Alice Magazine NYC - Chapter 3

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VOLUME 1<br />














Collaboration has always been one of the more rewarding aspects of being an<br />

artist. Working with Art Director, Richard Ray, is especially fantastic for me as<br />

an editor because we have known each other for more than 20 years. I have<br />

respected Richard’s work, not only as a graphic designer, but also as a musician.<br />

He and I work really well together, always aligned on the aesthetic and vibe of<br />

the visuals for <strong>Alice</strong>. I’m excited to see new contributors and advertisers in this<br />

issue. Caroline Hoermann’s story, styled by long time friend, Donald Lawrence<br />

makes me proud to have them both in this issue. We’ve added a new section<br />

called The Continuum Series where we showcase one visual artist in each<br />

issue, beginning with Scott Irvine’s phenomenal and haunting photography,<br />

even placing one of his shots of Nick Zinner from the Yeah, Yeah, Yeah’s, on our<br />

cover. I’m happy to announce that Cory Ingram is now our new photo<br />

editor and will be flying to London at the end of the month to cover more<br />

bands and a few festivals on the other side of the pond! Don’t forget to<br />

subscribe to our newsletter so you can find out about our upcoming showcases<br />

and events! You don’t want to miss out on <strong>Alice</strong>’s parties!! Until next issue……..<br />

Editor in Chief<br />

Melissa Rodwell<br />

Art Director<br />

Richard Ray Ruiz<br />

Photo Editor<br />

Cory Ingram<br />

Managing Editor<br />

Kris DeVito<br />

Video Director<br />

Lola Young<br />

Digital Director<br />

Jan Klier<br />

Digital Supervisor<br />

David Neilands of Solstice Retouching<br />

Social Media Manager<br />

Abigail Leyva<br />

Cover Photographed by SCOTT IRVINE<br />

Back Cover Photographed by CORY INGRAM


AND THE<br />

LICKS<br />

Words<br />

Photographed by CORY INGRAM<br />


Unless you have been living under a proverbial rock, chances are you have heard of<br />

academy award-winning actress, Juliette Lewis, and maybe have even seen her in one<br />

of your favorite 90’s films. Lewis gained her claim to fame in Martin Scorsese’s 1993<br />

remake of Cape Fear, along side Robert De Niro. From there, her acting career<br />

skyrocketed - starring in films such as What’s Eating Gilbert Grape, Strange Days,<br />

From Dusk Till Dawn and several other iconic movies. What you might not know (but<br />

totally should) is in 2003, Juliette found a new calling after attending a Blondie<br />

concert and falling in love with the live element of rock n’ roll. There, a spark was<br />

ignited to speak up and branch out through music. Thus, Juliette and the Licks came<br />

to fruition. The band had taken a break in 2009 and started up again, with their first<br />

tour in seven years, this past summer. I got the privilege to witness them first hand at<br />

the Brooklyn Bowl, a venue that doubles as a bowling alley and restaurant/bar, in<br />

Williamsburg.<br />

This band has an electrifying vibe that makes you want to dance while sending a<br />

message of power and individualism. Juliette arrived, swinging from the spiral staircase<br />

that led to the stage, wearing eagle wing shoulder pads, cherry leather boots and<br />

good ol’ red, white and blue bandana. Her and her band were ready to take on the<br />

night in front of the packed out venue. During the performance, Lewis spoke about<br />

love,<br />

feminism, the heartbreak of a bad (band) break up and the real, dirty issues going on<br />

in America today. Lewis seemed possessed by a wave of emotion; twisting, shaking,<br />

contorting her body with the rhythm of every drum solo and lick of the guitar. She<br />

had the audience sing along several times and midway through the set list, she even<br />

got off the stage to join the sea of Brooklyn fans - singing, dancing, cheering with<br />

them. The band played a wide range of songs, from originals like “Hello Hero” to a<br />

classic rendition of “Proud Mary.” The show closed with a three-song encore,<br />

including “Hot Kiss,” “Speaking,” and, to close the night, “Suicide Diver Bombers.”<br />

About a half hour after the show, Juliette and The Licks came back down. Lewis<br />

ended up sticking around to say hello and hug every fan that waited in anticipation to<br />

meet her. Her and her band were grounded and humbled by the turn out. Overall, the<br />

night was filled with inspiration, stamina and a real passion for great live music.

NICK<br />

HINMAN<br />

from PALM<br />


Photographed by MELISSA RODWELL<br />

Interviewed by LOLA YOUNG<br />

Photography Assistant CORY INGRAM<br />


Lola Young: What do you get from performing?<br />

Nick Hinman: Hopefully paid in cash. But seriously, it’s always an adrenaline rush.<br />

Any kind of performance is about being present and in the moment. Following your<br />

impulses and getting out of your head.<br />

LY: What do you think about the need for expression in general?<br />

NH: I think it makes a good Madonna song.<br />

LY: How do ideas usually come to you?<br />

NH: Sometimes it’s a predetermined concept that provokes the sound of a song, and<br />

sometimes it’s writing music first that guides the feeling. It’s never exactly the same<br />

twice though, which keeps the thrill going.<br />

LY: What do you think about when walking the streets?<br />

NH: Usually I’m trying to remember if I left my stove on or not. Unless I’m sleeping<br />

on my friends couches, which seems to be my MO lately. Then I’m trying to remember<br />

if I left their stoves on or not.<br />

LY: What are you dreams like?<br />

NH: Wet, if I’m lucky.<br />

LY: What frightens you? What excites you?<br />

NH: Anytime you play someone your music for the first time, it’s a bit of both. It’s<br />

frightening because its intimate, but it’s exciting because it’s intimate as well.<br />

LY: Do you think how you’ve chosen to live your life has a strong influence on your<br />

work?<br />

NH: I think choosing a to live in a high risk, no reward lifestyle is pretty unstable.<br />

But it’s never boring. Which is always good in the arsenal when songwriting.<br />

LY: Did you ever watch/ read/ see something that altered your perspective on things?<br />

NH: That “if you see something” ad. But I’ve actually never said anything.<br />

LY: Are you ambitious?<br />

NH: As much as Parvulesco in “A Bout de Souffle”

