,<br />

was asked how this name came to<br />

be he explains, “Gesaffelstein is an ambitious<br />

name, but I want my music to be art,<br />

with something to say. Einstein is about<br />

quantum physics too, that means the small<br />

things, the tiny things that change everything,<br />

the detail. He always kept questioning<br />

and refining his ideas. That’s what I<br />

strive towards.” Perhaps it was setting the<br />

bar so high from day one that pushed Levy<br />

on to develop something so distinctive, and<br />

unfaltering.<br />

Born in Lyon, France in 1985, Levy discovered<br />

techno music in his teenage years.<br />

“This was my first contact with electronic<br />

music and I was obsessed with it,” he recalls.<br />

“I was almost too shy to admit that I<br />

liked this music. It was primitive, but in a<br />

serious way and I really liked that. I kept it<br />

to myself for years.” After playing around<br />

with his neighbour’s collection of synthesisers<br />

he began to realise it was not so much<br />

music he wanted to create, but pure sound.<br />

“I was intrigued by white noise and analogue<br />

sound,” he says. At 18 he moved to<br />

Paris and began what he now describes as<br />

‘research’. You would think coming from<br />

a long line of tortured intellectual types<br />

his heritage and homeland must have something<br />

to do with it, but is his music at<br />

all French? “It’s hard to say” he comments,<br />

“We live in a digital world where all frontiers<br />

have broken down. A kid in the South<br />

of France can be making Detroit techno that<br />

sounds indistinguishable from the “real”<br />

thing. Who would know where it came<br />

from? Does it matter?” He has a point, but<br />

as he steps out on stage sharply dressed and<br />

coiffed to perfection, it’s hard to believe<br />

that the sound about to be unleashed from<br />

such a man can be so anarchistic, so visceral.<br />

“I had to work again and again to find<br />

my proper sound,” he says. “The revelation<br />

came when I did the first EP ‘Variation’ on<br />

Turbo in 2010. When I finished that I knew<br />

it was the sound I was searching for.”<br />

This is the ear-shattering revelation that<br />

has he has been building on ever since, and<br />

to fully experience the extent of it is to let<br />

go of any preconceived notions you once<br />

had about what techno should be, one taste<br />

of the piercing complexity behind his sonic<br />

explosions, and you’ll soon be converted.<br />

Building a fanbase amongst dance music<br />

fiends since the middle of the Noughties,<br />

his ominous combination of hard techno<br />

and industrial primal drive is more commercially<br />

acknowledged by way of his collaboration<br />

with Kanye West on two standout<br />

tracks on 2013’s ‘Yeezus’ album, the<br />

abrasive ‘Send It Up’ and the glam-punk<br />

rap riot ‘Black Skinhead’, a co-production<br />

with Daft Punk and Levy’s friend Brodinski.<br />

Releases on the OD, Zone and Bromance<br />

labels showcased an ever-developing<br />

individual style whilst his remixes for<br />

Lana del Rey, Justice, The Hacker, Laurent<br />

Garnier and heroes Depeche Mode put his<br />

unique sound on the mainstream map.<br />

It’s only this year that the full extent of<br />

Levy’s musical intensity has been released<br />

in his debut album ‘Aleph’, wantonly bludgeoning<br />

us with a musical exploration that<br />

isn’t for the faint of heart. His pounding<br />

yet melodic tracks awaken some dark, uncomfortably<br />

human impulses: perversion<br />

drives each beat, pounding on the inside of<br />

your skull looking for a way out. His structures<br />

are brutal yet calculated—connecting<br />

the clashes of our modern era with expert<br />

precision.<br />

The first release from the album, the insistent<br />

and acidic ‘Pursuit’, was accompanied<br />

by a sinister controversial video created by<br />

director duo Fleur & Manu. As the camera<br />

pans out clinical images of war and machinery<br />

are juxtaposed with the elegance<br />

of neo-classical existence, disturbing as it<br />

is enthralling Gesaffelstein’s unrelenting<br />

beats and electronic wails provide the perfect<br />

backdrop for this world of decadence,<br />

technology and sex. His second release,<br />

the powerful ‘Hate or Glory’ also directed<br />

by the filmmaking duo, is a contemporary<br />

take on the cautionary tale of King Midas,<br />

pushing even harder and deeper with a more<br />

powerful drive. “I don’t know why I’m so<br />

drawn to dark sounds,” Levy admits. “It’s<br />

like when you make a movie about love,”<br />

he explains, “that’s not your life, it’s the art<br />

you have made. It’s a fiction. The music is<br />

exactly the same. Although there is nothing<br />

dark in my life, I have a facility to understand<br />

dark emotion.” These two tracks turned<br />

out to be just a taster for the sinister<br />

pleasures that lie within the album: refreshing<br />

a stale techno scene with the disturbing<br />

flavours that ran through pre-pop Human<br />

League, Throbbing Gristle and early<br />

Kraftwerk. On several tracks London singer<br />

Chloe Raunet—formerly of lo-fi electro<br />

band Battant on the Kill The DJ label,<br />

now working on her solo project C.A.R.—<br />

provides lyrics and vocals to compound the<br />

seductive atmosphere: a fierce female presence<br />

in a wicked storm of sound.

135<br />

Although his electrifying DJ-sets have earned him acclaim from<br />

Boiler Room Berlin to Electric Zoo in NYC, Sonár in Barcelona<br />

and Bestival in the UK as a self-confessed introvert Levy admits<br />

that he isn’t by nature an outgoing clubbing type, “If the music is<br />

really good I have to sit down on my own and listen...when I go out<br />

I have to forget the<br />

technical side of the<br />

music,” he admits,<br />

“DJ-ing can be fun,<br />

especially if I‘m doing<br />

it with Brodinski.<br />

We’re friends and it’s<br />

exciting to work together.<br />

But in the end,<br />

you are playing mostly<br />

other people’s records.<br />

I prefer to play<br />

live.” Indeed, the Gesaffelstein<br />

show is the<br />

best way to experience<br />

his decadent vision:<br />

a classicist form<br />

of electronic music<br />

that aspires to high<br />

art. His approach to<br />

each live exposition<br />

is with meticulous attention<br />

to detail, performing<br />

from within<br />

a giant custom-made<br />

marble altar where<br />

he can control everything<br />

from the frequencies<br />

to the lights.<br />

“I can have a response<br />

directly with the<br />

audience,” he says. “I<br />

can take the pressure<br />

up and down, build<br />

tension and release<br />

it, and take people<br />

deeply into the music.<br />

I have much more<br />

pleasure this way.”<br />

As far as the visual<br />

is concerned this is<br />

an entirely different<br />

matter, and he frequently<br />

collaborates<br />

with fellow artists, directors<br />

and designers<br />

to help better express<br />

the ‘Gesamtkunstwerk’<br />

element of the<br />

project. Inspired by<br />

artworks that range<br />

from the contemporary<br />

abstract paintings<br />

of Pierre Soulages to<br />

the severity of 18th century neoclassical painter Jacques-Louis David—infamous<br />

for his depiction of Napoleon on horseback—it’s<br />

no wonder that the visual is just as important to Levy as the music<br />

itself. Take the album cover for the album for example, the design<br />

was created with Manu Cossu. “He has the hands to make it happen,<br />

and I have the words,” Levy explains. “The cover is pure and<br />

complex at the same time and everything relates to the idea of the<br />

Aleph, which is both the beginning and the return to the beginning.<br />

It’s a beautiful object.” Similarly his music video archive is<br />

a black hole of visual exploration. The first video that grabbed me<br />

was the monochrome film project for “Viol” entitled “Ghostrider”,<br />

filmed in the darkened<br />

streets of Paris<br />

the directors Jérémy<br />

and Anto, aka, Les<br />

Darons, twinned their<br />

passion for fixies and<br />

film-making capturing<br />

a dark spirit of<br />

the discipline on camera.<br />

As they ride<br />

like hell without a<br />

flicker of fear in their<br />

eyes the cyclists push<br />

on in time to the oppressive<br />

beats of Gesaffelstein<br />

creating<br />

an addictive visual<br />

reality that is instantly<br />

seductive. This is<br />

the kind of visual that<br />

fits perfectly to his<br />

music, and the powerful<br />

imagery it can<br />

inspire.<br />

Photo by Emmanuel Cossu<br />

Text by Amy Heaton.<br />

www.gesaffelstein.net<br />

Without a doubt Levy<br />

is a master of exposing<br />

the Noire that<br />

hides in all of us.<br />

His sound encapsulates<br />

the madness,<br />

the melancholy and<br />

the darkness that’s<br />

somehow striving<br />

to get out. Working<br />

at the intersection<br />

between solace and<br />

aggression there are<br />

themes to which Gesaffelstein<br />

will always<br />

return: raw, and unending,<br />

ecstatic, yet<br />

deeply concentrated<br />

and controlled. When<br />

asked to comment on<br />

the meaning behind<br />

the title of the album,<br />

‘Aleph’, he explains<br />

that it’s a word which<br />

can have many meanings.<br />

The first character<br />

of the Hebrew<br />

alphabet. The computer<br />

that contains<br />

a complete reality<br />

in Neal Stephenson’s cyberpunk novel ‘Snow Crash’. The letter<br />

which brings a clay Golem to life in Jewish legend…and whatever<br />

other interpretation you as the listener wish to bestow upon it. “I<br />

have the key to my music,” says Levy, “and I keep it for me. But<br />

I’m really excited to witness other people discovering it.” Now it’s<br />

your turn.

136<br />

PHOTO<br />

KOTY 2<br />


MODEL<br />






MAKE UP<br />


HAIR<br />






BAND<br />






JACKET<br />



SKIRT<br />


DRESS<br />


SHOES<br />





BLOUSE<br />


PANTS<br />

NOLOGO<br />

SHOES<br />



BAND<br />




BOOTS<br />



BLOUSE<br />




BLOUSE<br />



142<br />

Eirik Lyster<br />

KALTBLUT: Hi Eirik, how are you?<br />

This Page: “Floral Brutal” 2013, 42x59,4 cm, Drawing with pen.<br />

Next Page: “Sleepwalker” 2013, 42x59,4 cm, Drawing with pen.<br />

Based in Oslo, Eirik Lyster is such a<br />

creative individual that we’re going to<br />

have problems listing all his achievements.<br />

But we’ll try: he’s a stylist, he’s<br />

a performer, he’s also a sculptor and last<br />

but certainly not least, he also draws.<br />

Not just any old drawings, one’s in which<br />

the characters he creates seem to have a<br />

full wonderland imagination going on.<br />

It’s half magic, half gore. We meet and<br />

chat to him, and in the end Eirik creates<br />

two brand new pieces exclusively for<br />

KALTBLUT, which we’re rather proud<br />

to present.<br />

www.eirik-lyster.com<br />

Eirik: Hello! I’m fine, thank you.<br />

KALTBLUT: You only work with pens, where does your love of pens<br />

come from?<br />

Eirik: I’ve tried a lot of different expensive pens, but the pen I always end<br />

up with is a regular pen. It is kind of dry and has these shades of dark blue<br />

almost. Looks really good when I draw hair, which I do a lot.<br />

I was thinking about pens and drawing the other day… we live in a world<br />

where everything is so digital, so I think it’s good to stop up and actually<br />

create something with a pen. You cant just push a button and it will magical<br />

appear.<br />

KALTBLUT: So tell us a bit more about the characters you draw.<br />

Some of them sort of look like hybrid creatures. What are they<br />

exactly?<br />

Eirik: The main character is actually a rubber duck. But most of the time<br />

you can only see the face of it with closed eyes, dressed up in different<br />

layers of animals. A pop icon walking in a cold landscape.<br />

KALTBLUT: Where do they come from, what’s their story?<br />

What does their world look like?<br />

Eirik: It’s a world in between dreams and reality. Each drawing holds a<br />

different story and emotion.

143<br />

KALTBLUT: Your drawings bring to the surface a mixture of very<br />

different emotions : cuteness, childlike innocence, and yet there is a<br />

lot of blood and gore. Cute but not so cute?<br />

Eirik: It is uninteresting for me to show something pure good or bad. I like<br />

to show both sides. If you look at nature, it is so beautiful but so grotesque<br />

at the same time. I think we live somewhere between those things.<br />

KALTBLUT: All of your pieces are pretty big. Are you more comfortable<br />

working on large canvases?<br />

Eirik: Yes I really enjoying making big drawings. It’s kind of how it has to<br />

be… fair to my work in a way. Not every drawing suits being small. I’ve<br />

made some huge drawings straight on wall also (laughs) In my hometown<br />

there is a hairdresser that has a big piece of my work on their wall, but the<br />

ones you’ve seen is on paper. Google it!<br />

KALTBLUT: How did you come to do illustration?<br />

Eirik: I have been drawing my whole life. I can’t remember a time without<br />

it. It comes naturally to me. When I was a kid I could sit and draw animals<br />

and characters and make up stories for hours and hours. I always knew I<br />

was gonna be an artist. I’ve always felt like one. I also so badly wanted to<br />

feel the things that all the icons I admired had felt. Even the bad stuff. Lonliness,<br />

struggle and the endless dreaming.<br />

KALTBLUT: The contrast between the black and the bright pinks,<br />

reds and yellows is quite strong…. why these clashing colours?<br />

KALTBLUT: Where do you draw inspiration from?<br />

Eirik: I get inspired by everything in my life. Identity, fame, pop culture,<br />

death, nature. I’m fascinated that beauty and life are fragile; something<br />

that is slowly fading away. Its like I draw beauty that is aware of its own death<br />

in a way. When I’m going through something, good or bad, my first reaction<br />

is how can I translate this in the most beautiful way I know. My art is poetic<br />

but also very pop. I tell stories in a metaphoric way, but at the same time it is<br />

branding itself. I like to repeat things over and over again.<br />

I also like the idea of making things that will live longer than I will. We so<br />

often tend to think life is a promise, when it’s not at all. If life is not a promise,<br />

then at least I will promise myself to live forever through art.<br />

KALTBLUT: There obviously is a dark side to all of your drawings.<br />

What are your demons?<br />

Eirik: I am a person that listens to my dark times as much as my bright times.<br />

Regardless of how much it hurts I stay in it for as long as it takes for an<br />

answer to come. I embrace darkness and struggle as much as happiness and<br />

success. I think you have to accept both sides if you’re an artist to survive in a<br />

way.<br />

KALTBLUT: Do you use your art as an outlet?<br />

Eirik: Yes, its the way I express myself. Without art, life would have no meaning<br />

to me. Its a luxury to get to be private in public in an artistic way.<br />

KALTBLUT: You live in Olso, how does your city influence your work?<br />

Eirik: I’ve always said that drawings come to me. I see drawings. I have<br />

visions. When I’m feeling something out of nowhere I get drawings in my<br />

head. When I’m going through something, if the feeling is strong enough,<br />

drawings come up really clearly. It almost feels like an instinct. And then as<br />

I work I see that I can add certain metaphors to highlight what I’m telling.<br />

I want the art to look like something that is easy on the eye, but when you<br />

look closer you can see layers of poetic undertones, which is maybe different<br />

to the image that you first saw.<br />

KALTBLUT: Any artists you look up to in the illustration world?<br />

Eirik: There are many talented artists out there, but I have to say Theodor<br />

Kittelsen. He has this cold Scandinavian feel to his work ,which I’m fascinated<br />

by. His drawings and paintings are just beautiful. I don’t think you<br />

can necessarily compare us, but he has a soul in is work I can really relate<br />

to. Beautiful but dark.<br />

Eirik: The city is bigger than the one I’m from so there’s a lot more opportunities.<br />

I’ve lived here for over a year now and many dreams have come true.<br />

It’s all about hard work and discipline. I got to show my work in the Astrup<br />

Fearnley Museum of Modern Art. I meet a lot of interesting artists and<br />

musicians all the time so Oslo makes me feel like home. As often as I can I try<br />

to make time for a walk before I go to sleep, under the stars or into the city<br />

lights. Thats also inspiring to me: to walk, think and listen to music and watch<br />

the city neon lights popping up in the sky. Magical.<br />

KALTBLUT: Any other cities where you’d love to go to, to visit or to<br />

live in?<br />

Eirik: New York and Iceland. Maybe L.A. and Hollywood also. Ive always<br />

pictured myself in the future living or at least staying in NYC for a while.<br />

Or living in a house by the sea in Iceland. Time will show. But right now, I’m<br />

really happy to be working in Oslo.