BANG<br />

A<br />

GONG<br />

Photographed by LAURA OKITA<br />

Creative Directed and Styled by JULIA MORRIS<br />

Model ELENA SARTISON @ MAJOR MODELS <strong>NYC</strong><br />




Metal Bustier LAUREL DEWITT<br />

Leather Pants EDGE OF CULTURE<br />

Leather Vest EDGE OF CULTURE<br />


Distressed Denim Pants LAUREL DEWITT<br />

Latex Shoes PLAISIRE

Top TOPSHOP<br />

Embellished Leather Skirt LAUREL DEWITT<br />



Jeans GUESS<br />

Garment Belt VINTAGE<br />

Boots PLAISIRE<br />

Fringe Denim Bolero with metal LAUREL DEWITT<br />


Art Direction by TEENA COLLIN<br />


Photographed by NICOLA COLLINS<br />

Interview by ABIGAIL LEYVA

Frankie + The Studs Is a Rock ’N’ Roll band from California. They<br />

might live in a modern world but their musical influences take us back<br />

to the glam Rock ’N’ Roll from the 70’s where sweaty glittery faces<br />

with black eyeliner used to shine in the spotlight onstage to the sound<br />

of electric guitars. Their musical influences range from David Bowie,<br />

Ramones, The New York Dolls, Nick Gilder and Kiss. We interview the<br />

band before they left for the Lollapalooza 2016 music festival in<br />

Chicago where they performed.<br />

ALICE MAGAZINE: What’s a sound you hate; sound you love?<br />

FRANKIE AND THE STUDS: The current commercial sound of auto tuned apathy<br />

that somehow dominates the airwaves and is now considered “rock”. We love the<br />

sound of raw passion and energy, as cliché as it may sound, a Les Paul into a Marshall<br />

stack.<br />

AM: Can insanity bring on more creativity?<br />

F&TS: Most definitely, if its not being self-perpetuated, when its observed and then<br />

documented.<br />

AM: If your name had to be a song title which song would it be?<br />

F&TS: (She’s) One Of The Boys – Nick Gilder<br />

AM: If you had to live in the world of an album which one would it be and why?<br />

F&TS: Kiss – Destroyer, as not only does it sound larger than life, it has multiple<br />

relatable themes within the context of one record… and it’s fun.<br />

AM: Which song would be the national anthem of your country if you ruled one?<br />

F&TS: We Are The Road Crew - Motorhead<br />

AM: If Frankie + The Studs was a flavor, what flavor would it be?<br />

F&TS: Chocolate vegemite pizza with extra hot sauce.

AM: How important is to be true to yourself when it comes to making music?<br />

F&TS: Crucially important, with it being such a fight to keep rock and roll alive today<br />

there is no point in being anything but authentic.<br />

AM: What has music taught you?<br />

F&TS: That as isolated as we may feel at times in life there is something constant that<br />

can unite us with like-minded people cut from the same cloth.<br />

AM: What were you doing the last time you really had a good laugh?<br />

F&TS: In a bar, laughing about how everyone thinks Frankie and Ronnie are sleeping<br />

together.<br />

AM: What is your secret weapon to get someone to like you?<br />

F&TS: We don’t try to get people to like us, if they do they do, if they don’t they<br />

don’t.<br />

AM: What is the most embarrassing moment of your life?<br />

F&TS: Well what most people reading this would find embarrassing we personally<br />

would most likely find amusing, in hindsight it’s all pretty funny... so... Next question.<br />

AM: Where is the one place in the world you feel safe?<br />

F&TS: In the recording studio

The Continuum Series<br />

With Photographer<br />

SCOTT<br />

IRVINE<br />

Interview by EMMA DEBONO

Scott Irvine, a Williamsburg based photographer, has been in the industry for over<br />

twenty years and, during his career, has primarily focused on traditional darkroom<br />

techniques. Irvine has experimented with manipulating his photographs, both digitally<br />

and with film, in order to create a storyline through nostalgia and evoke an uneasy<br />

emotion by displaying an exposed beauty in decay. <strong>Alice</strong> <strong>Magazine</strong> got a chance<br />

to chat with Scott about his start with photography, his journey in finding his own<br />

unique technique, his professional relationship with his wife and their projects, and<br />

what the future holds for him.<br />

<strong>Alice</strong> <strong>Magazine</strong>: What first got you interested in pursuing photography?<br />

Scott Irvine: My first interest in photography actually stemmed from exploring old<br />

abandoned factory buildings near where I grew up in Connecticut. I loved going in to<br />

the spaces with friends and photographing the architectural decay. I was using 35mm<br />

film cameras. I then began to get interested in photographing bands and friends. In<br />

College I learned traditional darkroom techniques and started learning and working<br />

with larger format cameras. It was really when I moved to New York City I begin<br />

actively finding people to photograph, and start working for music magazines photographing<br />

a lot of bands.<br />

AM: The majority of your images bare a very heavy film noir aesthetic, from where did<br />

you originate this style? And over the years what have you done to make it your own?<br />

SI: From the very beginning of my exploration with photography, I was always drawn<br />

to black-and-white. It just made sense to me. I loved the mood and texture that you<br />

can create. And I loved the play between light and shadows that can be so much<br />

more dramatic than most color photographs. I think my overall style of photography<br />

emerged from being in the black-and-white darkroom, and really experimenting with<br />

contrast and mood.<br />

AM: How and when did you start using dark room manipulation on your images?<br />

SI: Well, like I said, I really started to learn traditional darkroom techniques in college<br />

at RIT, in Rochester New York. When I began learning, digital photography did<br />

not exist yet. Any kind of manipulation to the image had to be done somehow - either<br />

manipulating the film or the paper or both. There was a lot of experimenting with<br />

things like scratching film, printing techniques, trying different photo printing papers,<br />

chemistry. All these different elements could be implemented to create different<br />

effects. Over time, I developed a look or style that felt was like my “visual voice”.<br />

AM: In 2014, you published the book “Vietnam” in collaboration with Kim Meinelt.<br />

How long did you spend working on this project and what was your goal in capturing<br />

this image series?

SI: Kim Meinelt is actually my wife. She is also a photographer and a visual artist. We<br />

have done several big trips together to southeast Asia, which is one of our favorite<br />

places to travel. Vietnam was a big trip we did in 2014. We were there for a month and<br />

traveled through the whole country. We had the idea of doing a book from the very<br />

beginning, so it was basically just a reflection of our travels. The images in the book<br />

are both mine and Kim’s images. It was one of the first times we actively decided to<br />

not take credit for individual images. The book was a combination of both of us, and<br />

we felt the images belonged to both of us.<br />

AM: Your upcoming exhibit at Collier West Gallery is also with Kim. How did this<br />

exhibit come to be?<br />

SI: Yes, the Collier West gallery is also with my wife, Kim. We have exhibited together<br />

a few times now, and hope to do more in the future. This show is also a combination<br />

of our photography, and again, we are not taking credit for individual photos.<br />

We have called our photo husband and wife team, waxenvine. This exhibition came<br />

about through meeting the gallery owner through some mutual friends, and she loved<br />

the work. We’ve broken the show in into two parts: one is a vision of New York - very<br />

moody images of buildings, people, street scenes. The other is a series of portraits<br />

that have been manipulated and double exposed. We’ve been calling this ongoing<br />

portrait series “haunted”.<br />

AM: Digital photography has become such a main component in the industry. What<br />

compels you to continually shoot film?<br />

SI: Yes digital photography has definitely taken over. It is a great tool that I have<br />

embraced. For a lot of jobs, film photography is simply too expensive and too timeconsuming.<br />

However, film is still a great medium and I still use the darkroom and film<br />

cameras for a lot of my work. I have also been experimenting with bouncing backand-forth<br />

between digital and analog. Manipulating images digitally, and then bringing<br />

them into the darkroom environment and printing them traditionally. The combinations<br />

are endless, and it’s great to be able to use both.<br />

AM: In the future what do you hope to accomplish in your work? Are there any personal<br />

projects you have in mind?<br />

SI: I hope to do more future projects with Kim, under the umbrella of waxenvine. I<br />

am also excited about using new photography equipment and blending it with traditional<br />

ideas and techniques. I always love finding new models and people to photograph.<br />

I also look forward to new travel opportunities and adventures. I am a big<br />

maker of books, so I’m sure there will be many new books in the near future.

Photographed by IRON MIKE SAVOIA<br />

Interview by ABIGAIL LEYVA<br />

Makeup/hair & styling by THE FAME RIOT

ABIGAIL LEYVA: Do you think it’s better to be street smart or book smart?<br />

LIZ: I think that’s a circumstantial question. I believe that there’s a time a place for<br />

‘this’ and for ‘that’. If you wanna buy illegal drugs, you wanna be street smart.. If you<br />

wanna start a law firm, you wanna be book smart, yeah?<br />

SHAZAM: Generally speaking, I’d rather be strolling along the brighter side of town<br />

with all of my blood, than a nerd lying dead in the wrong alley, amidst his his student<br />

loans and cultural studies thesis.<br />

AL: What kind of power have you found in music?<br />

LIZ: The ability to match physical energy to emotional response and sensation. It’s<br />

like pseudo mind-body control and I love it. MWUAHHAHAHA!!<br />

SHAZAM: The power of voodoo.<br />

AL: What’s your favorite way to spend a rainy day?<br />

LIZ: Drinking coffee.. making beats.. Netflixing.. Gaming.. Cuddling.. Sporadic outdoor<br />

nude photo sets..<br />

SHAZAM: Reading cultural studies theses from the Library of Alexandria. “We read<br />

to know we are not alone.”<br />

AL: Which is better to listen to your heart or your brain?<br />

LIZ: Well factually, our brains tell us what our hearts are feeling.. so as long as you<br />

know that that bias is there, you should be able to determine which one is cohesive<br />

for each moment -once again, circumstantial..<br />

SHAZAM: If you are at THE FAME RIOT, and your heart is telling you to get naked<br />

and jump onstage and dance, but your brain is telling you to sit down cause nobody<br />

wants to see that, go with your heart cause we want to see that.<br />

AL: If you had to challenge someone to a duel, what would your weapon of choice be<br />

and why?<br />

LIZ: A lightsaber cause I can use The Force.<br />

SHAZAM: My Hattori Hanzo hair shears. Cause I could make that pleb look like shat,<br />

baaa-tch. ;)<br />

AL: Are you the kind of friend you would want to have as a friend?<br />

LIZ: Of course. At times, I have no choice, I am my only friend..<br />

SHAZAM: “You are your own worst enemy.”<br />

AL: What’s a song that everytime you hear it makes you want to dance your life away?<br />

LIZ: Oouuu great question, baby! So many -TOO many!! Hmmm top 3? Okay, top 3<br />

are: “Love Never Felt So Good” - Michael Jackson, “Moon Rocks” - Talking Heads, and<br />

“Get Off My Cloud” - Rolling Stones.<br />

SHAZAM: Ohhhh babe you went there! How bout these: “Just the Two of Us” - Bill<br />

Withers “What A Fool Believes” - The Doobie Brothers “Four Kicks” - Kings of Leon

AL: Do you believe its better to know about pain and other emotions or go through<br />

life numb?<br />

LIZ: It’s better to know about pain and other emotions, so that you CAN go through<br />

life numb, in my opinion.. numb to these so called ‘problems’. What problems?<br />

What’s your point of reference? You won’t have one, unless you experience it for<br />

yourself.<br />

SHAZAM: I think the best way to go through life is to realize that your feelings have<br />

never been of merit in the grand scheme of the universe. There are so many more<br />

issues going on. Vanity is to view yourself as “that” important. The world keeps<br />

turning, so you must keep loving. Life is pain, highness.<br />

AL: What movie could you watch over and over and still love?<br />

LIZ: How To Succeed in Business Without Really Trying - (1967) - or Momento..<br />

sheesh, tough one again!<br />

SHAZAM: The Princess Bride of couuuuurse :) GREATEST MOVIE OF ALL TIME.<br />


AL: What has been the biggest sacrifices that you had to make for music?<br />

LIZ: Sleep.. money, and romance<br />

SHAZAM:​​Battling spiders in all sorts of disgusting housing situations. The fight has<br />

been worth it every single step of the way. Though my sword may be bloody, I have a<br />

duty yet to fulfill.<br />

AL: What about yourself do you find the most pride in?<br />

LIZ: That every human who has ever and will ever exist in this universe is mine and<br />

your equals.<br />

SHAZAM: “Pride comes before a fall.” but damn, I can play some sexy jazz chords on<br />

occasion.... Hell of a drug, jazz chords.<br />

AL: If love was a drink, what drink would it be?<br />

​LIZ: A Sazerac.<br />

SHAZAM: ESPRESSO. Anyone who says otherwise is selling something.<br />

AL: If you could be invisible for a day, what would you do?<br />

LIZ: Jump various flights to multiple locations.. maybe check out the Bohemian grove.<br />

SHAZAM: Swipe the next Game of Thrones book from George R.R. Martin. BTW<br />

WHAT A WONDERFUL INTERVIEWER. These questions were so stimulating to<br />

the mind! Thank you!!!!!