144<br />

Sam wears<br />

Bra – DKNY<br />

Suspenders – Maison Kiss Kiss<br />

Stockings – Maison Kiss Kiss<br />

Knickers – Maison Kiss Kiss<br />

Shoes – Missoni<br />

Matthew wears<br />

Lace Gimp Mask – Jay Briggz<br />

Love & Malice<br />

Photography: Nik Pate - www.nikpate.com Make Up: Mark Bowles<br />

Hair: Paul Jones Styling: Justin & Andre @ a+c:studio<br />

Models: Matthew Riches & Samantha Jackson @ S.O.S

Dress – Lee Paton<br />

Cuff’s and Neckbrace – Maison Kiss Kiss<br />


Sam wears<br />

Leather Bodice/ Top – Tamzin Lillywhite<br />

Jacket – Katie Eary<br />

Trousers – Heohawn<br />

Shoes – Pretty Little Things<br />

Ring – Only Child<br />

Earrings – Finchittida Finch<br />

Matthew wears<br />

Trousers – Sopopular<br />


147<br />

Sam wears<br />

Bra – Tamzin Lillywhite<br />

Leather-Pleated Skirt – AMEN Couture<br />

Fishnet Stockings – Maison Kiss Kiss<br />

Fur Boots – Robert Cligerie<br />

Necklace – Mirabelle<br />

Matthew wears<br />

Lace Gimp Mask – Jay Briggz

Sam wears<br />

Dress – AMEN Couture<br />

Head Piece – Jay Briggz<br />

Bracelet – Eshvi<br />

Earrings – Finchittida Finch<br />

Matthew wears<br />

Lace Gimp Mask – Jay Briggz<br />

Trousers – Sopopular<br />


149<br />

Dress – AMEN Couture

AUSTRA<br />


In the words of Marina Abramovic, “Performance is<br />

about being in the present; it’s about creating a luminous<br />

state of being.” Luminous indeed, Katie Stelmanis<br />

shares her middle name with the Latvian goddess of<br />

light. It’s also the name she chose for her solo-project<br />

some five years ago. Classically trained, Stelmanis’<br />

musical career came to life in her early teens amidst<br />

the Canadian opera scene and flourished into the now<br />

critically acclaimed synth-pop band Austra when she<br />

began experimenting with electronic music in 2009.<br />

Fast forward to 2013: she released her second fulllength<br />

album, Olympia, which reaches deep into the<br />

history of dance music and early house. Indeed, the<br />

album’s single Home features a serious old-school<br />

Chicago house thump, with Stelmanis stating, “the<br />

main intention of this record was to make electronic<br />

music acoustically.“ Ridding herself from the rigidity<br />

of classical music, she’s unequivocally explored the<br />

flowing and numerous possibilities made available to<br />

her by way of Olympia.<br />

The main shift from the debut, Feel It Break, and<br />

Olympia isn’t just adding more beats, but adding more<br />

overall: introducing more involved members and transforming<br />

the bedroom project into a full six-piece live<br />

band, bringing more layers to Katie’s lyrics by acquiring<br />

Sari Lightman as her ghost-writer and pushing the<br />

entire feel of it from orchestrally imbued gothic impulses<br />

to house-inspired, synth-pop. But it’s not cluttered.<br />

It’s not over-thought, it’s not strategic, and it’s not<br />

calculative. It’s progressive, and organic, it came about<br />

naturally and it’s authentic. From the intimate lyrics<br />

and the erupting beats to the pristine production and<br />

the emotions conveyed, it’s candidly created. Olympia<br />

is more lyric-based than its predecessors and as a<br />

result it’s persuasively personal and, at times, political.<br />

Stelmanis’ voice shines as she weaves tales of lovers’<br />

plight and same sex-marriages (“We don’t have to marry….<br />

in this town we’ll bury all the minds that clench<br />

too tight”) addressing bigotry and the patriarchal<br />

over gothic-leaning synths. The sounds are loud and<br />

omnipresent but the intent is serene and the message<br />

subtle: enough to cause a stir but not frenzy.<br />

Live, Katie’s energetic, passionate and in the moment.<br />

She’s having fun. Stood in front of the hand-painted<br />

mountain scene that adorns Olympia’s cover and<br />

surrounded by glowing parasols, she sways and swings<br />

amidst four sultry band members. Like that of an opera<br />

singer, her performance is theatrical. She might have<br />

strayed away from the classical in her music, but her<br />

movement, her persona; her energy belongs very much<br />

on stage. The emotional power and the aesthetic interest<br />

of all her work- from her performance and videos<br />

to the lyrics and album cover- reside in the comfort and<br />

allure of authenticity; reminding and enlightening us<br />

that being straightforward is that which always come<br />

naturally. Subtly changing the air in the room Austra is<br />

played, Katie shall sing and you shall listen.

151<br />

“…Marina’s The Artist<br />

is Present did play a role<br />

in the desire<br />

to be candid<br />

on this album…”<br />

KALTBLUT: When you first started the<br />

project people weren’t really getting it<br />

and said you should be playing acoustically<br />

with instruments. What encouraged<br />

you to push through and stick to<br />

what you felt was right and what you<br />

wanted to create?<br />

Katie: I guess I just loved working with<br />

electronic instruments. At the time,<br />

it was different to what everyone else<br />

was doing in Toronto and I preferred the<br />

sounds and I enjoyed that I felt like I was<br />

doing something unique. Of course, in<br />

the rest of the world it wasn’t anything<br />

special but in the city that I came from it<br />

felt like I was doing something different.<br />

KALTBLUT: You started Austra as a<br />

“solo project” would you say its now as<br />

collaborative as it’s ever been?<br />

Katie: Yeah, it’s definitely very collaborative<br />

now. Well I mean, the first record<br />

Feel It Break was essentially a solo record<br />

for the most part and then we kind<br />

of formed this six person live band while<br />

we were touring Feel It Break for a few<br />

years. For the next record we kind of<br />

wanted everybody to be involved in it,<br />

so actually all six of us kind of played a<br />

role. We made that album…even though<br />

we’re currently touring Olympia; we’re<br />

touring as a four piece. It was kind of in<br />

that moment that we wanted to do that.<br />

KALTBLUT: You’ve said you brought a<br />

certain energy to the record from playing<br />

live. Can you expand on this?<br />

Katie: Well, the songs felt completely<br />

different after touring with them for<br />

two years than they did when I listened<br />

to them on the album. When I listen to<br />

Feel It Break right now it sounds a little<br />

foreign to me in some ways. I definitely<br />

think that playing them live we improved<br />

on songs a lot …they gained a lot<br />

of depth and a more interesting sound<br />

palette. So we wanted to bring all those<br />

characteristics forward in the new<br />

record.<br />

KALTBLUT: How does Olympia compare<br />

to Feel It Break personally? How<br />

does it feel looking back and seeing<br />

where you are now?<br />

Katie: Well for me, the biggest difference<br />

is in the production. It went from<br />

being a bedroom project to being a real<br />

band project in a studio. There were so<br />

many more people involved in the making<br />

of Olympia than there were for Feel<br />

It Break. We had lots of band members<br />

who were contributing; we worked with<br />

a lot of different engineers and my friend<br />

Mike from the band Fucked Up had<br />

some co-production credits on songs<br />

so it just felt like a group effort whereas<br />

Feel It Break felt like a much more personal<br />

effort.<br />

KALTBLUT: You have a background in<br />

classical music and were previously an<br />

opera singer. What elements from your<br />

classical training have you brought to<br />

Austra and specifically to this record?<br />

Katie: I mean to be honest I try and<br />

move away from the classical training<br />

as much as I can. I haven’t really studied<br />

classical music in like ten years but I’m<br />

sure there’s lingering habits…it took a<br />

while to move away from the classical<br />

style of singing and to learn music in<br />

a different way because classical music<br />

has such a rigid way of playing and<br />

understanding music and I find when<br />

you’re writing music it kind of helps to<br />

just ignore that. A lot of people who are<br />

classical musicians if they are told to improvise<br />

they just won’t know what to do,<br />

and so I think it’s kind of dangerous to go<br />

really far down that path.<br />

KALTBLUT: You picked Owen Pallett<br />

as an example of an artist cutting<br />

through genre. Do you like to label<br />

yourself as a crossover band?<br />

Katie: Its really hard to label and identity<br />

your own music. I think about us being<br />

a crossover band and then I think there<br />

are a lot of people listen to us who think<br />

that we’re straight up electro (laughs)<br />

Y’know, I don’t really have a proper perspective.<br />

I mean I listen to certain songs<br />

on the record and for me, the influences<br />

are glaringly obvious and other people<br />

would have no idea really. It’s hard to say.<br />

KALTBLUT: The lyrics for both Home<br />

and Forgive Me are blunt both lyrically<br />

and musically. Obsessive, tense and<br />

desperate for closure: they’re almost<br />

like a plea to a lover. You’ve said before<br />

you weren’t very good at writing lyrics<br />

or didn’t use to be the focal point of<br />

your creativity. How has it changed for<br />

Olympia?<br />

Katie: With Olympia I had the desire to<br />

write more personal and more meaningful<br />

lyrics. I really think the reason behind<br />

that being… y’know after performing for

152<br />

a few years, I just wanted to kind of identify with the audience<br />

in a new way, or a different way. I’ve always loved doing covers<br />

of songs that are very lyric-based… a crying, choking natural<br />

woman and I kind of wanted that story behind the songs I was<br />

making. I tried to do that with Olympia and also worked on<br />

the lyrics with one of the back-up singers at the time.<br />

KALTBLUT: Am I correct in thinking that the video for Home<br />

was inspired by Marina Abramovic’s The Artist Is Present?<br />

Katie: Um, a little bit, I guess. It was difficult because I wanted<br />

that video to really embody the sentiment behind that song,<br />

but its really hard not to do it in a cheesy way, because the<br />

lyrics are so… obviously it could go really wrong…keeping<br />

it as simple as possible was the best way to go. We worked<br />

with a director and he had this concept of pretending it was<br />

a dressing room and I think it worked really. It was really nice<br />

we only had to perform it like four times and we had a video.<br />

With so much weight off our shoulders, we were able to capture<br />

the sentiment perfectly.<br />

connect with it. And even the role I was playing in the opera, I<br />

didn’t connect with that. Obviously I think in the music industry<br />

there are some difficulties being a woman in music but<br />

ultimately feel lucky that I can do my own thing and make a<br />

career out of it.<br />

KALTBLUT: So you’re from Toronto, what does the city’s<br />

music scene mean to you?<br />

Katie: I feel like… I mean the Toronto music scene is a huge<br />

part of me developing as a musician, as an artist. When I was<br />

in my early twenties there was a lot of stuff happening, there<br />

was Blocks Recording Club and there were a lot of important<br />

parties that were happening at the time. Right now I feel kind<br />

of disconnected to it essentially because I’ve been touring for<br />

three years straight but aside from that I feel lucky that I was<br />

raised in a really strong music scene.<br />

KALTBLUT: Aside from the musical, are there any creative<br />

influences that you can list?<br />

KALTBLUT: I Don’t Care, I’m a Man is a short but powerful<br />

interlude on the record. What was the thought process behind<br />

it?<br />

Katie: Well I guess that song originally came to life… my way<br />

of writing lyrics is generally me writing all the music and then<br />

I’ll sing on top of it and I’ll kind of say anything and often what<br />

I’m saying kind of makes sense and I make it to real lyrics<br />

later. But in the case of this song, the words that stuck for<br />

me, that I kind of worded were I Don’t Care, I’m a Man. I appreciated<br />

those words because I enjoyed the anti-patriarchal<br />

vibe around them. Then I put Sari with the song and I think<br />

she kind of interpreted it to be more of a direct relationship<br />

between a man and a woman, maybe an abusive relationship.<br />

Really, there are a lot of meanings and interpretations around<br />

it.<br />

KALTBLUT: You’ve said before began by making music; you<br />

weren’t a band with a message. It feels that with Olympia<br />

you’re making more of a stand - is that true?<br />

Katie: I think we’ve always had the same… I’ve never really<br />

written political lyrics, well actually that’s not true, I have in<br />

the past, but I’ve always been pretty vocal about my politics<br />

and my position on feminist issues and queer issues and I<br />

think Olympia maybe because its more lyrically driven has<br />

more of an effect.<br />

KALTBLUT: The reason I ask is because you’ve commented<br />

before that one of the reasons you left the opera world is<br />

because you felt uncomfortable as a lesbian in a predominantly<br />

male hetero world. How does the music industry you<br />

find yourself in now compare?<br />

Katie: Well its not that its predominantly male because I<br />

don’t think that’s true but I think…I guess it just embodies a<br />

very traditional way of performing where the women would<br />

literally have to be wearing ball gowns to be taken seriously.<br />

On an on-stage competition or performance, I just wasn’t fitting<br />

into that ideal of what an opera singer should be. I didn’t<br />

Katie: I don’t know I mean we’re always influenced by a lot of<br />

things, I feel like during the process of writing Olympia, while<br />

we were working with Sarah and Romy, they were introducing<br />

me to a lot of things I didn’t know before, for example the<br />

film The Red Shoes ended up being a big influence and how<br />

we presented Olympia visually. Again, Marina’s The Artist is<br />

Present did play a role in the desire to be candid on this album<br />

as well.<br />

KALTBLUT: Can I ask the reason behind the title of the record?<br />

Katie: Well I mean in actuality, it was named after a baby that<br />

was born… the family was really close to us during the recording<br />

process. It felt like we wanted commemorate the idea of<br />

new life, and the new album. Aside from that I think the name<br />

also holds a lot of alternative meanings, its kind of slight homage<br />

to the nineties riot girl and then of course, the Manet<br />

painting exhibits the prostitute staring into the eye of the viewer<br />

in a very candid way. We appreciated all the references<br />

that the name had behind it.<br />

KALTBLUT: It’s been noted that your music feels emotional<br />

and is also electronic dance music. Where do you think music-<br />

both yours and in general- is headed?<br />

Katie: I don’t know that’s kind of difficult question. I don’t<br />

know I try not to really follow where the general, mainstream<br />

ideas of music are going because I think that could be dangerous.<br />

I definitely know where our intentions behind this album<br />

were- to create an electronic album basically because I felt<br />

the market was becoming oversaturated with musicians who<br />

were just making albums on their laptops and that particular<br />

sound was just becoming over-used in my opinion and we<br />

wanted to do something different. And then of course Daft<br />

Punk also had that idea (laughs) and they made the whole<br />

electronic album acoustically. I thought that lots more people<br />

would want to do that, maybe they will eventually. But I don’t<br />

know it seems that people are still really into the idea of making<br />

laptop music.<br />

Interview by Ange Suprowicz<br />

Photos by Norman Wong<br />



154<br />


Between Daylight and Dreams<br />

Photography: Federica Roncaldier www.federicaroncaldier.com<br />

Interview & Concept: Marcel Schlutt and Nico Sutor<br />

Styling: Christina van Zon www.christinavanzon.com<br />

Hair & Make-Up: Pascale Jean-Louis<br />

Models are Lex Olsén @ Seeds Management and Jules Wiegemann @ M+P Models London<br />