HAFU<br />

In the City of Angels<br />

Photographed by IRVIN RIVERA<br />

Styled by KRISTINA HULEN<br />


Make up by BETHANY GARITA<br />


Photography Assistant PHIL LIMPRASERTWONG<br />

Production Assistant VICTORIA INNOCENZI

SURF<br />

Surfbort are a blessing for music right now. They’re anti surf-pop and pro-choice;<br />

hence the name. “Two creepy old dudes and two young chicks.”I meet with Dani and<br />

Sean. She’s in a bra and prairie skirt with her dog Grizzly. He’s in grills and green<br />

inked up arms. They invite me to a tattoo party at theirs. She’s a filmmaker, he’s a<br />

painter, his work further embellishing their charming, magpie basement apartment.<br />

They claim to be hoarders, but the wild paraphernalia echoes their sound and image<br />

perfectly, and reflects the special world they’ve so naturally created for themselves.<br />

This band are beyond authentic. They don’t think they just do, whatever the fuck feels<br />

right, and honest. They want to wake people up to think about shit, whilst dancing,<br />

letting go and enjoying being alive. They’re unassuming but driven, frustrated, but<br />

grateful. Their music is chaos with grace, abandoned and intelligent. I’m inspired<br />

watching Dani perform. It’s freedom, makes me feel something important. I admire<br />

her willingness and desire to express. It’s for people, for friends, a shared exorcism of<br />

energy. Which imbues it with a glorious innocence and unaffected magic. As their<br />

fierce rock n roll, comes essentially, from the heart.<br />

BORT<br />

Photographed by CORY INGRAM<br />

Interviewed by LOLA YOUNG

ALICE <strong>Magazine</strong>: Both your shows at Elvis and Rough trade were amazing. Elvis<br />

maybe even better, in your environment.<br />

Dani Miller: Thank you! Yeah big shows are weird I’m like what the fucks going on?!<br />

The sound is too nice I can hear myself!<br />

Sean Powell: I like being close to people.<br />

DM: I like being on the ground. I love dancing with people, it’s fun.<br />

AM: So obviously you guys as a band are very real, open and truthful which is rare to<br />

come by, especially in the time we live in. What do you think ?<br />

DM: About being real?<br />

SP: Auto tune makes me sick.<br />

DM: I think mental illness is super real, and depression. So just meeting people and<br />

connecting with other humans - it’d be weird if I wasn’t real to others. The shows are<br />

to hang out, work sucks so might as well get together with people and release your<br />

crazy pent up emotion.<br />

AM: Exactly. So how did the band begin? How did you find you wanted to do the<br />

same shit and communicate the same message?<br />

DM: I saw Charlie had a guitar in her room and I don’t know about music or anything<br />

I was just like yo lets start a band I want to scream shit and dance to music.<br />

AM: How did you guys meet?<br />

SP: We met at a show where another band I was in was playing.<br />

DM: I ate a whole burrito before the show and I didn’t drink anything but half way<br />

through the set I was like oh shit I’m gonna puke! And then I puked, and then we fell<br />

in love!<br />

AM: Thats cool. Were you like whatever keep going!<br />

DM: The band kept playing so I wiped off my mouth and kept singing, and the next<br />

band that played was like “this mic smells like shit!”<br />

AM: Did you decide there was something you wanted to capture with the band or it<br />

just happened?<br />

SP: Organic.<br />

DM: We kind of started the band as a joke. Our friends from LA wanted to play this<br />

house show and we named our band for it after Beyonce.<br />

AM: Do you find it funny that its got serious and everyone loves you now?<br />

DM: Haha it’s still a joke! I’m happy to meet new people and dance with my friends,<br />

it’s basically just laughing with them about the end of the world. I hope it never gets<br />

serious.<br />

AM: But do you want to help instigate any change in the world or how people think?<br />

DM: Definitely. It’s like a sweet mixture of having a platform where I can say shit<br />

that’s important to me and bring up how fucked current politicians are, and we have<br />

songs that are about saving the environment, but we try to put humor into it as well.<br />

Everything is so fucked up its pretty hopeless! But the other day we were playing<br />

with this band and they were like “I hate it when people mix music and politics.” I’m<br />

like dude really like fuck! I enjoy some music that’s just to make you feel good but I<br />

would rather have something to say.<br />

AM: Yeah what else are you going to talk about when all this shit is going on. But you<br />

definitely keep it playful and funny and talk about everyday stuff which is cool.<br />

What’s the writing process like?<br />

DM: Me and Sean get together at night sometimes.<br />

SP: I’ll just play something on the guitar and just play it over and over until she can<br />

find something she can sing along to - She doesn’t like much!<br />

DM: I get really annoyed with rock n roll psychedelic music. I enjoy it from the 60s or<br />

70s but anything now is just boring to me.<br />

SP: She secretly wants to sound like No Doubt.<br />

AM: Do you consider yourself a punk band?<br />

DM: A freak band.<br />

SP: When you say punk I think of something that -<br />

AM: Happened.. and died right?<br />

SP: Yeah..in the 70s. So if you’re a punk band now you’re like a member of the punk<br />

reenactment movement..<br />

AM: I agree. You guys have definitely reinvented something different.<br />

SP: It’s like civil war reenactment like if you have a fucking flannel butt flap on with<br />

like zippers on your pants and a mohawk and shit and you’re a punk rocker then I<br />

think that you’re a weird person.<br />

DM: Jocks in punk suits.<br />

SP: You know whatever we are, if its jokey or punk or serious or whatever it’s a really<br />

heartfelt band. When I saw them play I knew that it was a big steaming pile of shit,<br />

like it was definitely a really fucked up chaotic loose gnarly band but I really liked it, I<br />

was like woah, this is a real band.<br />

AM: Can you put your finger on what touched you ?<br />

SP: Just really gnarly energy. I don’t mean like roaaaaar..<br />

AM: It’s not like that at all.<br />

SP: They’re real songs. It’s a real fucking band. It’s scary.<br />

AM: Yeah you seem to have this no inhibition chaos but you tame it in a beautiful<br />

way which makes the message and your energy come across even stronger. I don’t<br />

know where that comes from I guess it’s just natural.<br />

DM: Thank you. I don’t know what I’m doing at all!<br />

AM: It’s very truthful which is great. Obviously you give a lot when you perform, all<br />

of you, but particularly you Dani being front woman.<br />

SP: We’re all trying to give ourselves heart attacks.<br />

AM: Do you find it draining? Emotionally or physically, or you feel liberated?<br />

DM: I feel really liberated. Just working jobs and dealing with whatever everyday<br />

issues, I have really bad anxiety and just getting up there and letting it all out with<br />

friends who all have different problems and the same problems, it’s very liberating,<br />

like fuck man! Of course playing a bunch of shows is exhausting but when it comes<br />

down to it it’s just really good therapy.<br />

AM: Do you feel completely yourself when you’re up there or do you enter a different<br />


SP: I feel like I’m completely myself after the shows over and its 30 minutes later and<br />

I’m eating a hamburger.<br />

DM: I feel myself on stage but it’s definitely exaggerated emotions of myself. When I<br />

wake up I’m not going to start screaming and singing…I should start doing that<br />

actually… It just gives me a place to do that. Still myself, just a more dramatic version.<br />

SP: A good out let.<br />

AM: I loved it when you stripped off!<br />

DM: Yeah I don’t know why I like doing that! Sometimes it’s because of the heat, and<br />

I like wearing leotards. I don’t really feel like people look at me… like I don’t want to<br />

be a sex symbol or anything like that. I just want to be myself, dressing up in weird<br />

revealing shit, but still my freak self. I just love hanging out that way and singing!<br />

AM: You play so many shows. How do you keep them all fresh, exiting and different?<br />

DM: We try to write new songs a lot. I always try to bring up current things. I try to<br />

talk to people like “hey whats up how’s it going, today this happened, oh shit!”<br />

AM: Do you guys have plans or just see what happens?<br />

DM: We’re going to record hopefully in September. I’d like to put out a record, we<br />

just have a 7-inch out right now, put out another music video, tour Europe next<br />

summer, just continue playing music.<br />

AM: I love that you were cinema driven and then this just happened and it’s just gone<br />

off!<br />

DM: I’m really excited about working in film and also having music. I think it’s important<br />

to do multiple different things, for anyone.<br />

AM: Do you think the special energy that you and your band have, that authenticity, is<br />

happening elsewhere in cinema or culturally or wherever?<br />

DM: Definitely. It’s a broad thing to think about but I fucking hope so otherwise that<br />

sucks!<br />

SP: Not happening in the main stream thats for sure..<br />

DM: It’s happening underground! Yeah if you’re doing cool shit lets hang out!


WASTED<br />


Photographed by GEORGIA MITROPOULOS<br />

Words by MELISSA RODWELL<br />

Some people are just born with rock and roll in their DNA. And Gerard Marti is one<br />

such person. Born in Marseille and schooled at École des Beaux Arts in Paris, Gerard<br />

knew he wanted to pursue a career in the music industry even at a young age. After<br />

school he became a musician and songwriter, then he became a sound engineer,<br />

record producer and video director for one of the biggest music labels in the world:<br />

EMI Records.<br />

Frustrated with the ever-changing recording industry, in 1990 Gerard Marti moved to<br />

the United States and settled on the island of Maui in Hawaii. Through his passion<br />

for music and the great personal relationships he forged during his time at EMI with<br />

some of the world’s biggest rock legends and industry entertainers, he created<br />

Celebrity Galleries, the first ever art gallery to feature artwork created by uber-famous<br />

celebrity artists such as John Lennon, Miles Davis, Paul McCartney, David Bowie,<br />

Ringo Starr, Jerry Garcia, Ronnie Wood, Paul Stanley, Tony Bennett, Richard Chamberlain,<br />

Billy Dee Williams, Mick Fleetwood, Steven Tyler, Michael Madsen…..the list<br />

goes on……In fact, Bob Gruen, legendary rock photographer who has shot everyone<br />

from Muddy Waters to The Rolling Stones, Elvis to Madonna, Bob Marley to<br />

Bob Dylan, has exhibited in Gerard Marti’s galleries, they are long time friends.

In 2014, Gerard and his business partner, former model runway model Jennifer<br />

Vinklarek, purchased the Robert Kidd Gallery in Birmingham, Michigan. Jennifer,<br />

being a marketing genius, looks after the social media, press relations, special events<br />

and finances, with plans to open a Robert Kidd Gallery in her native Austin, Texas.<br />

And while Marti is proud to exhibit the works of his friends like Steven Tyler and<br />

Paul Stanley, he also is an artist in his own right, creating incredible pieces definitive<br />

of the Post-Modern Eclecticism, Symbolism and Expressionism form of Pop Art. His<br />

style beautifully integrates fragments from pop music, advertising, technology and<br />

urban street poetry. He engages in free association and in his words; “Pop art should<br />

be glamorous, entertaining, and popular. My pieces combine all of these elements.<br />

People who look for symbolic meanings fail to grasp the inherent poetry and mystery<br />

of the images. I question the idea of authority and the traditional role of the artist. I<br />

like to take something from the everyday world and transform it into art. Most of my<br />

paintings involve the post-modernist technique of appropriation of anonymous<br />

images. My inspiration comes from the imagery of consumer society and popular<br />

culture.”<br />

And not only is he a great artist, he has incredible stories. I’ll leave you with my two<br />

favorites: The guitar portrait is from his vintage Washburn Washington J9 guitar that<br />

he acquired in Toronto a few years ago because his friend Ronnie Wood invited to<br />

come see the Rolling Stones rehearse. He spent 5 or 6 days in an abandoned TV<br />

studio, watching them play. Keith stood out for him through out the week-long trip,<br />

he remembers not being able to take his eyes off him. Between each song, he was<br />

pouring himself a drink from the bottle of Jack Daniel’s sitting on a little table next<br />

to him. They were playing 30 to 40 songs every night. That should tell you how many<br />

glasses went down and many bottles were killed! When he returned to his home in<br />

Maui with his new acquired guitar, he set up a little table and a bottle of Jack in his<br />

basement and put on his fave Stones song “Can’t you hear me knocking” and spent a<br />

few nights playing along, being Loud and Elegantly Wasted.<br />

In his own words, I’ll leave you this last story that I absolutely love!<br />

“In 1983 while working as a record producer for EMI records. I was asked to manage<br />

a young French band newly signed by the company . We had just finished the reco<br />

In 1983 while working as a record producer for EMI records. I was asked to manage a<br />

young French band newly signed by the company . We had just finished the<br />

recording of their first Lp, and on this summer day of June 1983, we were all waiting<br />

in the make up room of the French TV channel TF1 for the lead singer to be done<br />

with make up and hair. Like it is often the case in bands, the lead singer was a total

“ prima donna ”, and his bratty behaviors were annoying the hell of everyone in the<br />

room.<br />

At some point, because I felt that punching him in the face just before his first TV<br />

appearance, might not be necessarily a good idea, I decided to leave the room and get<br />

out to take a deep breath.<br />

Because I was on the verge of committing and homicide, I opened and pushed the<br />

studio door fairly abruptly and immediately realize that by doing so, I just hit a<br />

person who was coming in on the other side. I slowly pop my head and saw a man<br />

slightly bending over, holding his face in his hands and behind him a girl carrying a<br />

make up bag looking at me with stupor . A few seconds feeling like an eternity passed<br />

and while the man moved his hands to his nose making sure that it wasn’t broken, I<br />

heard myself mumbling in French “ Oh my god, I’m so sorry, are you okay ? “ the man<br />

double checked that his nose wasn’t fractured , then slowly removed his sunglasses<br />

and said “ I think I’m okay !!! “. At this point, like everyone else around us, I<br />

recognized the pair of alien eyes looking at me under these infamous platinum blond<br />

locks, he smiled at me and said in an British accent “ Bonjour ! I am David, I<br />

murmured, Bonjour! I am Gerard, I am so so so sorry !! .<br />

That was my first encounter with David Bowie who was in Paris to perform at the<br />