Production: Nico Sutor<br />

Special thanks to Halil Erbek and Vögelchen Bar, Berlin<br />


155<br />

Lex wears<br />

Jumpsuit: Ana Alcazar<br />

Necklace: Zofie Angelic<br />

Bracelet: Antique & Vintage Jewellery<br />

Oliver Rheinfrank<br />

Earrings: Six<br />

Jules wears<br />

Dress: Ana Alcazar<br />

Earrings: Akkesoir<br />

Collar: Rita in Palma<br />

Tights: Burlington

156<br />

When it comes to fashion in Germany there are only a few labels that are really making it into<br />

the international market. The Munich based fashion label is one of them. Founded some years<br />

ago by the two sisters Beate and Jutta Ilzhöfer, Ana Alcazar is one of the most successful labels<br />

here in Germany. I had the pleasure of having a chat with the two creative minds behind<br />

the label. About their long journey into the fashion world, the new collection, and their love<br />

for fashion design. Also, I wanna thank Federica, Christina, Pascale and Nico for producing this<br />

great editorial for our new issue. Fashion designed for strong women.<br />

KALTBLUT: Beate and Jutta, a<br />

warm welcome to KALTBLUT.<br />

We are big fans of your label Ana<br />

Alcazar. Tells us something about<br />

your background. What made ​<br />

you get into fashion?<br />

Be: Hello Marcel, this really<br />

pleased us very much! We are<br />

also very big fans of your magazine<br />

and find it great to see how<br />

successful you are internationally<br />

as well. Sometimes we feel a bit<br />

reminiscent of ourselves back in<br />

time; a private label, or in your<br />

case to bring your own magazine<br />

new on the market, that takes a<br />

lot of energy, stamina and courage.<br />

Respect!<br />

Ju: True, it was not always easy,<br />

but if you stay true to yourself<br />

and believe in your work then<br />

that's a big step already. My sister<br />

and I come from Swabia and<br />

wanted to get out and discover<br />

something new. During our time<br />

in Milan and Paris we kept ourselves<br />

afloat with modeling jobs.<br />

Be: Right. It hasn't always been<br />

very easy. To get modeling jobs<br />

you have to go to this or that<br />

party in the evening - it was not<br />

about fun but only to find new<br />

jobs. This was in the long run too<br />

stressful for us. We did not want<br />

to go back home. Munich, we<br />

always found so exciting, even<br />

as little girls traveling through on<br />

the way to Italy vacations. The<br />

fashion scene at that time was<br />

more open and more exciting<br />

- there were no mono-stores.<br />

While Ju continued modeling, I<br />

earned some money as a graphic<br />

designer to add to the pot.<br />

Ju: At that time we used to go<br />

out a lot and started to sew our<br />

nightlife outfits for ourselves. This<br />

was well received and we had a<br />

lot of fun with it. Well, there were<br />

already the wildest creations<br />

forming - we wanted to stand<br />

out, and so we didn't remain<br />

undetected. The first requests<br />

came and we started tailoring<br />

outfits for our friends. Yet it never<br />

crossed our minds that we would<br />

someday start a company.<br />

Be: That we could live on this? I<br />

never would have thought. We<br />

were brave and had of course<br />

also tried to sell our clothes<br />

in stores. Our first attempt, I<br />

will never forget: We went to<br />

the Ludwig Beck in Munich, a<br />

renowned shop, and had our<br />

tailored clothes with us. Edler<br />

jersey from the fifties, with coarse<br />

sacking that we stole from some<br />

scaffolding at night.<br />

Ju: Our pulse was beating like<br />

crazy, but the buyer was more<br />

than impressed and bought the<br />

goods immediately. The next day<br />

we got a call that all outfits were<br />

sold and he had rarely experienced<br />

such a thing. We could<br />

be certain of a second order.<br />

So things went on little by little<br />

and today we serve nearly 1,000<br />

retailers in Europe, Australia and<br />

Russia.<br />

KALTBLUT: Both of you have<br />

been involved in the fashion<br />

world for over 20 years now. Is it<br />

easier to go this route as a team?<br />

Or can it also be a hindrance<br />

working together as sisters and<br />

having a daily business to maintain?<br />

Be: It is not easy, certainly not.<br />

The fashion industry and the<br />

market makes no difference<br />

whether one designs alone or<br />

whether it's two or three people<br />

working together. But it is beautiful.<br />

The close familiarity and<br />

being able to completely rely<br />

on each other, those things offer<br />

security. This gives you a certain<br />

earthiness. There are also clear<br />

separations, which is extremely<br />

important in teamwork. We cannot<br />

each of us do everything at<br />

once, which would bring unnecessary<br />

confusion and waste time.<br />

And obviously: we do also not<br />

always agree - but with us there<br />

is no fighting or bickering. We<br />

are sisters, but also reliable business<br />

partners.<br />

KALTBLUT: Do you still remember<br />

the first piece of clothing you<br />

designed?<br />

Be: No, I do not know now.<br />

Ju: No, I do not know what the<br />

first model was. But I can remember<br />

moments connected to a<br />

certain style.<br />

KALTBLUT: You are based in<br />

Munich, this is where you are at<br />

home with your label. Why just<br />

there and not in Milan, Paris or<br />

London like many other labels?<br />

Ju: We have lived for years in<br />

Milan and Paris. Both wonderful<br />

cities, but we had fallen in love<br />

with Munich at that time. Our<br />

friends and our families are at<br />

home here. Here we feel comfortable.<br />

KALTBLUT: You are also big Berlin<br />

fans, though. Why is that? Do<br />

you show your collections here at<br />

Fashion Week as well?<br />

Be: Berlin is absolutely breathtaking,<br />

no question about that!<br />

During Fashion Week in Berlin,<br />

we are showing at Show & Order,<br />

every year, and then in the evening<br />

we go on great discovery<br />

trips. It is always exciting and the<br />

city is changing so rapidly, almost<br />

too quickly. Hopefully Berlin can<br />

preserve its charm. Who knows,<br />

maybe you'll find us in your<br />

neighborhood in Berlin soon.<br />

KALTBLUT: When I look at all<br />

your previous collections, I would<br />

say you do not own a typical<br />

trend-oriented fashion label.<br />

You've got your own personal<br />

style. Can you describe the Ana<br />

Alcazar woman in a few words<br />

for us?<br />

Ju: Self-confident, fashion-conscious,<br />

bold, feminine and no interest<br />

in mass-produced goods.<br />

KALTBLUT: The collection that<br />

we photographed for the Noire<br />

theme is almost completely in<br />

black. What is your inspiration for<br />

this collection?<br />

Be: We design 4 collections<br />

each year. We are very pleased<br />

and happy that you have photographed<br />

exclusive parts of<br />

our first Ana Alcazar Black Label<br />

Collection. With the first Black<br />

Label line, we have focused on

157<br />

Lex<br />

Dress: Vintage<br />

Earrings: Zofie Angelic

158<br />

Lex<br />

Dress: Vintage<br />

Earrings: Antique & Vintage Jewellery Oliver Rheinfrank<br />

Shoes: Varese seen at Roland<br />

Bag: Selected Femme<br />

Jules<br />

Dress: Ana Alcazar<br />

Necklace: Dawid Tomaszewski<br />

Shoes: Vagabond<br />

Stockings: Augustin Teboul

159<br />

timeless classics. This is the<br />

reason why black plays a major<br />

role. The Black Label is an<br />

experiment, so in the future<br />

we want to clearly set this line<br />

apart from the main line.<br />

Ju: Ana Alcazar Black Label<br />

is intended to be innovative,<br />

avant-garde and yet unmistakably<br />

Ana Alcazar. The<br />

development is exciting and<br />

we are very glad about that.<br />

KALTBLUT: You also experiment<br />

with colours and prints,<br />

few designers incorporate<br />

those so well. Question to<br />

Beate: Can this be traced<br />

back to your time as a graphic<br />

designer?<br />

Be: It has certainly trained my<br />

eye. I think that the skilled<br />

use of patterns in a dress<br />

has mostly to do with the<br />

sense of female silhouettes.<br />

If a pattern is placed incorrectly,<br />

it can quickly become<br />

a disadvantage, but there are<br />

no rules - the fabric has to<br />

be adjusted individually each<br />

time.<br />

Ju: Clearly this is our strength.<br />

That is what our Ana Alcazar<br />

customers love and always<br />

expect from us.<br />

KALTBLUT: Your Ana Alcazar<br />

woman is very sexy but also<br />

very strong and independent.<br />

Is this your form of feminism,<br />

but on beautiful legs?<br />

Be: Absolutely. Sexy and<br />

strong are not opposites. The<br />

woman of today is not “Miss<br />

Oversensitive” but lives her<br />

own life and shows that with<br />

full passion. Just magnificent!<br />

The beautiful legs do not<br />

matter really.<br />

group of course, like I said.<br />

The majority found the campaign<br />

exciting and interesting<br />

in terms of sexism - just this<br />

time reversed.<br />

KALTBLUT: How was it for<br />

you to become established<br />

in the fashion world? How do<br />

you deal with criticism from<br />

the outside?<br />

Ju: The biggest critic is ourselves.<br />

Fashion is an ongoing<br />

process. That's what captivates<br />

us, that's what we love<br />

and what drives us forward.<br />

Be: It was not always easy,<br />

that's for sure. For a long time<br />

German fashion hadn't been<br />

taken seriously. This has luckily<br />

changed. Nevertheless,<br />

it is fashion and Germany or<br />

actually fashion in Germany<br />

that is not easy. Our provocative<br />

pieces we sell exclusively<br />

abroad, where here are<br />

obviously more courageous<br />

women willing to wear them.<br />

KALTBLUT: Your fashion<br />

exudes a particular strength.<br />

It has that special Rock Star<br />

touch. Where does this come<br />

from? And what would be the<br />

perfect rock band for you?<br />

Be: Rock Star Touch? [laughs]<br />

that's a very interesting approach.<br />

During the collection<br />

design we take great care<br />

that the pieces do not kill the<br />

person wearing them. The<br />

wearer is always at the forefront.<br />

Dresses are to support<br />

and transport the person and<br />

her own character to the outside.<br />

There is nothing sadder<br />

than clad women. Always stay<br />

true to yourself, authenticity is<br />

important.<br />

Jules<br />

Dress: Ana Alcazar<br />

Shoulderpiece: Zofie Angelic<br />

Tights: Falke<br />

KALTBLUT: The fashion<br />

industry is often accused of<br />

degrading women to sex<br />

objects just because men<br />

design the stuff. Do you have<br />

to face nasty allegations such<br />

as these even though you are<br />

both women?<br />

Ju: No. Fashion thrives on<br />

freedom, tolerance and creativity.<br />

Our woman is represented<br />

in our campaigns as a<br />

self-confident, strong person.<br />

Be: In our last shoot we have<br />

our Ana Alcazar model posing<br />

with a naked man. We<br />

were amazed at how many<br />

women were upset about the<br />

naked man. We had actually<br />

expected more protests<br />

from men - but there was not<br />

a single negative comment.<br />

This was only a very small<br />

KALTBLUT: You sell your fashion<br />

on the internet a lot. Is<br />

this more and more the future<br />

for the designer in the form of<br />

direct sales and communication<br />

with the target group?<br />

How important is the whole<br />

social media trend for you as<br />

a designer?<br />

Ju: The internet is great: for<br />

the first time, as a manufacturer<br />

and designer we<br />

can stay in touch with the<br />

consumer. Now real, direct<br />

communication takes place.<br />

Incredibly great! Bonding<br />

with the customer is thus<br />

much more intense; customer<br />

needs and habits can be<br />

directly taken up and considered<br />

in our collections. This<br />

creates trust and a bond.<br />

Be: Absolutely! And the


161<br />

Lex<br />

Top: Ana Alcazar<br />

Skirt: Dawid Tomaszewski<br />

Hat: Lierys<br />

Jules<br />

Dress: Ana Alcazar<br />

Garter Belt: Hunkemöller<br />

Stockings: Aubade<br />

Hat: Seeberger

many emails and messages of Ana Alcazar fans, that's<br />

something we always look forward to very much. It's<br />

just nice to see that customers get married in an Ana<br />

Alcazar or spend a wonderful holiday in it. At this<br />

point we want to thank all our loyal fans!<br />

KALTBLUT: How important are fashion fairs and fashion<br />

weeks still for a fashion label? Or does the Internet<br />

make these events actually unnecessary?<br />

Ju: Clearly! No. We see the Internet as a complement,<br />

not a substitute. Virtually, information is exchanged<br />

every millisecond, but reality can also be a great feeling,<br />

an enthusiasm that can't be replaced. In real life I<br />

have the opportunity to look to the left and right, and<br />

not only what the camera captures. Feel fabrics, sense<br />

them, this is possible only on the fashion fairs. The<br />

internet can attract attention though, arouse curiosity<br />

and inform. A symbiosis of feeling and information -<br />

that's how it works.<br />

KALTBLUT: Your label Ana Alcazar has a daring history<br />

in terms of its name. In the beginning it was called<br />

CCCP: Capitalistic Culture Control Program. What I<br />

personally find very captivating. Then switching to Ana<br />

Alcazar; Ana stands for “anarchistic neurotic alien.” Is<br />

that also equal to a warning? And what does Alcazar<br />

mean?<br />

Be: Oh yes, that's right [laughs]. Life, the people,<br />

society - everything is in constant upheaval. Everything<br />

around you is in constant motion - standing still<br />

is dangerous. Yet, being able to rest can be something<br />

nice and in my opinion the true essence of creativity.<br />

We have tried many things, in fact, and it's still incredibly<br />

fun to try new things, such as our Black Label<br />

experiment.<br />

Ju: We wanted to be provocative, but not politically<br />

- we did not do ourselves a favour with our first label<br />

CCCP. In the mid-80s, the name wasn't welcomed<br />

by the authorities and the international market. We<br />

sensed this really fast and renamed our label and our<br />

company to Tricia Jones - a purely fictitious name<br />

- just like Ana Alcazar, which we then launched mid<br />

90s. Besides the Tricia Jones line that was extremely<br />

avant-garde, progressive and high-priced, we wanted<br />

to establish a young, portable and affordable label.<br />

The name Ana Alcazar sounds very feminine, yet mysterious,<br />

spirited and strong - just like the collections.<br />

It is not Ana Alcazar that means "anarchistic neurotic<br />

alien" - this has been misinterpreted by a newspaper<br />

- but our menswear line, that we had to give up on<br />

after five years, due to lack of time. The menswear<br />

label was an exciting mix of sporty chic and provocative<br />

style. We still get emails and inquiries from guys,<br />

whether we do not want to continue the label - and<br />

we find this amazing class! So dear men: we have<br />

heard you and we'll see, perhaps there is something<br />

for you in the near future. I also think the guys from<br />

KALTBLUT would have loved the anarchistic neurotic<br />

alien collection very much.<br />

KALTBLUT: Thank you for having taken the time to<br />

collaborate with us. I am very pleased. We wish you<br />

much success for the years to come.<br />

Be: Thank you so much, I wish you and the entire<br />

KALTBLUT team every success.<br />

Ju: Thank you, Marcel. Continued success with your<br />

great magazine!<br />

162<br />

Lex<br />

Dress Ana Alcazar<br />

Earrings: Antique & Vintage Jewellery Oliver Rheinfrank<br />

Gloves: Roeckl<br />

Hat: Mayser<br />

Bag: Ystrdy


164<br />

c355p001<br />

If you look up c355p001 online, you won’t find much. A few illustrations,<br />

sure, but unless you speak Japanese you’ll encounter<br />

a fair few obstacles trying to navigate the website. But this<br />

is the year 2013 and there’s a whole world out there full<br />

of technology and tools to help us. We used a mighty<br />