Hippodrome D’ Auteuil during his 1983 “ Serious Moonlight Tour “ . A couple of days<br />

later on June 8, I found myself standing backstage watching Mr David Robert Jones<br />

setting the Paris crowd on fire with his freshly released #1 hit “ Let’s Dance “ .<br />

Around my neck an All Access VIP pass is hanging, where my name is supposed to be<br />

printed, someone has handwritten “ The man who ALMOST broke my nose “ .<br />

The new released watches are a collaboration<br />

between Gerard Marti who created the silver<br />

skull on the watch’s face and Ernst Benz the<br />

famous swiss brand . Each watch is produced as a<br />

limited edition of 25 worldwide .

T<br />

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Photographed and Interviewed by JANA EARLY

Jana Early sits down with Dustin Kensrue, lead singer and rhythm guitarist of the<br />

band THRICE before they go onstage in Atlanta!<br />

ALICE MAGAZINE: So, first, What in the world did the guys say when you told<br />

them you wanted to come back and start Thrice up again after calling it quits a few<br />

years back?<br />

DUSTIN KENSRUE: Everyone was into the idea in general. We had to kind of figure<br />

out logistics. Everyone just really wanted to make sure that it was going to be sustainable<br />

this time. Just trying to start over with better rythyms. yeah, i don’t think anyone<br />

expected me to hit them up again within a few years like that. It was hard for<br />

everyone in different ways (ending Thrice a few years back), but it was really good for<br />

us all to have a break, I think. Like, we all have a much better perspective and<br />

appreciate things more now for sure.<br />

AM: How many of the songs on the new record were songs you had written in the<br />

past or worked on in the past, or was all of this completely new material?<br />

DK: Its all new in a sense, I mean we all sort of tend to kick ideas around constantly,<br />

like, “hey check out this riff... it may be cool to use in the future.” Generally, I never<br />

have lyrics aside from the song i’m actually writing at the time. So, generally its all<br />

just new, or built off some random old idea or something; generally very skeletal,<br />

if theres anything (written previously) it’s just some simple crapy recording on our<br />

phones or something. Most of mine are just like me humming quietly into my phone<br />

because i’m somewhere where I can’t be loud and I”m just like “ggrrrhhhherrrr,”<br />

(Dustin sort of growled into his phone at this point to demonstrate how he quietly<br />

records random ideas.) Then I’ll go back and listen and I have no idea what it was<br />

that I was thinking. (laughs at himself in that quiet Dustin Kensrue way of laughing).<br />

AM: So all new material. Thats cool. Now on the record itself when you get into<br />

“Blood On the Sand” and just the racial violent chaos...<br />

DUSTIN: Yeah, in 2015.<br />

AM: Yeah, exactly. Could you just comment on that I guess? We all saw the hell of<br />

2015 and what happened, could you just comment on that? Why sing about it?<br />

DK: Yeah, part of it is that I try to let the songs themselves dictate a lot of where the<br />

lyrics go. So, we always write the music first and thats kind of telling a story on it’s<br />

on, and I need to find something that overlays it that makes sense with it. So I’ll have<br />

a variety of things that I’m thinking about or an idea that would be a great song, so i<br />

kind of sit with those songs and see what they feel like they are kind of telling. I think<br />

because the music in Thrice is kind of weighty feeling and serious in a lot of ways, I<br />

end up having to choose weighty and serious subject matter. So, that could be a<br />

variety of things, but this year it just ended up being a lot of that stuff on my mind<br />

that was bothering me. For me, writing stuff like that is a way to process some of it. In<br />

the creative process of writing, I end up doing a lot of research about whatever I’m<br />

writing about, just trying to understand it before I write. When I’m writing a record<br />

I feel more engaged in the world than I am at other times, and I like that. Makes me<br />

feel like I need to be more engaged more of the time too. Better than none at all

I guess.<br />

AM: So because of it being a heavy band, because its more serious, it causes you to<br />

have to go after heavier topics?<br />

DK: Yeah, totally.<br />

AM: What about your own solo stuff? You came out with “Thoughts that float on a<br />

different Blood.” How was that received as you toured, released that album, and<br />

made your way back into writing and performing.<br />

DK: You know, it was like, less of a big-to-do, I think just because it was covers and<br />

live, and for me it wasn’t like a huge undertaking to make, but it was something I had<br />

been thinking about doing for a while just because I enjoy doing that in that kind of<br />

environment. I like taking these songs and deconstructing them, and I wanted to<br />

capture them raw like that. I don’t know... It seems like people really dig it...<br />

AM: I seriously love it. It’s so well done.<br />

DK: Obviously, this record is a much bigger deal, with all of the stuff surrounding it.<br />

So, yeah, I wanted to get it (solo record) out before all of this happened.<br />

AM: So, plans, future, Thrice, any other hiatuses scheduled?<br />

DK: No, no. We are all stoked and ready to rock. So, yeah, I don’t know when we will<br />

record again, but I”m pretty sure we will start writing soon. We are touring through<br />

the end of the year on and off.<br />

AM: Any international touring?<br />

DK: Yeah we are doing several European festivals in August and a couple club shows<br />

over there. Then we aren’t announcing the other side of this tour yet. (smiles).<br />

AM: So, I’ll be honest... I have a massive headache right now. What do you do when<br />

you have a massive headache and you still have to go crazy and rock out? That sounds<br />

terrible to me. (we all sort of laugh)<br />

DK: I have a couple drinks, then go rock out.<br />

AM: yeah, that’s what I’m about to do as well. What do you usually drink?<br />

DK: Well, (laughs), our tour manager, Matt, is really into the tiki world. He’s pretty<br />

much an expert at really well crafted tiki drinks and knows all of the top tiki bars in<br />

every city. So we all go have tiki drinks.<br />

-Dustin then proceeded to tell me the entire history of original tiki drinks as told by<br />

Matt. Who knows if it was actually accurate because the man who brought it all back<br />

is named Beach Bumberry. I don’t know if I trust the story. It made for good backstage<br />

weirdness as we tried to make our own drinks though.