translation engine to decipher an interview with her,<br />

and we’re honoured to be able to present you a bit<br />

more of the mysterious c355p001.<br />

KALTBLUT: My first question will be a fairly basic<br />

one, but as I couldn’t find much about you<br />

on the web, who are you? Who’s hiding behind<br />

c355p001?<br />

c355p001: My name is Fumiko. I was born in<br />

Kyoto Japan in 1984. When you will see my<br />

works, a presence of me will disturb. So you<br />

might want to forget who I am.<br />

KALTBLUT: Tell us about the name “c355p001”.<br />

What’s the story behind it and where does it<br />

come from?<br />

c355p001: The beginning is a personal reason.<br />

I made myself a place of pardon: for my illustration<br />

and my own world. The cesspool which<br />

I can throw in anything. That was “c355p001”.<br />

Now I use this symbol as name.<br />

KALTBLUT: How did you get started in illustration?<br />

c355p001: There was pen and paper. This is<br />

a difficult question, like asking how to have<br />

mastered the native language.<br />

KALTBLUT: There is something dark and obscure<br />

about your work, some very disturbing<br />

elements. What inspires you and gets you<br />

going as an artist?<br />

c355p001: The feeling inside a dream: somatosensory.<br />

Wonder and beauty of the body.<br />

KALTBLUT: Most of your drawings are made<br />

with simple lines. What’s your medium of<br />


165<br />

c355p001: A pen-and-ink drawing. My favourite<br />

is “Isograph” 0,13 MM by Rotring.<br />

KALTBLUT: There are a lot of human bodies in<br />

your work, bodies that are deformed, transformed,<br />

cut, separated or even destroyed… Why is<br />

the human body so central to your work?<br />

c355p001: Because I am human. I have a doubts<br />

about the body. Have you seen the dream in<br />

which your skin melts or your limbs are torn to<br />

pieces? I fear and expect simultaneously that it<br />

actually happens.<br />

KALTBLUT: You do not work with colours, if we<br />

consider black and white as non-colours. Why?<br />

c355p001: If necessary for a illustration, I will<br />

use colours. I choose suitable means / colours<br />

and tools. My only rule, is “Optimisation”.<br />

KALTBLUT: Each of your drawings seems to work<br />

as its own little story. Is that that the case in your<br />

creative process?<br />

c355p001: They have own little stories or the feel,<br />

like a seed secretly paused, waiting to grow. I<br />

wait for them to be watered people I see.<br />

KALTBLUT: Where is this blackness of yours<br />

coming from?<br />

c355p001: Blackness comes from people who<br />

found blackness.<br />

KALTBLUT: Nature is another very important<br />

element of your work. Or at least some aspects<br />

of it, like the fusion between men and nature, am<br />

I right?<br />

c355p001: Petal is also the flesh or the skin.<br />

Stalk is also the blood vessel or the nerve. All<br />

living things are on the same line. Sometimes<br />

fusing, sometimes punishing.<br />

Interview by Nicolas Simoneau<br />


166<br />

Skirt - American Apparel<br />

Turtle Neck - American Apparel<br />

Ring - GoGo Phillip<br />

Earring - Bill Skinner<br />

Necklace - Top Shop<br />

C o n c r e t e<br />

Photography NIK PATE www.nikpate.com<br />

grooming sophie anderson<br />

styling justin & andre @ A+C: studio<br />

model danny blake @ D1

167<br />

Jacket - Jessica Walsh<br />

Skirt - American Apparel<br />

Bandana - Stylist's Own<br />

Trousers - American Apparel<br />

Shoes - Nike<br />

Ring - Claudia Ligari<br />

Bracelet - Go Go Phillip<br />

Necklace - Stylist's Own

Top - Benjamin Bertram<br />

Trousers - Clio Peppiatt<br />

Bandana - Stylist's Own<br />

Shoes - Nike<br />


169<br />

Jacket - Lucy Offen

Meggings - Top Man<br />

Skirt - American Apparel<br />

Turtle Neck - American Apparel<br />

Ring - GoGo Phillip<br />

Earring - Bill Skinner<br />

Necklace - Top Shop<br />

Shoes - Nike<br />


Headpiece - Jay Briggz<br />

T-Shirt - Hardware LDN<br />

Shorts - American Apparel<br />

Watch - Triwa<br />


Headpiece - Jay Briggz<br />

T-Shirt - Hardware LDN<br />

Jacket - Parka<br />

Shorts - American Apparel<br />

Socks - Stylist's Own<br />

Shoes - Nike<br />

Watch - Triwa<br />


173<br />

himmelspach-berlin.com<br />

Let<br />

the games<br />

begin<br />


174<br />


The beauty of Gustavo’s<br />

work in incontestable. His<br />

images are so pure, and so<br />

full of emotion. His work<br />

“RICHLAND” is particularly<br />

touching. All the people<br />

I’ve met in Buenos Aires<br />

so far are all concerned<br />

with what is happening in<br />

their country, and once<br />

again, Gustavo Jononovich<br />

is one of these photographers<br />

that want to use his<br />

work to pass a message and<br />

not only to show the beauty<br />

of some random landscape.<br />

The Argentinan photographer<br />

accepted to share a little<br />

chat with us.<br />

Interview by Nicolas Simoneau<br />

KALTBLUT: Hi Gustavo, my first question<br />

will be really basic, how did<br />

you get into photography?<br />

GUSTAVO: After finishing high school,<br />

I started studying engineering, over<br />

time, I realized that I was on a path<br />

that was not mine. I decided to drop<br />

out of university; I had no idea what<br />

to do next or what I really wanted<br />

out of life. I spent the following<br />

year without any direction trying<br />

to untie some of my ‟inner knots”;<br />

social beliefs, family expectations,<br />

fears... I liked photography but I<br />

had never set out myself to do it seriously.<br />

At that time, I just needed<br />

to do things that I like, without<br />

too many pretensions or expectations,<br />

just the fact that something caught<br />

my attention was enough to try it. So<br />

in 2003 I began studying photography<br />

and became more interested in documentary<br />

photography.<br />

KALTBLUT: One of the first things we<br />

noticed when looking at your work<br />

is the fact that you are only using<br />

black and white. Why is that?<br />

GUSTAVO: I also use color sometimes.<br />

The decision of using black and white<br />

or color depends of the projects I’m<br />

working on<br />

KALTBLUT: Some of your shots seem<br />

also to be taken at night, am I<br />

right?<br />

GUSTAVO: Yes, you are. Night is part<br />

of the day...<br />

KALTBLUT: I also notice, especially<br />

in your work ‟YUMA” that you are working<br />

a lot with multiplicity. Multiplicity<br />

of objects, animals… Does<br />

that have a special significance for<br />

you?<br />

GUSTAVO: It is not a conscious decision<br />

but yes. Multiplicity could be<br />

a tool, like geometry, shapes, contrast,<br />

light, etc, etc.<br />

KALTBLUT: What was your original idea<br />

when you started working on ‟YUMA”.<br />

What did you want to say/show with<br />

this series?

175<br />

GUSTAVO: I traveled to Cuba because<br />

my wife decided to do an<br />

internship in a hospital in La<br />

Havana, she’s a Doctor. Until<br />

then, I had always made photographs<br />

guided by a specific<br />

theme, trying to tell something<br />

about other people’s misfortunes.<br />

I decided to experience photography<br />

in a different way this time.<br />

I wasn’t interested in telling<br />

or describing anything about the<br />

well-known political and historical<br />

characteristics of the Cuban<br />

system. I didn’t want to need to<br />

look for ‟useful situations”. I<br />

tried to forget that I was there.<br />

Liberating myself of having to<br />

tell something about Cuba allowed<br />

me to connect in a more authentic<br />

way with the place. Photographing<br />

using only my instinct allowed me<br />

to discover what I was feeling.<br />

My method was to walk the same<br />

streets over and over again, in<br />

silence, just focusing in contemplating.<br />

I sometimes felt attracted<br />

to the expression of the<br />

shapes and textures and to the<br />

simple beauty of nature. Other<br />

times I felt I was just photographing<br />

my own sense of calmness or<br />

the mystery that Cuba inspired<br />

me.<br />

KALTBLUT: There is also a lot of<br />

nature in your work. Is this a<br />

theme that you particularly like?<br />

GUSTAVO: I live in Buenos Aires<br />

surrounded by concrete and asphalt<br />

therefore my direct contact<br />

with nature is sporadic, but necessary.<br />

During the recent years<br />

my relationship with nature increased<br />

notoriously, I’ve been in<br />

the jungle, in the desert, in the<br />

mountains, in lakes, rivers and<br />

the sea. I like to imagine our<br />

planet without our intervention,<br />

without the human civilization,<br />

just like it’s been for about<br />

5 billion years. Only stones,<br />

water, land, sand, air, trees,<br />

plants, insects... It feels good<br />

to see no artificiality at the<br />

horizon sometimes.<br />

KALTBLUT: Why did you decide to<br />

to create the series ‟RICHLAND”?<br />

What was your motto behind it?<br />

GUSTAVO: RICHLAND is a project<br />

about the exploitation of the natural<br />

resources in Latin America<br />

and the resulting long-term negative<br />

effects. Rather than benefit<br />

from natural resources abundance<br />

and wealth, local people living

176<br />

in areas of exploitation have experienced<br />

loss of livelihoods, health<br />

problems, human rights violations and<br />

environmental degradation. This body<br />

of work was made between 2008 and<br />

2012 in Brazil, Peru, Venezuela, Ecuador,<br />

Bolivia, Chile and Argentina.<br />

Our history has transformed us into a<br />

civilization which functioning depends<br />

on consume. The engine of our<br />

economic structure is fed by generating<br />

new needs, invented needs.<br />

Something that did not exist a month<br />

ago can be indispensable tomorrow and<br />

become a useless thing a year later.<br />

Our lifestyle and the so-called ‟comfort”<br />

set up a huge contradiction.<br />

Some companies extract natural resources<br />

which are used by other companies<br />

to manufacture products that<br />

will be purchased by all of us. The<br />

more things we consume, more natural<br />

resources must be extracted. There’s<br />

no other way. Always a new laptop,<br />

a new cell phone, a new car, a new<br />

blender, more clothes, always more<br />

and more, it seems like it’s never<br />

enough for us.<br />

Business is more important than any<br />

other thing. In the name of ‟progress”<br />

we can transform a forest into<br />

a desert and a desert into a city.<br />

We can move mountains or make them<br />

disappear and we can drill the soil<br />

for miles to extract what is down<br />

there. We can also disrupt mighty<br />

rivers to convert them into inert<br />

lakes. Among the millions of species<br />

that exist and existed, the human is<br />

the only one capable to do that sort<br />

of things, to modify an ecosystem for<br />

their own benefit. Such ability means<br />

a big responsibility for us.<br />

I wonder why we consider that the<br />

earth belong to us, why we consider<br />

it as our property like any other<br />

material good.<br />

KALTBLUT: Would you consider yourself<br />

as an engaged Artist? What do except<br />

from the people who see your work?<br />

GUSTAVO: I prefer not to label myself.<br />

I make pictures that tell something<br />

about my thoughts or the way<br />

I see our world, what happen next it<br />

is out of my range.<br />

KALTBLUT: Are you working on any<br />

other projects right now?<br />

GUSTAVO: Now I’m looking for a publisher<br />

to make the book of Richland.<br />

I’m also making new pictures, I would<br />

say that I’m into a transitional<br />

moment of changing my approach to<br />

photography.<br />



The<br />

178<br />

Insider<br />

Text by Aude Gouaux-Langlois<br />

Un portrait en noir<br />

Illustration by Nicolas Simoneau<br />

Black is a colour that can<br />

be found in others, but searching<br />

for its nuances, and<br />

shimmering glimpses inside<br />

the unexpected, is no mean<br />

feat. An oblique perspective<br />

which allows another meaning<br />

to shine.<br />

Matthieu Chedid has been<br />

sewing his joyful yet deep<br />

musical message together<br />

with his alter ego -M- for<br />

the last 15 years, and it is<br />

with a frank smile that he<br />

started to play around with<br />

the idea of “Noire”: as a<br />

symbol, a colour, an idea.<br />

Our afternoon conversation<br />

takes place in his XVIIth<br />

century hôtel particulier<br />

in the heart of Paris, and<br />

a selection of simple drawings<br />

around the theme of<br />

“Noire” are going to lead it.<br />

Matthieu Chédid in 5 dates<br />

1971 : Born in Boulogne-Billancourt<br />

(France)<br />

1997: Creation of the character-Mand<br />

first album release Le Baptême<br />

2009 : 4th album Mister Mystère<br />

2012 : 5th album Îl<br />

2013 : Live album Îl(s)<br />

-Depiction ONE: The image of a French<br />

musical icon dressed in black-<br />

“Edith Piaf…? This is very strange. I<br />

connected with her for the first time<br />

when I watched a documentary about<br />

her love life two weeks ago. Since<br />

then, I have been listening to all her<br />

records with a new ear, because I understood<br />

the importance of a certain<br />

truth: she is not in the form, she is in<br />

the substance (=essence) meaning<br />

that she can repeat 8 times the same<br />

sentence, and it doesn’t matter, the<br />

intention flows. She gives us a lesson<br />

of authenticity, strength and interpretation.<br />

A wonderful energy…”<br />

Your musical influences are taken<br />

from a English speaking background<br />

but your texts are anchored in the<br />

French language. Do you consider<br />

French Chanson a heritage for you?<br />

“After Piaf came a new wave of French<br />

singers (my father Louis Chédid, Alain<br />

Souchon, Michel Jonasz, Laurent<br />

Voulzy..) and musically they were the<br />

children of the Beatles. I am from the<br />

2nd generation of this original wave<br />

and my aim is to merge the two cultures<br />

closer together. Even if it belongs<br />

to the period, I feel more son of<br />

an Hendrix or Led Zeppelin. And today<br />

we see a 3rd generation that connects<br />

with electronic music…”<br />

In your last album “Îl”, there is a deeper poetry in the French language<br />

that appears in your texts. How do you manage to stand in front of a nonfrancophone<br />

audience?<br />

“Just like Edith Piaf gives an interpretation that goes beyond words, I<br />

would focus on the energy of the sound so that the sound itself is the meaning.<br />

This record gives the literacy, this resonance given to the words<br />

as well as a sound is sufficient in itself. Unconsciously, I am trying to get<br />

to the point where the sound is a language. I think that it can be enough,<br />

that the melody and the intensity behind the words are meaningful. I<br />

have been touched by English speaking songs without understanding the<br />

meaning so often...I assume it works the other way round! Also, I like to<br />

let the imagination doors open and let everyone build their own story.<br />

This is a bit my intention, not to write realistic texts : to remain onirique.”<br />

-Depiction TWO: “Noire” as a record, the swirling black of a vinyl-<br />

Throughout your career you’ve worked with other artists from different<br />

backgrounds. Even though, a certain poetry comes out of every association.<br />

How do you choose your musical collaborations?<br />

“These are meetings of life: if I were a carpenter, I would meet people<br />

that inspire me in this particular field. As a musician, I always liked to<br />

accompany other musicians, enter another universe, be open and regenerated.<br />

It is very natural to me to exchange, to share. It can be a singer, a<br />

film director, a photographer, for instance, I will be lucky enough to meet<br />

Martin Parr, an iconic English photographer. I really like his universe: it is<br />

very aesthetic yet raw. I like artists, poetry and how we can contribute to<br />

make things poetic by sounds or images. When I meet people with whom<br />

I have a common language I want to build something like a hand worker.<br />

Poetry or building an object, the aim doesn’t matter.”<br />

-Depiction THREE: A black curtain: being exposed or hidden.

179<br />

Stage time seems very important for you. I<br />

have the impression that you are going back<br />

to the essential with the new electronic “power<br />

trio” you create together with Brad Thomas<br />

Ackley and Dorion Fiszel.<br />

“Every change of line-up is a new experience.<br />

I started on my own with a kick drum<br />

and samples 15 years ago then joined by the<br />

cellist Vincent Segal and the drummer Cyril<br />

Atef to create this unconventional trio. A<br />

second tour has been done with Alain Gaudi<br />

on drums and Sébastien Martel on guitars,<br />

we stayed 10 years this way. The Mister<br />

Mystère tour has been a cut as I did it with<br />

my family with Cyril Atef and other young<br />

musicians. I am now drowned to the power<br />

of the trio. Brad is playing an instrument<br />

called basstar with 2 bass strings and 4<br />

guitar strings. We build this instrument<br />

here adding a midi controller connected<br />

to his computer which can add samples<br />

and filters. It is very challenging! And I<br />

already have in mind the story I will tell<br />

in the next album and live situation!”<br />

-Depiction FOUR: A blues progression,<br />

the influences of<br />

“Noire” in music..<br />

“Blues is the root of everything<br />

as we find it in funk,<br />

reggae, modern African<br />

music. These 5 notes are<br />

a base for lots of things.<br />

I more and more experience<br />

that I sing like<br />

my guitar and my guitar<br />

plays like I sing. The link<br />

between them too is very<br />

close: it is simply the expression of the same<br />

soul.”<br />

You claim a strong inspiration of the blues in<br />

this album which is so musically sunny. This<br />

is quite of paradox don’t you think?<br />

“This is all what -M- is about: it is a romantic<br />

soul in a playful universe. It can also be<br />

the opposite. I really like the A-minor tonality<br />

for instance. Melancholy is more or less<br />

perceptible but there is always one or two<br />

sad songs in my albums like “Délivre”, “Oualé”...<br />

It is part of me. Moreover I am fond of<br />

contrasts, alchemies, the mix of opposites.<br />

When I started my career, someone did a<br />

street-interview asking “why do you<br />

like -M-?” A girl answered “because<br />

it is the mix of Coluche and Prince”<br />

and I thought it was quite on<br />

point (smiles). Anyway, life is<br />

made of contradictions and<br />

I like my music to reflect<br />

this. For me it is totally<br />

normal to have a<br />

sad text on<br />

a joyful music or the other way round. It creates a 3D of perception.<br />

As musicians, composers or artists, we are chemists<br />

and inventors.”<br />

Using the term chemist makes me think of mixing. Are you active<br />

in the post-production process?<br />

“Yes, I have my home studio here where we recorded and mixed<br />

the whole album. I sometimes mix the songs I really like the<br />

laboratory side of it, it is part of -M- aesthetic.”<br />

-Depiction FIVE: A map of Africa…. we talk about roots and<br />

travels-<br />

“Îl” is an album where you travel a lot: India, Africa, Egypt,<br />

China, USA... Is travelling an important source of<br />

inspiration for you?<br />

“Yes, travelling is very inspiring. When I am not busy with<br />

music, I just travel. Îl contains one song totally made for a<br />

place that touched me a lot, La Réunion. This island has a<br />

nickname and this is how I called the song : “L’île intense”.<br />

Lyrics can be seen as fragments of a tale, using the island’s<br />

particular vocabulary. And when I am with Saraï (the sister<br />

of Dorion Fiszel in Los Angeles), we threw a party and it lead<br />

to the song “La maison de Saraï”. Every place inspires<br />

a song or more. For instance,<br />

Mali is a country<br />

that moved me a lot.”<br />

Serge Gainsbourg was also inspired<br />

by Mali.<br />

“Yes, Gainsbourg released “Gainsbourg Percussions”<br />

including “Couleur Café” in 1965. Even though<br />

it is 99% inspired from African songs, it is always turned<br />

his way and it is magic! He is a genius of geniuses! (smiles)<br />

I also take part in the festival “Fiesta des Suds” in Marseille.<br />

The line up mix African and European musicians. Four years<br />

ago, I found myself on stage with Ayo singing, Flee (Red Hot<br />

Chili Peppers) playing bass, Tony Allen on drums... It was<br />

very unexpected and intense moment…”<br />

-Depiction SIX: -M- shaped black sunglasses, hiding in the<br />

dark-<br />

It’s difficult to draw your portrait without speaking of the<br />

link between -M- and Matthieu Chédid, shadow, light, nor<br />

the accessories can describe… did you ever feel like hiding<br />

yourself behind a character?<br />

“Black sunglasses drown me to the mask, the wolf. I took<br />

this sentence from Nietzsche saying ’Everything that is deep<br />

loves the mask’. Perhaps I reinterpreted its original sense<br />

but I think that you are deeper when you hide yourself because<br />

you are disinhibited and go searching further away.<br />

It is like going to a masquerade, being dressed up allows<br />

you to let go. For me, it is obvious that you reveal your true<br />

self being someone else in the form, you are closer to your<br />

true self. Unconsciously, -M- comes from this approach: to<br />

reveal your soul behind, or because of a mask.”<br />

Then you could also appropriate this sentence of Oscar Wilde<br />

‚Give him a mask and he will tell you the truth’?<br />

“Yes sure. (smiles)”<br />

This truth may also lie in the cycle you draw through<br />

your career. In contrast to David Bowie who radically<br />

changes character with each album, I have<br />

the feeling that you moved -M- away in “Mister<br />

Mystère” to let it evolve, and consider -M- and<br />

Matthieu Chédid as the same person in “Îl”. Do you<br />

agree?<br />

“All things considered, I never locked myself in one character.<br />

This is more like a game. I really enjoy playing, there<br />

is space for freedom. To be honest, I would compose and play<br />

exactly the same music with or without the look of -M-. This<br />

is not what changes my music. My music is very instinctive;<br />

it reflects periods of my life. The colours can change from an<br />

album to another but the content would stay the same. Like a<br />

painter, I really like the idea of ‚period’. I am very much in the<br />

present as well as aware of the timelessness: I always have<br />

a long vision of things and like to make things coherent.”<br />

The sounds of Matthieu Chédid can be heard at : www.labo-m-music.com

Termites<br />

180<br />

Photography by Eileen Rullmann<br />

www.art-photographie.com<br />

I Heteropteryx dilatata I

181<br />

I Xylotrupes gideon I<br />

I Zanna nobilis I

182<br />

I Leopa sikkima javanica I<br />

I Lasiocampa quercus I

183<br />

I Prioneris thestylis I<br />

I Samia cyrithia I

184<br />

COL<br />

What’s Left O<br />

by Amy<br />

Frustration, stalling us at every<br />

turn. Amongst the crowd of<br />

vacant eyes you can feel its grip<br />

tighten. Suffocating, yet familiar,<br />

constricting, yet comforting. The<br />

Noire is all your darkest doubts,<br />

your enemies, and your fear of<br />

being alone. It’s a locked door, a<br />

sealed hatch in the floor, a darkened<br />

room: that contains all the<br />

secrets about your true self, but<br />

you’ve never dared open it to look<br />

inside. Everyone has something<br />

hidden, something mysterious,<br />

magical and precious: just meant<br />

for themselves, kept from others,<br />

it’s how we were intended<br />

to be. We have the capacity to<br />

keep a secret. Yet in an attempt<br />

to establish total control, for the<br />

so-called good of our society, we<br />

began to clean up, renovate, and<br />

demolish the walls behind which<br />

we hid such secrets for so many<br />

eternities. The places where<br />

we could once go to express<br />

our innermost desires and our<br />

distresses, suddenly engulfed by<br />

cleanliness: a sheen of musty dirt<br />

aggressively purified by something<br />

mechanical, chemical—no<br />

regard for the poetic beauty that<br />

may once have been festering<br />

within.<br />

Fear of the mysterious is ordinarily<br />

ingrained within us from an<br />

early age, so deeply ingrained in<br />

fact, that lines have been drawn<br />

that we are so inherently petrified<br />

to cross, for our own protection:<br />

or for the greater good. As soon<br />

as the darkness becomes just a<br />

little too inviting—welcoming,<br />

even. The adrenaline inside of us,<br />

the fight or flight signal, switches<br />

the light from off to on, revealing<br />

the reality of a harmless empty<br />

room. This isn’t to say that we<br />

don’t fabricate these environments,<br />

we still love to be terrified<br />

for the sake of it, to explore our<br />

dark fetishes, our perverse fantasies,<br />

but only if a panic button<br />

lies just within reach: we build<br />

something that can be quickly<br />

erased, forgotten or buried. Noire<br />

is not a way of life for the average<br />

human being, just something<br />

to be played with, teased,<br />

and used as entertainment. If<br />

anything gets too out of hand,<br />

well—it’s only our imagination.<br />

How powerful can that be? It was<br />

all just a dream. Pinch yourself<br />

to check for sure. This isn’t to<br />

say that every mind should have<br />

been unlocked, and plenty of<br />

depraved, psychotic a-lid in this<br />

world should have undoubtedly<br />

been left shut, but still there’s<br />

no way to know exactly how our<br />

world would look had these and<br />

other such tools of control—the<br />

gatekeepers of the Noire–never<br />

been known.<br />

Perhaps the most intense criticism<br />

surrounds the network we<br />

know as the world wide web,<br />

innumerable factors, strings<br />

of thought and oppositions are<br />

open to consideration in regards<br />

to this. However, one thing is<br />

certainly clear, that we no longer<br />

understand the importance of the<br />

phrase, “some things are better<br />

left unsaid”—suddenly we<br />

are all knowing, all telling, and<br />

all masters of our own online<br />

universes, as tiny robotic devices<br />

surround us and ‘enrich’ our daily<br />

lives. No question left unanswered,<br />

no stone left unturned,<br />

no dark, mysterious passageway<br />

left unexplored. Yet we are all<br />

still fascinated by a story without<br />

an end, an adventure: a tail,<br />

only visible to the naked eye, but<br />

to what kind of creature can it<br />

possibly belong? For fear of the<br />

answer we constantly construct<br />

rational thought to somehow<br />

disband these once so revered<br />

myths: webpages, forums, selfhelp<br />

websites, all answering the<br />

unanswerable questions of the<br />

world, that were once so wonderfully<br />

abstract, suddenly now<br />

seeming so concrete, our doubts<br />

sent scattering.<br />

As soon as we switch on and<br />

log in, accept the terms, check<br />

the box, something we never<br />

even knew we had is inextricably<br />

ripped from us: a foetus of<br />

unknowable energy, curiosity<br />

and depth. Should we have the<br />

opportunity to look outside of our<br />

assumed blinkers, even just for<br />

the briefest of moments, and live<br />

our own lives, instead of focusing<br />

on the experiences lived by one<br />

thousand million others?<br />

Through media, music, video,<br />

sound and film, we can experience<br />

the cultures, lives, emotions,<br />

existences and imagery of<br />

every area of the earth, witness<br />

the most horrific sights of war,<br />

famine, depravity, and death—<br />

but have the majority of us ever<br />

really seen anything at all?<br />

Something with our own eyes, to<br />

the point that it shakes us to the<br />

very bones, shakes us into action,<br />

outside of the safety of our living<br />

rooms, our cosy, comfortable<br />

nests. How much of your life is<br />

lived within a virtual reality, that<br />

separates you from your fellow<br />

human, a virtual reality, that has<br />

really become your cage.

UMN<br />

185<br />

f The Noire?<br />

Heaton<br />

Anonymity and privacy are<br />

things of the past: our emotions,<br />

everyday and otherwise,<br />

shamelessly spattered across<br />

pages, even the most hardened<br />

critic has their price. Nothing<br />

is sacred anymore. Existence,<br />

once so wonderfully fragile and<br />

unfathomable is now tirelessly<br />

analysed and finally, explained<br />

away: there is no mystery. How<br />

can there possibly be when every<br />

moment, feeling, living, waking<br />

day is captured through the eyes<br />

of a camera lens, how much of<br />

your life do you even live through<br />

your own eyes? Let’s appreciate<br />

the irony in all of this interconnectedness,<br />

if only for a fleeting<br />

moment. Each time we find<br />

ourselves afraid, and isolated,<br />

within moments we are able to<br />

network to our nearest and dearest<br />

in a heartbeat. Slide open the<br />

iPhone screen to reveal a world<br />

of human contact within, but if<br />

we were ever forced to face our<br />

own most twisted fears head on,<br />

how quickly would a cry for help<br />

really be answered? How many<br />

of those so-called friends would<br />

come to your rescue when you<br />

truly needed them most? Have we<br />

somehow become so lost in our<br />

own world of imagined security<br />

that in fact, when we finally look<br />

back: no one’s there. Instead of<br />

staring, sharing, tweeting and<br />

liking our way through life, copy/<br />

pasting our personalities into<br />

the endless white space, why<br />

not step outside and take a walk,<br />

down a darkened street, down<br />

a road without an end, and see<br />

what’s really possible? How far<br />

are we really able to defend ourselves<br />

and cross the line into the<br />

place without an exit? To discover<br />

all the sordid delights that may<br />

well lie within.<br />

Yet it is irreversibly so, that the<br />

beauty in the unknown has been<br />

long since forgotten. In a world<br />

full of endless safety features,<br />

soft cushions and user-friendly<br />

bullshit, how is it even possible<br />

to find the Noire? Let alone live<br />

a life inside it. To really crawl<br />

into its cavernous mouth, teeth<br />

glinting, tempting as they are<br />

destructive. Those who even hope<br />

to find a way must live on the<br />

fringes, outcast, the only ones<br />

who dare to go where others<br />

dare not, living life to the full,<br />

travelling further, pushing themselves<br />

harder to the very edges.<br />

As more and more mysteries of<br />

the world are seemingly solved,<br />

unmasked, excavated, where<br />

do we find that last place that<br />

is truly—underground. Ignorance<br />

may be bliss for a while,<br />

but somewhere there’s a feeling<br />

deep inside that’s niggling<br />

away, yearning for something<br />

more than just the world that is<br />

tailored for us by the choices we<br />

already made. Who we know,<br />

why we know them, where we go,<br />

what we do there, what we buy,<br />

where we work, where we went<br />

once, twice, three times. Perhaps<br />

without this constant observation<br />

of our every movement we might<br />

feel free to explore some of those<br />

secret corners of the world, those<br />

hidden places you can’t read up<br />

about on Lonely Planet, leaving<br />

your review from 1–5 stars. No<br />

photo app filter can blur the reality<br />

of what was really there. No<br />

edit button, no retouching tools.<br />

As we become ever more intertwined<br />

I start to wonder what will<br />

become of us in the end, what<br />

will be left of the Noire, in us,<br />

in the things that surround us,<br />

perhaps it was never even there<br />

in the first place, or perhaps we<br />

simply don’t care what happens<br />

when all the mysteries are<br />

solved. Concepts are researched<br />

and researched into nothing.<br />

References quoted, captions<br />

explaining, clarifying, criticising.<br />

Whatever happened to just<br />

letting things be? Leave notes<br />

hanging—artfully mounted in the<br />

mid-air. When the rush of excitement<br />

of simply not knowing, is<br />

a feeling that humans can no<br />

longer ever experience. Background<br />

checks, google searches,<br />

facebook pages: telling us all we<br />

really need to know. Why would<br />

you bother looking anywhere<br />

else? As a lack of empathy, and<br />

disconnectedness overwhelms<br />

and consumes you, are you really<br />

in a position to stand up and<br />

fight? Drugged, subdued, and<br />

vacuous, tapping away into the<br />

abyss.<br />

As we disband the external socalled<br />

threats that surround us,<br />

will we start to destroy ourselves<br />

from the inside out, our minds<br />

so constricted that they slowly<br />

coil in on themselves, tighter and<br />

tighter around our consciousness<br />

until the last drop of curiosity is<br />

unravelled. What hope is there for<br />

the Noire—half-dead already–<br />

taking it’s last gulps of air in a<br />

world where anything that once<br />

waited patiently in the shadows,<br />

is now mercilessly exposed<br />

beneath the unblinking chill, of<br />

inextinguishable neon lights.