Assistant & Videography SAM WALLANDER<br />

Editing by HARD ZART IMAGING , LLC<br />

Styling by DONALD LAWRENCE<br />

Assistants to Donald NICOLE WOODS & TAK LAVARES<br />

Hair & Make Up by NATALIA MOZART<br />

UNDER<br />

THE<br />

BLACK<br />

SUN<br />

Photography by CAROLINE HOERMANN<br />

www.hardzart.com<br />

Models MATTHEW S. / HIDEKI A. / ELIZA H. / ALL @FUSION MODELS <strong>NYC</strong>

Top & Skirt MARIA CORNEJO<br />


Vest HYDROGEN<br />

Pants LEVI’S<br />

Boots DR. MARTENS<br />




Pants C.P COMPANY<br />



Jacket HYDROGEN<br />

Pants LEVI’S<br />



Pants C.P. COMPANY<br />





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Photographed and words by CORY INGRAM

What I think about ‘Modern-Rock’ or ‘Alternative’ music in the year 2016 is as follows;<br />

A lot of modern, maybe a guitar or two and some live drum kit samples, an extra<br />

fuck or bitch or some other cuss word thrown into the chorus somewhere that<br />

it doesn’t need to be so the song gets an explicit rating, and a singer in a leather<br />

jacket, preferably wearing pants that cost more than my rent. All so they can register<br />

their songs under ‘rock’ on iTunes. There’s no balance in the dynamic anymore.<br />

Hell, there’s barely a dynamic, all I hear when I turn the radio on is analog drama<br />

with the most depressing, desperate, and subdued first position guitar chords laid in<br />

somewhere underneath “synth track #11”. On top of all that, it seems the only bands<br />

playing real rock ‘n’ roll music seem to be out on their eighth farewell tour, but something’s<br />

gotta give sooner or later, right?<br />

My hope for the lost art of keeping the ‘rock’ in ‘Modern-rock’ or the ‘Alternative’<br />

in... the word ‘Alternative’ was rejuvenated late last year when I started touring in<br />

what seemed to be the underground revival of all things sacred to a rock ‘n’ roller.<br />

Glam bands, and funk heads, and new-age nimrods in a mad dash across the country<br />

to revive the art they so sorrowfully mourned for. In the continuation of my efforts<br />

to join the movement, my call to arms, if you will. I continued on through the winter<br />

and spring, in search of something exciting, perverse, and existential. In the early<br />

spring month, I ended up on a national run that started me in Los Angeles. It was a<br />

three band package for twenty-eight shows in thirty-nine days or something like that.<br />

The days, highways, cities, and plethora of hotel rooms all begin to blend together<br />

somewhere near the end of week two anyway.<br />

The band I had been routing with since October was on the bill. As was a Canadian<br />

group of guys who were all kind, generous, and talented as hell. They were much<br />

bigger in Canada than America, and that probably says something about the disparity<br />

of the state our music industry is currently in, but that’s a story for another time. The<br />

headlining act, originating from most corners of the country who had settled in Los<br />

Angeles by way of Brooklyn, was Dreamers.<br />

Dreamers is a trio. Marc Nelson on bass, vocals, and synth. Jacob Wick on drums<br />

and vocals. Nick Wold on guitar and lead vocals. The night the tour started, at The<br />

Roxy, on Sunset, I spent most of their set across the way at the Rainbow Room catching<br />

up with an old friend over Margaritas and a sub-par cheeseburger. Shortly after,<br />

I came to regret my decision. I returned to the venue near the end of their set and<br />

continued to drink in celebration of finally ending the four-day drive out from New<br />

York. The last song Dreamers played that night was a cover. I’m never particularly<br />

fond of most bands who do covers in our day, because they’re mostly just songs off of<br />

the radio, to draw the crowd in. I particularly dislike when bands end their set with<br />

a cover. But this experience changed my opinion on that. Nick Wold came up to the<br />

microphone prior to the performance and said “ We’re gonna do one more song for<br />

you, and if you don’t mind, it’s going to be a cover. There are a lot of crazy, terrible<br />

things going on in this world right now and we need to take a stand and change that.<br />

We need a revolution.” As Nelson and Wick began to add noise behind him Wold let<br />

his guitar amp shreek out a rebellious feedback and continued “ Our friend Max from<br />

Arkells is going to come out and help us out with this one, sing along if you know it.”<br />

The song was ‘Revolution’ by The Beatles. It was a flawlessly original rendition with<br />

the most conviction and understanding I had ever seen anyone play the song with.<br />

They knew what they were saying, and they meant it. From that point forward I stuck<br />

around for as many of their sets as I could while we traveled together. Their honesty<br />

and conviction carries over into their originals too. Each night I watched the trio play<br />

several of the tracks off of their upcoming record, “This Album Does Not Exist” and<br />

the execution, emotion, and expressiveness only got better each night. This is not a<br />

band one can get bored with easily when watching them play live.<br />

Dreamers unique brand of Modern-Rock is the perfect Alternative cocktail to claim<br />

the genre respectfully and skillfully. Tracks like their latest single, ‘Sweet Disaster’,<br />

incite references to The Rolling Stones, The Ramones, The Talking Heads, and more.<br />

With influences like that, it’s difficult to fall away from the path of success. The overdriven<br />

grunge-like guitar tones, straight drum beat, and throaty bass all cut through<br />

the track like any rock record should, although, they’ve artfully added synthesizers,<br />

electronic drums, and other analog electronics to attribute to the claim of the ‘Modern-Rock’<br />

category because that’s what it is. Modern, and rock. Without the addition<br />

of any tongue in cheek radio cliches that could let them slide into the iTunes classification.<br />

The debut album from the trio is due out at the end of August and they’ve already<br />

had three of the tracks debut on alternative radio and I have a feeling this is only<br />

the beginning. When “This Album Does Not Exist” drops I suggest you grab it. Even<br />

more so, I suggest you keep tabs on this band and catch a ticket to one of their shows<br />

when they come to your city. And you can hope that the show you see is only half as<br />

good as the time they played at Nuemo’s in Seattle that packed the legendary grunge<br />

birthplace out and blew the roof off with a full blown rager of a dance party, right on<br />

the stage to conclude the night.