186<br />


Not all who<br />

wander are<br />

LOST<br />

Interview: Ange Suprowicz & Amy Heaton<br />

Photo Credit: Alastair Philip Wiper<br />

“ I wrote all the songs<br />

with certain vocalists<br />

in mind but without<br />

their knowing. So<br />

Luckily everyone said<br />

yes actually, if not<br />

these songs would not<br />

have been on the album.<br />

Each track was<br />

specifically written<br />

for the vocalist who<br />

recorded it in the end.”

187<br />

Composing at the intersection between indie and electronica, Copenhagen-based musician Anders Trentemøller<br />

released his debut album ‘The Last Resort’ in 2006. Since then he has been exploring a penchant for emotional<br />

melodic moments and experimental production methods, touring with his live band of multi-instrumentalists<br />

and remixing every well respected artist in the electronic music scene from Moby to The Knife. After starting up<br />

his own record imprint, In My Room, Trentemøller’s second album Into The Great Wide Yonder was released<br />

four years later, it was a move into a more analogue sound influenced heavily by indie and post punk incorporating<br />

even more live instrumentation and vocals. This autumn he released his third full-length album Lost,<br />

drawing inspiration from his extensive live touring stint, is a record defined by Trentemøller’s grunting reverb,<br />

psychedelic grooves and a jumpy synth pattern that pushes us into the album’s dark, emotive context. Lost is<br />

Trentemøller’s most collaborative effort yet, pairing him with a vibrant cast of vocal features— the legendary<br />

duo Low, Jonny Pierce from The Drums, Marie Fisker, Kazu Makino of Blonde Redhead, Jana Hunter of Lower<br />

Dens, Ghost Society and Sune Wagner of The Raveonettes.<br />

Live, Anders is accompanied by a band made up of three guys dressed in black and two girls on his right adorned<br />

in floaty white chiffon. Together, they create a musical journey that twists and turns; it peaks in pitches high<br />

and low, it rattles and tattles. As the drums build from a tribal romp to a panicked bubbling, the atmosphere<br />

is rife with a feverish buzz. Haunted by past endeavours and a droning EKG pulse, the entirety of Lost may<br />

exist in the bliss of the intermediate, neither here nor there; the disparate state of wandering and intentionally<br />

finding oneself lost. The members on stage take turns to stand in the foreground, as if taking turns to navigate<br />

through the unknown. Equipped with shakers, tambourines, cymbals, a xylophone and other tinkling sundries,<br />

the group noisily makes it way into the dark void ahead. On stage, three pieces of art installation appear,<br />

obstacles in their path, and there’s a gloomy moment of uncertainty. Classic horror movie sounds eke in, and it<br />

seems the end is nigh. Slowly, Anders’ gnarled, bass heavy synth style moves into the foreground and he begins<br />

clapping, exciting the audience and encouraging his band to push on. The straight instrumental sheds a light on<br />

Anders’ technical finesse and he raises his hand as if to exclaim “It’s this way, follow me!” The band follows; having<br />

found a fork in the road, they see an open stretch of opportunity. Marie Fisker’s uncanny voice is silky and<br />

sultry and oddly comforting, it grounds both audience and band, and together we find our way out of the abyss.<br />

The performance’s closing moments recapitulate the album’s theme: it progresses from a wide-eyed sensual understanding<br />

to disorientated wanderings to a profound feeling of escape. Anders has chosen and acted wisely: if<br />

you’re going to get lost, it’s best to have five virtuosos by your side.<br />

KALTBLUT: On your website it says that the album is a “fuck-you to<br />

whatever genre” your followers had boxed you into. What kind of progression<br />

brought you to this definitive point?<br />

TRENTEMØLLER: Thankfully it’s not all my ‘followers” who like to<br />

put me into a box, but yeah, it has sometimes been a bit frustrating<br />

for me that people seem to find it difficult to accept that I keep on<br />

developing my sound. I still think there’s a red line connecting the<br />

music I did in my past up to now, but my life also naturally developed.<br />

That should hopefully be something you could hear in the<br />

music too. Of course I don’t make the same music as I did eight years<br />

ago but I don’t think in genres to be honest, so it’s sometimes a<br />

bit fun to see, especially music-journalists, who try to put my music<br />

into different kinds of weird boxes. Why not just judge the music<br />

for the music itself ? I sometimes like to think...<br />

KALTBLUT: How important do you think is it for musicians to break<br />

out of their genre?<br />

TRENTEMØLLER: I don’t like to think too much in genres, I think<br />

it’s all about making personal music that reflects your moods and<br />

feelings, then if it breaks the genre or not at all, that does not matter<br />

to me as long as the music touches me. A band like Mazzy Star<br />

sounds totally the same on their new album as they did when they<br />

released their last 17 years ago…and I’m glad about that! They are<br />

amazing and Hope’s vocal is so unique, I don’t need them to break<br />

genres, I need to hear them write fantastic songs and they did not<br />

disappoint me this time either!<br />

KALTBLUT: How much of your work is done with the intention to surprise<br />

and shock?<br />

TRENTEMØLLER: Not much at all! That’s not my purpose in making<br />

music. I make music out of a personal passion. Music is for me,<br />

one of the best ways to describe my feelings and I try to only be in<br />

the now and not thinking about music in a ‘music marketing’ or<br />

business kind of way! I don’t care about target groups either.<br />

KALTBLUT: In 2008 you won an award for Best Chillout Artist and<br />

later stated you never thought your music would be categorized as<br />

“chillout”. How would you describe it then?<br />

TRENTEMØLLER: I won’t try to squeeze the music into a specific<br />

genre, but I would say it’s melodic and kind of dramatic music with<br />

a lot of contrasts and dynamic. All in all I actually just try to make<br />

good quality music! That’s the most important thing for me as an<br />

artist.<br />

KALTBLUT: What was the recording process like for you this time?<br />

Did you have continuity with your studio set up?<br />

TRENTEMØLLER: Yeah, pretty much! I have a nice studio in<br />

Copenhagen with a recording room for drums, guitars, piano, amps<br />

and other stuff and then my working/producing room next door,<br />

where most of the time is spent. This time I began the writing of the<br />

tunes often at my upright piano. I like to focus on the melodies and<br />

chord progressions first and for that the piano is the natural choice.<br />

I don’t have the music graphically in front of me on the computer<br />

monitor but I am using only my ears and I like that fact, it makes it<br />

easier for me to write music that way.<br />

Then later I turn to my studio and arrange those ideas and parts<br />

I have written for the different instruments and work on them<br />

again on the computer.

188<br />

KALTBLUT: This album has, indeed, a far more song-structured style–-compositionally<br />

speaking—and not only because of the vocals<br />

from collaborating artists. Was this a calculated attempt to spend<br />

more time working with other people? Do you think the album is<br />

more commercial than your previous work?<br />

TRENTEMØLLER: I don’t think about being commercial or not,<br />

so it’s hard for me to say, but maybe it’s a bit easier for people to<br />

connect to because there are more vocal tracks on the album. It<br />

was very much just how the tunes I wrote ended up progressing,<br />

I did not plan to do an album with more vocals on than before,<br />

but the songs somehow really fitted vocals as I went along, it<br />

wasn’t my intention to create something more commercial at all,<br />

but simply because the tunes I wrote kind of ‘demanded’ vocals it<br />

seemed natural to follow the flow.<br />

KALTBLUT: You’ve been quoted as saying, “For me, making music is<br />

quite a lonely process.” Does this ever bother you? Or do you embrace<br />

it?<br />

TRENTEMØLLER: I really love the process of writing and producing<br />

all on my own, that’s what works best for me. I don’t incorporate<br />

the musicians when I’m in the studio, I like to have<br />

100% control over the music at this point. So often we make quite<br />

different versions of the same song, and then when we finally<br />

get together we share our ideas. I can offer my experience as a<br />

musician, because I know what it’s possible to actually play on<br />

the different instruments and often that is a big help, and the<br />

musicians give me a lot of feedback on the music and often come<br />

up with other ideas how to play the different parts, and at this<br />

point it becomes more of a collaborative process. I didn’t really<br />

want the album to be a ‘feature’ album actually, that was very<br />

important for me. So I really hope the album works as a whole<br />

album even if there are several different vocalists on it. There are<br />

also several instrumental tracks and that is something that I still<br />

really love to do. Next album could maybe be a pure instrumental<br />

album, who knows…<br />

KALTBLUT: How do your collaborations usually come about?<br />

TRENTEMØLLER: For me it’s actually not the main thing to collaborate<br />

with vocalists, but since I really sing quite badly myself<br />

I need someone to sing my songs! When I started writing for this<br />

album these songs just materialised when I sat at the piano, and<br />

I instantly knew that they would fit specific vocalists, so I actually<br />

wrote all the songs with certain vocalists in mind but without<br />

their knowing. So it was quite nerve-wracking finally after<br />

the songs were kind of finished from my side to begin to contact<br />

these vocalists and hope that they would want to work with me!<br />

Luckily everyone said yes actually, if not these songs would not<br />

have been on the album. Each track was specifically written for<br />

the vocalist who recorded it in the end.<br />

KALTBLUT: Was there any one particular artist with whom you<br />

had a special musical chemistry, where you just immediately clicked?<br />

TRENTEMØLLER: Yeah! The song I did with Mimi Parker of<br />

Low. It was so easy to work together and the result turned out so<br />

well I think. I’m a HUGE fan of their music and they have been<br />

a constant inspiration for me the last 15 years, so for me it was a<br />

fantastic thing to have them on my album. When I started working<br />

on the chord progression of the song I had Mimi Parker’s<br />

beautiful voice in mind, so it was a great, great pleasure and a<br />

big honour that she actually really liked the music I sent to her<br />

and made this magical melody and lyrics to put with my music.<br />

So that’s also one of the reasons that the song ‘The Dream’ is the<br />

opening track on the album. From there you can go everywhere…<br />

it’s quite open and I like that!<br />

KALTBLUT: The collaboration with Jonny Pierce from The Drums is<br />

the one that surprised us the most. What’s the feedback on that been<br />

like? Did it open up a new audience for your sound?<br />

TRENTEMØLLER: I had a really good feedback on that track, especially<br />

when we are playing it live. We play it in a quite different<br />

more uptempo version that sounds a bit like The Cure. It’s Marie<br />

Fisker, who also appears on the album, that sings it live. So to<br />

make the song adapt to her we change it quite a lot actually, but<br />

it works.<br />

KALTBLUT: Do you feel like you’ve collaborated with almost all the<br />

people you’d like to? Or is there anyone that seems out of reach for<br />

you—a dream collaboration, perhaps?<br />

TRENTEMØLLER: If I had to choose one artist that I really respect<br />

and love it would be Nick Cave. To work with him on a song<br />

would be out of this world! Nick Cave and The Bad Seeds played<br />

just before us at a festival, and we watched the whole concert<br />

from the stage. It was mind blowing, nearly a bit scary how well<br />

they played and how good Nick Cave was on stage.

189<br />

KALTBLUT: Who’s your favourite artist that has remixed one of your<br />

tracks so far?<br />

KALTBLUT: How do you think the electronic music scene has evolved<br />

since you’ve been apart of it?<br />

TRENTEMØLLER: I don’t think that I have ever got a remix that<br />

I really liked...but for the first time I really got a fantastic remix of<br />

the track Gravity (feat. Jana Hunter from Lower Dens) from the<br />

new album from danish band Pinkunoizu. It’s a brilliant remix and<br />

it will be out soon! I’m so happy about it!<br />

KALTBLUT: How was it working with Dorit Chrysler? We’re big fans<br />

of her unique experimentation with the theremin sound.<br />

TRENTEMØLLER: Dorit is a good friend and she supported us on<br />

our US tour two years ago. She is also married to the Danish video<br />

artist Jesper Just who did the music video for Sycamore Feeling<br />

from my last studio album and it’s through Jesper that I got to<br />

know Dorit and her music. She’s so talented and a great performer.<br />

She’s a real diva (in a good way) so that was also why I produced<br />

and released her latest EP on my own label In My Room.<br />

KALTBLUT: What do you see in the future of recording and sharing<br />

music? Especially in regards to GEMA on our Berlin backs.<br />

TRENTEMØLLER: As regards file sharing music, I really think<br />

it’s rude and with no respect for the artist when people upload a<br />

WHOLE album with graphics and everything for people to download<br />

for free. It’s really hard to make a living as an artist now, because<br />

the physical sales have been minimised so much, so one of<br />

the only ways we can have the time and freedom to make music<br />

is if the people using our music also pay for it! I don’t mind if one<br />

of my tracks is on a blog or another place on the net, but a whole<br />

album for people to download for free is too much disrespect for<br />

the artist and I hate that I can find my new album as a .zip file free<br />

to download on the internet quite easily, but at the end of the day<br />

it’s really hard to fight that.<br />

KALTBLUT: You once said in an interview Berlin doesn’t do it for you<br />

quite in the same way as Copenhagen. What does the Danish capital<br />

have on the German one? Are there any other cities you would you<br />

consider moving to?<br />

TRENTEMØLLER: I just like Copenhagen and the vibe here. So<br />

much interesting music has come out of Copenhagen and Denmark<br />

these past years I think. Maybe because we started to trust<br />

our own sound and do not try to copy what is coming out of for<br />

example US and UK, but we try to define a certain Scandinavian<br />

way of writing music, often with a more melancholic touch.<br />

KALTBLUT: Let’s talk about your imprint ‘In My Room’. When did<br />

you start this up, and why?<br />

TRENTEMØLLER: I simply wanted my own platform from where<br />

I could release my albums and sometimes other artists that I find<br />

interesting, but so far the only other artist I have had the time to<br />

release is Dorit Chrysler. Hopefully I can sign another new artist<br />

soon that has that special thing that I’m looking for. But right now<br />

I’m really busy touring so when the touring stops next year I will<br />

definitely start searching for more artists to work with. It basically<br />

just means that I have 100% artistic freedom and that is of course<br />

very important to me!<br />

KALTBLUT: What does it mean to you that electronic musicians appear<br />

to be taking a darker, more industrial and atmospheric turn? Do<br />

you have any thoughts on the influences behind this progression?<br />

TRENTEMØLLER: I can’t talk on behalf of other artists, especially<br />

not electronic artists so I don’t know if the overall music style has<br />

taken a darker twist. I don’t see music as a whole scene or a whole<br />

sound or style, but what I certainly miss in a lot of electronic music<br />

is melodies! It’s too often only atmospheres, beats and sound design<br />

and too less melody, but that’s just my opinion…maybe I’m wrong?<br />

TRENTEMØLLER: To be honest I don’t really follow it so much because<br />

when I was doing more pure electronic music l did not feel<br />

any connection to the scene actually. So I’m not at all up to date<br />

with what is happening, and it was the same thing back then. I<br />

tried not to focus so much on a genre or scene but just to make music,<br />

and back then what came out from me had a more electronic<br />

sound but I never felt that I belonged to the electronic scene.<br />

KALTBLUT: How important is the relationship between the visual<br />

and the auditory for you?<br />

TRENTEMØLLER: Quite important! I work very closely with the<br />

Danish artist and fashion designer Henrik Vibskov on the visual<br />

side of the show. Henrik actually used to play drums in the band<br />

too but these days he’s too busy for that because he’s using all his<br />

time on his own stuff. But Henrik is designing and building the<br />

whole stage set-design that we always bring with us when we play<br />

live. There is no video projections, it’s all build up and then we use<br />

a lot the light to make these set ups work even stronger.<br />

KALTBLUT: A lot of musicians are starting to turn towards working<br />

on film soundtracks. Does this appeal to you at all?<br />

TRENTEMØLLER: No. Not really! I worked on a Danish movie<br />

once but then I realised that it takes a lot of time and energy, it’s<br />

nearly the same as making a studio album and I would rather use<br />

that time on touring or making new music. I do like the fact that<br />

other directors use my music in their movies though, for example<br />

Pedro Almodóvar used one of the tracks on my earlier album Into<br />

The Great Wide Yonder for his movie, ‘The Skin I Live In’. It’s a key<br />

scene about two minutes in with no dialogue, only the music, and<br />

then he actually also used that track for all the trailers for the movie.<br />

He also asked to have the different parts in the music separately<br />

so he could mix up for example the guitars so they fitted what<br />

happened in the scene which was a long chase scene with Antonio<br />

Banderas on a motorbike. Also Oliver Stone used my surf track<br />

‘Silver Surfer, Ghost Rider Go!!!’ in his latest movie, and the french<br />

director Jacques Audiard used a mix I did with Bruce Springsteen<br />

in a key scene in Rust And Bone. So the fact that other artists that<br />

I also admire a lot can use my music in a creative way is fantastic.<br />

I’m very grateful for that!<br />

KALTBLUT: How do you approach your Dj-ing versus your tour<br />

shows? Where do you like to let your creativity and risk-taking run<br />

wild?<br />

TRENTEMØLLER: I don’t really play as a DJ anymore, my focus<br />

is playing my own music live rather than playing other peoples<br />

tracks as a DJ, so it’s also mainly with the band that I use my creativity!<br />

KALTBLUT: You started out presenting your work as a solo artist and<br />

then began touring with a live band. Did it take a lot of work to transform<br />

the set up?<br />

TRENTEMØLLER: I don’t think really think about it in advance,<br />

like about if or how the music I make will work in a live situation,<br />

but It’s really nice after all these months isolated in the studio and<br />

the album is finished to meet with the band and start to rearrange<br />

the song and rehearse them together. It’s a totally different process<br />

and a nice contrast for me!<br />

KALTBLUT: What are you currently listening to when you’re not working?<br />

TRENTEMØLLER: The Soft Moon, The Smiths, Dirty Beaches, Flaming<br />

Lips, Moon Duo, The Warlocks….<br />


190<br />

Susann Bosslau<br />


Objects in mirror are further than they appear<br />

A fashion star is born! May I<br />

introduce you to my friend and<br />

fashion designer Susann Bosslau?<br />

I've known her for some years<br />

now, and we used to curate the<br />

fashion element of our project<br />

HONK! Magazine together<br />

two years ago. She is a model,<br />

fashion editor and just finished<br />

studying at the Akademie Mode<br />

& Design (AMD) fashion school<br />

in Berlin. If someone is truly<br />

gifted with talent then it is Susann.<br />

This blond-haired German<br />

girl is an all-rounder and just<br />

moved to London to enter the<br />

fashion world from there. I am<br />

proud to present her first Spring/<br />

Summer Collection for 2014:<br />

"LENTICUL[I]AR - Objects<br />

in mirror are further than they<br />

appear"<br />

Together with photographer<br />

Suzanna Holtgrave she has<br />

produced this great editorial for<br />

our Collection Noire. Her designs<br />

are fashion-forward, exactly<br />

what I expect when I think of<br />

avant-garde fashion. The woman<br />

Susann is designing for must be a<br />

strong character—a woman with<br />

style, sexy and edgy—because<br />

she herself is that kind of woman.<br />

To be honest I hate the fact that<br />

she is designing womenswear. I<br />

would love to see, and perhaps<br />

one day wear, some amazing<br />

menswear pieces from her.<br />

Susann do you hear me?

191<br />

Interview by Marcel Schlutt<br />

Concept and Photography by Suzana Holtgrave<br />

www.suzanaholtgrave.tumblr.com<br />

Styling and Designs by Susann Bosslau<br />

Hair & Make-Up by Timo Blum<br />

www.timoblum.blogspot.de<br />

Assistant: Stella Semmerling<br />

Models: Kassandra and Pepa<br />

M4 Model Management<br />

Special THX Kiko Dionisio and Nero the dog

192<br />

“The<br />

‘Twin<br />

Peaks’<br />

character<br />

Josie<br />

Packard<br />

would be<br />

the perfect<br />

model for<br />

my<br />


193<br />

KALTBLUT: Hello Susann. Welcome to our<br />

magazine. We've known each other personally for a long time<br />

now, but please tell our readers something about your background?<br />

How did you get into fashion design?<br />

Susann: Hey KALTBLUT. Thank you for<br />

having me. It’s been a while since we last worked together,<br />

before I started working on my Bachelor Degree collection<br />

at AMD Berlin. I had to leave the Fashion Editor<br />

part at HONK! (which has now become KALTBLUT)<br />

in order to focus on my B.A. From a very young age I<br />

was involved in the arts. I was dancing a lot, jazz, modern<br />

dance and ballet, and I actually always wanted to become<br />

a ballerina because I had this obsession with those painful<br />

but beautiful ‘pointe’ shoes. I was always so keen about designing<br />

the outfits or at least having a say about the costumes<br />

and looks my dance group wore for performances and<br />

competitions. I guess this is when designing started to take<br />

over my life. My mum always made the clothes I designed.<br />

She was unbelievably patient with me. Her mum was<br />

a tailor and she learned it from her and I learned part of<br />

that from my mum.<br />

KALTBLUT: You just finished your studies at the AMD Berlin.<br />

For how long did you study fashion there? Do you have the feeling<br />

that it was time well spent?<br />

Susann: I finished my B.A. in February 2013. Studying<br />

there definitely made a change to my life. Not only was I<br />

studying with very good teachers and professors for 3 and<br />

a half years but also extremely talented students who are<br />

now very good friends. It was a tough time but I am happy<br />

that I chose to study there.<br />

KALTBLUT: We are presenting your first collection for Spring/<br />

Summer 2014 entitled "LENTICUL[I]AR - Objects in mirror<br />

are further than they appear". Could you explain your inspiration<br />

for this collection? And what does the name mean?<br />

Susann: Visualize a liar. Someone who hides his weaknesses<br />

behind a fabricated facade. There will always be people<br />

who create a fake character in order to hide their not so<br />

cool self. LENTICUL[I]AR actually refers to physics. A<br />

lenticular lens is an array of magnifying lenses. It is a lens<br />

specially designed in a way that when you look at it from<br />

different angles different images are magnified. You might<br />

know this effect from pictures where lenticular printing<br />

was used. As a child I had this card with butterflies on it.<br />

When I held in my hand I could see the butterflies with<br />

their wings either closed or opened but when I moved it<br />

they looked like they were flying. I used it because just<br />

like my collection this lens shows you an illusion, a lie. It’s<br />

like a different reality or how I call it a parallel universe<br />

of yourself. This is where those metal corsets, pants and<br />

gloves come into the picture. That would be the inspirational<br />

negative part of this collection. The positive part<br />

is that you should always look at something from different<br />

angles before you judge, the picture can change on<br />

a second or third look. When you see my clothes from<br />

the front they will lead you in a certain direction but this<br />

direction will turn completely when you see the back.<br />

I think faking is self-torture. However that torture was<br />

inspirational enough to make metal corsets, pants, latches<br />

and gloves.<br />

KALTBLUT: I love the shapes of your designs. How would you<br />

describe the aesthetic of your work?<br />

Susann: It’s a neo 50’s/60’s mix with a hint of Han Solo’s<br />

‘Millennium Falcon’. Elegant, straight-forward, laced up<br />

but at the same time sexy.<br />

KALTBLUT: Also your choice of different materials in the collection<br />

is amazing. From fake leather to multicoloured brocade.<br />

Why those different materials? Was it easy to work with them?<br />

And what else can we find in your collection?

Susann: I wanted the materials to clash. I wanted<br />

to draw attention to the fabrics and show<br />

that this mix can work. Whilst researching for<br />

fabrics I focused on what sort of association a<br />

certain material recalled in me. The multicoloured<br />

woven brocade reminded me of a stuck<br />

up English tea party with rich middle-aged wives.<br />

The polyvinyl chloride on the other hand<br />

reminded me of wrapped up meat that you get<br />

in supermarket with a hint of fetish.<br />

194<br />

KALTBLUT: For how long have you been working<br />

on the collection? And how many nervous breakdowns<br />

did you have during that time?<br />

Susann: 3 Months. Breakdowns: enough.<br />

KALTBLUT: I love that your collection features a<br />

lot of black pieces but also some yellow. Is it a risk<br />

to create a mainly black collection for the upcoming<br />

season? Or do you see your woman wearing a lot of<br />

black?<br />

Susann: Black is timeless and doesn’t depend<br />

on certain seasons. So no, not risky. And yes<br />

there is always a good time to wear black.<br />

KALTBLUT: The theme of our issue is NOIRE.<br />

Do you have an idea why black is the perfect colour<br />

for fashion? Which are your favourite colours?<br />

Susann: To me black is a colour that leaves<br />

questions open. So it challenges you. Black can<br />

be strong, fierce, elegant, menacing anything<br />

really. Black has many faces and a person wearing<br />

black is not easy to judge. I like strong and<br />

heavy colours but I might go with pastel when<br />

the fabric to that is strong and heavy. I have an<br />

affinity for collisions..<br />

KALTBLUT: For what kind of woman do you<br />

design your clothes for?<br />

Susann: The ‘Twin Peaks’ character Josie<br />

Packard would be the perfect model for my<br />

clothes. A passionate, straight-forward and<br />

inconspicuously sexy woman who doesn’t want<br />

to be overlooked.<br />

KALTBLUT: You also created some amazing shoes.<br />

I know you love to make accessories. Are there any<br />

plans to come out with an accessories line one day as<br />

well?<br />

Susann: The shoes are all handmade with aluminum.<br />

My brother was crazy enough to help<br />

me make them. Marty Mcfly’s ‘Back To The<br />

Future’ Deloreaon (I LOVE THAT CAR) was<br />

an inspiration. If Josie Packerd would travel<br />

through time in that car I would love her to<br />

wear my shoes. Accessories are important because<br />

they transport the message of your look<br />

and can lead it in a very different direction.<br />

Plans for an accessories line are in the making.<br />

KALTBLUT: Your current collection is only for<br />

girls. What a pity, because I think you would dress<br />

the guys quite well. Why have you decided to go for<br />

womenswear?<br />

Susann: There are so many details of menswear<br />

in womenswear that I think I am already<br />

satisfied. For now I will focus more on designing<br />

for women but I wouldn’t say I will never<br />

design for men. After all I am actually wearing<br />

my boyfriend's clothes every now and then.

195 KALTBLUT: As a young fashion designer in<br />

Germany it is not so easy to survive. Germans<br />

are not so into fashion like our friends in London<br />

or Paris. How much of your cultural background,<br />

especially Berlin, can we see in your designs?<br />

Susann: The fascination for metal must<br />

come from my families background of blacksmithing.<br />

Once it was about smithing horse<br />

shoes and now it's about forging women shoes<br />

and accessories. The accessories are actually<br />

made of these old metal construction kits my<br />

brother played with as a kid. You are supposed<br />

to build cars and trains out of it. I thought<br />

why not make some pants, gloves and glasses.<br />

So I took my brother's old metal kits and<br />

started to play dress up. I’m not sure if you<br />

can see anything of Berlin in my collection.<br />

You probably see a culture clash though. To<br />

support myself and to finance my studies I fly<br />

around the globe as a flight attendant every<br />

now and then. That enables me to explore<br />

different parts, traditions and people of this<br />

wonderful planet. Japan fascinates me. Tokyo<br />

is the most inspiring city I’ve ever been to.<br />

Whenever I’m there I feel like a child who<br />

tastes candy for the first time. Mind blowing.<br />

KALTBLUT: Is there any designer you look up<br />

to and why? Do you have some kind of a fashion<br />

icon?<br />

Susann: Rei Kawakobu. She is brilliant.<br />

Nothing more to say to that.<br />

KALTBLUT: Where do you create your designs?<br />

Do you have your own studio?<br />

Susann: I designed and made the collection in<br />

my 56 square meter apartment in Berlin. That<br />

was a challenge but a successful one.<br />

KALTBLUT: Some may not know it but you also<br />

worked as a model, fashion editor for HONK!<br />

Magazine back in 2011 and as a double for Cate<br />

Blanchet. Now you are a fashion designer. I have<br />

the feeling you are still on a private journey<br />

through life. Where do you see yourself let’s say in<br />

20 years?<br />

Susann: Good memories come back to my<br />

mind when I think about that. I had such a<br />

good time doing all this. Being a designer<br />

you’ve got to be open for everything and<br />

multitasking in a way. Otherwise, how are you<br />

supposed to create something new?<br />

KALTBLUT: Let’s play a little game. If you could<br />

dress a famous person out of these two who would it<br />

be and why!? Marilyn Mason or Justin<br />

Timberlake?<br />

Susann: Marilyn Manson because he is a<br />

crazy genius, I love his music and because<br />

there is always a little bit of Manson in my<br />

mood boards.<br />

KALTBLUT: Thank you very much for your time<br />

and the amazing editorial you and Suzana<br />

Holtgrave have produced for our Noire theme.<br />

Come back to see us soon when you have a new<br />

collection to show!<br />

Susann: Thanks to you<br />


196<br />

KERBY<br />

Rosanes<br />

Kerby Rosanes is a freelance illustrator. The things that occupy him the most? Sketching and doodling, of course.<br />

Hailing from the Philippines, he spends every bit of free time he has clutching his notebook, armed with his<br />

beloved pens. He’ll fill up blank pages with thousands of little details; put those details together and creates an<br />

extraordinary piece of art. For Kerby, these doodles are much more than just “unfocused drawing.”<br />

This is his passion, it’s his way of life.<br />

KALTBLUT: Hi Kerby, can you please tell us what are your<br />

influences and what inspires you?<br />

Kerby: A lot of things inspire me. Nature, music, anime, cartoons, scifi<br />

movies, personal experiences and anything interesting I encounter<br />

everyday. My greatest influences include other ink artists like Mattias<br />

Adolfsson and Johanna Basford, film characters of Hayao Miyazaki<br />

and my mom for teaching me how to be creative at all times.<br />

KALTBLUT: There is a lot of detail in your illustrations. How<br />

did you start working this way?<br />

Kerby: I love putting details in my work. I think that characteristic<br />

alone makes my work unique from other artists. Without it, any of my<br />

pieces will not come alive knowing that I don’t usually colour them. I<br />

started working that way when I decided to drop my pastels and coloured<br />

pencils, when I lose the patience of colouring my work.<br />

KALTBLUT: How long does it take you to finish one of your<br />

illustrations? What does it depend on?<br />

Kerby: It depends on the size and what purpose it will be used for. Most<br />

commissioned pieces would take me a couple of weeks to finish since<br />

research is being made. For personal doodles, I do it in two days most<br />

likely every night after a busy day at the office.<br />

KALTBLUT: How has your work changed as you evolved?<br />

Kerby: My work has changed from the ordinary scribbles in my class<br />

notebooks, to more detailed and conceptual illustrations that are well

197<br />

recognized across the globe. I still<br />

have a long way to go when it comes<br />

to “evolving” my craft and that’s<br />

what I am more excited about!<br />

KALTBLUT: What kind of<br />

things scare you the most? What<br />

do you fear?<br />

Kerby: Many things actually. I’m<br />

afraid of heights, paranormal activity<br />

and losing my beloved pens!<br />

KALTBLUT: If you would make<br />

an illustration of yourself, what<br />

would it look like? What kind of<br />

things would it involve?<br />

Kerby: Hmm.. tough question. But<br />

I think I’ll just include things I love<br />

and best represent me. It can be so<br />

random without any art direction<br />

at all. Just like my other drawings,<br />

I want it to be just plainly spontaneous<br />

leaving the viewer to figure<br />

out the stories behind them.<br />

KALTBLUT: You often include<br />

animals in your work, can you<br />

tell us a little about it? What do<br />

they symbolize?<br />

Kerby: They don’t symbolize<br />

anything at all. I just love to explore<br />

the wild and natural elements<br />

as a major theme of the artwork.<br />

Animals are good subjects when you<br />

want to reach a wide audience, appealing<br />

to kids, adults, art professionals,<br />

tattoo artists, nature lovers,<br />

etc.<br />

KALTBLUT: Each one of your<br />

illustrations seems to be a whole<br />

world. If you could bring one to<br />

life, which one would it be and<br />

why?<br />

Kerby: It would be the doodle called<br />

“CROW-DED”. It might sound<br />

weird but I love crows!<br />

KALTBLUT: There is a lot of<br />

black and white in your work.<br />

What makes you choose black<br />

and white over colour?<br />

Kerby: I just don’t have the patience<br />

to colour in my work.<br />

KALTBLUT: Where do you see<br />

yourself in 10 years from now?<br />

Kerby: Still doing what I love. Travelling<br />

the world for more inspiration.<br />

And teaching kids about my<br />

art.<br />

Interview by Amanda M. Jansson,<br />

Emma E. K. Jones and Nicolas Simoneau<br />


MUST<br />

198<br />

Selected by Marcel Schlutt<br />


"There is no luxury in the world a man can be closer to!"<br />

The label tecidofino has presented itself on the catwalk for the first time during the last Berlin Fashion Week together with the Swiss designer<br />

Marc Stone's underwear. And it was the perfect combination. Marc Stone is known for his classic men's fashion. But due to his athletic<br />

new collection he sent models in underwear from tecidofino on the catwalk . And guys , we all know how important the perfect pants are for<br />

us. Founded in 2013 the Berlin Label tecidofino has got high quality materials combined with the latest design ideas and so produced the<br />

finest underwear for men in the world. Tecidofino makes a name for itself, because the fine fabric represents design, quality, luxury and wellbeing.<br />

The natural , luxurious comfort is not only special because of the fashionable design but also because of the use of environmentally<br />

friendly raw materials . All fabrics are primarily made from renewable resources. The proverbial red thread which runs not only through the<br />

entire collection , is rather subtle and yet signal red, is found on any of the tecidofino designs. The classic aesthetics of Marc Stone's man<br />

fits perfectly to the really high quality underpants of tecidofino.<br />

www.tecidofino.com<br />

www.marc-stone.ch<br />

Photos by Frazer Harrison/Getty Images

www.aureliapaumelle.com<br />

Bürknerstr. 5 - 12047 Berlin

Sorry My<br />

200<br />

Love<br />

Concept & Photography: Suzana Holtgrave<br />

Model: Amanda at Satory Models<br />

Hair and make up: Anna Kürner at Basics<br />

Styling: Anita Krizanovic<br />

Production: Marcel Schlutt<br />

Dress & Skirt: Who’s That Girl

201<br />

Dress & Cardigan: Who’s That Girl, Scarf: Illith, Earrings: Stylists Own

Dress, Skirt & Cardigan: Who’s That Girl, Pinafore: Illith, Earrings: Stylists Own, 202 Gloves: Très Bonjour

Dress: Who’s That Girl, Pinafore: Illith, Scarf: Illith, Shoes: Gianni<br />


Dress: Who’s That Girl, Stockings & Body: Très Bonjour, Shoes: Gucci<br />


205 Dress & Cardigan: Who’s That Girl, Scarf: Illith

206<br />


Text by Claudio Alvargonzález Tera<br />

Illustration by Emma E. K. Jones<br />



207<br />

If you think of classic Film Noir, one<br />

of the first images that comes to<br />

mind is a black and white picture<br />

of a gangster, a private detective<br />

or a drunk journalist with a hat, a<br />

raincoat, a cigarette and a glass of<br />

bourbon. If you try to put a face on<br />

that image I bet that it belongs to<br />

Humphrey Bogart.<br />

If you are born on Christmas Day,<br />

I guess you are destined to do<br />

something special with your life.<br />

Humphrey DeForest Bogart was born<br />

in New York City on that special day<br />

in 1899. His father was a wealthy<br />

Manhattan surgeon and his mother<br />

was a famed magazine illustrator<br />

and photographer. Bogart’s parents<br />

wanted him to be a doctor, probably<br />

dreaming about studying at<br />

Yale University like the rest of posh<br />

kids from New York City. However<br />

destiny had prepared something<br />

completely different for him. Since<br />

the beginning, his marks at Trinity<br />

School and Phillips Academy were<br />

pretty low and he was eventually<br />

kicked out. Yale University was<br />

out of the picture, and his parents’<br />

dream was broken. Bogie, like many<br />

young guys in those days, joined the<br />

United States Navy during the spring<br />

of 1918. Those were the times of<br />

First World War and the young<br />

Bogart was sent to service during<br />

the conflict. That was the time he got<br />

injured by the impact of shrapnel<br />

leaving him with that famous scar<br />

on his lip.<br />

After leaving the navy he found a<br />

job at the World Film Corporation<br />

and some time later he finally got a<br />

role in a theatre play called Drifting<br />

(1922). It was his first role. Soon he<br />

became quite popular on Broadway,<br />

working in one play after another<br />

until 1929, when he decided to move<br />

to Hollywood. The truth is he wasn’t<br />

too lucky at the start. Broadway is<br />

one thing, but Hollywood is a much<br />

bigger playing field. The year 1935<br />

came along and he finally got a role<br />

in The Petrified Forest with two bigger<br />

stars, Leslie Howard and Bette<br />

Davis. The film was a success and<br />

Bogie signed a contract with Warner<br />

Brothers, but it wasn’t until 1941<br />

when he met his friend John Huston<br />

(probably the most influential man<br />

in his life) during the shooting of<br />

their first film together The Maltese<br />

Falcon.<br />

The film became an instant Film Noir<br />

classic (you can find a small review<br />

of the film in our TOP 5) and Bogart<br />

simply jumped into a higher Hollywood<br />

status. They made seven films<br />

together, including The Treasure of<br />

the Sierra Madre, Key Largo (with<br />

his last wife Lauren Bacall) and The<br />

African Queen with Katherine Hepburn.<br />

This last role of a gin-swilling<br />

riverboat captain finally gave him<br />

the Oscar he was waiting for in<br />

1952. He defeated Marlon Brando<br />

and his amazing role in A Streetcar<br />

Named Desire, and then came<br />

Casablanca. Of course, I won’t forget<br />

the film which is ranked as the best<br />

one ever made in cinema history<br />

(according to audiences). I would’t<br />

say that much. I just think it’s simply<br />

impossible to choose just one but<br />

I agree the film is indeed at least<br />

one of the Top 10 in history. Anyway,<br />

Casablanca is a masterpiece and<br />

Bogie became a worldwide star<br />

with his Rick Blane (an American<br />

expatriate during World War II).<br />

There is not too much to say about<br />

Casablanca as you already know<br />

the story. The script is one of the<br />

best ever written, Ingrid Bergman<br />

never looked better and the director<br />

Michael Curtiz gave us some of the<br />

most memorable images in cinema<br />

history. For example, we all know<br />

the melody of “As Time Goes By” and<br />

think about how many times you<br />

have used the quote: “We’ll always<br />

have Paris”. See?? That is what<br />

makes cinema and this film eternal:<br />

the collective imaginary.<br />

The film only won three Oscars<br />

(including ‘Best Film’) but it deserved<br />

many more. Bogart’s love life<br />

was as difficult as it was depicted<br />

in many of the roles he played. He<br />

got married four times. He became<br />

a drunk, probably because his third<br />

wife (actress Mayo Methot) was a<br />

compulsive one, and like some of<br />

the gangsters or private detectives<br />

he played, he was looking for some<br />

kind of redemption. It came in 1944<br />

while shooting To Have and Have Not<br />

when he met a young model called<br />

Lauren Bacall (Dame Lauren Bacall<br />

in my opinion). They got married<br />

a year later and had two children.<br />

Their love story continued until<br />

Bogie, too ill with cancer, died in<br />

January 1957. The Harder They Fall<br />

(1956) was his last movie. His face<br />

was not the same due to his long<br />

fight against this illness. His fight<br />

was very hard, the same way he and<br />

his characters did on screen but this<br />

time he was defeated. At his funeral,<br />

his friend John Huston said: “He is<br />

an irreplaceable man. There will<br />

never be someone else like him…”<br />

Although I agree, I still prefer what<br />

Lauren Bacall said to Lars von Trier<br />

after a fight during the filming of<br />

Dogville: “Listen stupid, you weren’t<br />

even born and were already sleeping<br />

with Humphrey Bogart”.<br />

Bogart had the perfect face for<br />

Noire, a face filled with character.<br />

Our signature image of him is<br />

seated at a table, the inevitable<br />

drink nearby, cigarette in hand, as<br />

he stares out at the world without<br />

passion but understanding of its full<br />

meaning. It is said Bogart’s means<br />

of expression were limited, but his<br />

eyes radiated complexity. He played<br />

men of principle, men with their own<br />

code of honour. Men with a cynical<br />

mask hiding integrity. Bogart was<br />

the king of Film Noir but above all,<br />

Humphrey Bogart is in two words:<br />

classic cinema. A myth.<br />

Perhaps in the same way there was just one Marilyn, one Katherine, one<br />

Bette or one Ava, there was just one Bogie, and his last name was Bogart.

208<br />

CRAY<br />

Z<br />

ay<br />

You like it, you get it. Just pick the item you would like to win, write a nice-crazy-funny letter (ho yes we’re a bit old-school,<br />

we love snail post!) with your name, your address, and the thing you want. JUST ONE ARTICLE PER PERSON.<br />

Good Luck. Your Kaltblut Team. Write to : Kaltblut Magazine, Grünbergerstrasse 3, 10243, Berlin, Germany.<br />

Dockers<br />

2 x Chinos<br />

www.dockers.com<br />

Nintendo<br />

1 x Nintendo 2DS<br />

1 x Game “The Legend of Zelda”<br />

www.nintendo.de<br />

Pins<br />

1 x Album CD<br />

“Girls Like Us”<br />

www.wearepins.co.uk<br />

Stylejunky<br />

1x iPhone Case by Oliver Rath<br />

1x iPad Case by Oliver Rath<br />

www.stylejunky.com<br />

Trentemøller<br />

1 x Album CD “Lost”<br />

www.anderstrentemoller.com<br />

Mr. Spex<br />

3 x Sunglasses<br />

www.misterspex.de<br />

Gesaffelstein<br />

1 x Album CD “Aleph”<br />

www.gesaffelstein.com<br />

Claesgöran<br />

3 x Low 8-hole Canvas Sneaker<br />

www.claesgoran.com<br />

Outfittery<br />

3 x 50€ Voucher<br />


209<br />

KALTBLUT Magazine<br />

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KALTBLUT Magazine is published by<br />

KALTBLUT Media UG (haftungsbeschränkt)<br />

CEO: Nicolas Simoneau,<br />

Grünbergerstr. 3, 10243 Berlin,<br />

Germany<br />

Info<br />

info@kaltblut-magazine.com<br />

Press<br />

press@kaltblut-magazine.com<br />

Photo by Valquire Veljkovic<br />

Concessions.<br />

People say you have to make something happen if you want to be able to make your way in life.<br />

You start with a project, an idea; where you put<br />

all your heart and soul, you have a vision, a really<br />

good view of the goal you want to hit - but the<br />

thing is, the whole thing is not really working the<br />

way you would like it to. So to make it work you<br />

have to allow for concessions; have to accept the<br />

fact that by transforming the thing, it may actually<br />

finally work. The question is, how much are<br />

you ready to give away? How many concessions<br />

are you ready to make in this process, and where<br />

is the limit? What about if you make too many<br />

concessions and you’re even not able to recognize<br />

this thing as your own anymore? It may indeed<br />

feel as though it is not yours anymore, because<br />

it's too far from the vision you originally had.<br />

This is a really delicate process, and you have to<br />

be open for changes, of course; but also ready to<br />

accept that your initial idea was maybe not as<br />

good as you once thought it would be. This is<br />

not just about your project, at the end - this is<br />

also about yourself and to be able to look at your<br />

actions with some distance, and to be able to readjust.<br />

When I heard that we had to reduce 400<br />

pages of our beloved collection down to 200, I<br />

was angry and sad, because I thought if we only<br />

print 200 pages, that this is not us anymore, this<br />

is not what we created. However with a good<br />

long look at it, and seeing with an open mind<br />

the facts and the way they are, I can truly say<br />

that this Collection [Noire] is by far the best we<br />

have done yet. The content is thick-and-tight,<br />

really fits the theme, and the editorials and the<br />

interviews are just on point. Here we are, always<br />

trying to push ourselves to be able to present a<br />

beautiful product to our readers, and for once we<br />

can stand proud, and be sure that you’ll understand.<br />

We are in constant evolution, because we<br />

try to evolve with you. Thank you to everyone<br />

who has helped to make it possible this time, and<br />

god knows that they are a lot of people to name.<br />

Thank you for being fidele. I really hope you did enjoy it.<br />

Yours Nicolas<br />

Adverstising<br />

advertising@kaltblut-magazine.com<br />

Events<br />

events@kaltblut-magazine.com<br />

All Copyright at KALTBLUT Media UG<br />

KALTBLUT Magazine is printed in Germany AZ Druck und Datentechnik Gmbh<br />

Sportfliegerstrasse 6 | 12487 Berlin I www.az-druck.de<br />

All of KALTBLUT´s contributors are responsible and retain the reproduction<br />

rights of their own words and images. Reproductions of any kind are prohibited<br />

without the permission of the magazine, editor and each contributor.



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