Photographed and Interviewed by CORY INGRAM

Sugar, and spice, and everything nice. That’s what girls are made of, Right? What<br />

about the ones that aren’t? The girls who don’t get up early on Sunday morning; The<br />

girls who wear all black and jeans to a family BBQ in the (San Fernando)<br />

valley in July and sneak away to have a smoke or two while everyone is down stuffing<br />

their faces with baby back ribs. What’re those girls made of? Worms? - It’s better<br />

than nothing and says a hell of a lot more for ladies like those in Bleached. The SoCal<br />

trio, whose latest album, ‘Welcome To Worms’, resembles everything from Joan Jett &<br />

The BlackHearts “Ridin’ With James Dean” to “Charlie Don’t Surf” off of The Clash’s<br />

1980 release, ‘Sandinista!’. The acid washed, four-chord, surf-rock is nothing short of<br />

reminiscent of everything we’ve been missing for decades. With a modern sparkle and<br />

melodic twist that leaves the listeners and crowd goers completely engrossed. With<br />

summer in full swing and more flower crowns and five panels than any early-spring<br />

festival, I caught up with the girls at the 104.5 Block Party at the aptly named, Festival<br />

Pier.<br />

ALICE MAGAZINE: With the new album, ‘Welcome to Worms’, consisting of song<br />

titles such as “Trying to lose myself again”, “Wasted on You”, “Desolate Town”,<br />

“Chemical Air”, and the obvious “ Hollywood, We Did It All Wrong” it’s easy to say<br />

Bleached has gotten a handle on embracing the darker side of life. Songs that<br />

obviously depict that everything isn’t always what it seems in the land of money, fame,<br />

and plastic surgery. How do you feel, being from California, other people misconceive<br />

Los Angeles and the concept that everything isn’t always what it seems in Hollywood<br />

and how confronting that is as a universal theme throughout this record, along with<br />

facing and overcoming personal demons as well?<br />

JENNIFER: Los Angeles has always been portrayed as the dream town of California<br />

with perfect weather and beautiful people - but that bores me. I find beauty in the<br />

darker, mysterious side of LA. The way my mind sees it is what inspired a lot of this<br />

record. Sometimes I would get sucked into partying, being self-destructive and other<br />

times I would find myself and need to escape to the desert seeking some peace of<br />

mind. Ultimately what I learned is life’s a package, the good and the bad, and if life<br />

were perfect we would be bored and ungrateful.<br />

JESSIE: Los Angeles can be a very distracting place, so the need to escape it is<br />

important sometimes to focus... But, I love it because it’s made me who I am today,<br />

more so the San Fernando Valley where we spent a good portion growing up.<br />

MICAYLA: LA has a toxicity to it that can be really distracting. I like living here now<br />

because I find everything to be amplified and filled with extremes; extreme beauty,<br />

wealth, and so-called idealized versions of human life, as well as the converse extremes<br />

of poverty, competition, and despair. That polarity I find inspiring because it<br />

forces me to reach inside and be myself. All I can do is face myself in the middle of a<br />

chaotic sea of conflicts. It really is sink or swim. Eventually, I want to live somewhere<br />

more relaxing and naturally beautiful.<br />

AM: Jen and Jessie, as sisters, it’s clearly not a question of “how did you meet?” , to<br />

state the obvious; But - at what point did you say to each other “let’s make music and<br />

start a band together?” what was the catalyst for your musical endeavors together and<br />

who were some of your initial influences?<br />

JENNIFER: We used to go to as many shows as possible every weekend, it didn’t<br />

matter who was playing we just wanted to see bands play. I was watching this opening<br />

band one night called f-minus and there were two girls. That’s when it hit me that I<br />

needed to start a band with my sister. I went home, picked up one of my dads’ guitars<br />

and taught myself how to play. I had two records Blondie and The Slits and one VHS<br />

video called “Girls Bite Back” that had the most amazing and inspiring video of<br />

Siouxsie and the Banshees. I was obsessed and that’s what led me in my musicaldirection.<br />

JESSIE: I had been playing bass at that time, so when Jen started playing guitar I was<br />

super stoked to have someone to play with. I totally admit it, I was that girl singing or<br />

playing bass in the mirror because I wanted to be in a band so bad! I was only like 12.<br />

Around that time a neighbor gave me a tape of The Velvet Underground, and I had<br />

this little jam box I would record songs I liked from the radio, but when I put that<br />

tape on and heard the song Rock n Roll for the first time I was so excited! It wasn’t<br />

like anything on the radio... And when that guitar solo kicked in, oh my god, I was<br />

dying.<br />

AM: Micayla, knowing you initially began playing with Bleached as a live member and<br />

only began writing contributions on this most recent record, where and when did you<br />

get your start in playing music? Did you have any bands or projects prior to this?<br />

MICAYLA: I started playing about age 12 or 13 when I discovered The Beatles. I<br />

spent the majority of my teens in my room learning to play Beatles on guitar, and<br />

was fairly isolated from other kids. Then at 17 a girlfriend asked me to join her band<br />

called The Tanks. I was immediately thrown into a world of musicians who were socially<br />

awkward nerds like me, but all of a sudden we belonged and were even a little<br />

cool! I had never considered being in a band before being asked to join that band,<br />

but have somehow been in one ever since. Other serious projects if played in include<br />

Clear Plastic and Only You, a few bands I started in LA that had great potential but<br />

fizzled out too soon due to personal conflicts. I was so thankful to get hooked up playing<br />

with Jen and Jessie because they had momentum and I had the energy to match<br />

them and help push Bleached to rise to its full potential. I admire them both as true<br />

artists and visionaries, and respect them and what they have built as a sister duo. I<br />

also feel a real energy and pureness that comes when we write as a trio and I hope to<br />

be able to keep the ideas coming and contributing on the next recordings.

AM: Expanding on that last bit, writing your newest album, ‘Welcome to Worms’, was<br />

a new experience for all of you because, as Bleached, you had only written as a duo<br />

prior. What was the shift in dynamic like for your writing? How did the conversation<br />

start about opening up the family affair to Micayla as a writer?<br />

JENNIFER: Writing wise it’s been great. We started off slow to make sure we could<br />

work together. And it’s rad because I still got to write alone, Jess and I still wrote as<br />

a duo, and a few songs we all three wrote together. It literally goes all ways and the<br />

more material the better and adds more dynamics. We are now starting to write with<br />

our drummer Nick.<br />

JESSIE: Its cool to expand a little, try new things. When Jen and I started I was used<br />

to having more than just 2 writers and everyone having their instrument to play, but<br />

with just Jen and I we were able to have hands on more than one instrument and<br />

taught me so much more.<br />

AM: You worked on this record with Joe Chiccarelli, who has worked with everyone<br />

from Elton John to The Strokes, and co-producer Carlos De La Garza, how did you<br />

come to the decision that this was the team for your sophomore record, and what did<br />

they bring out of the experience that might not have otherwise come about?<br />

JENNIFER: Confidence. I feel like if I had been offered to work with these two before<br />

this record I wouldn’t have been ready for it. I was finally accepting of my potential<br />

as a musician and Joe and Carlos helped me see that in myself<br />

JESSIE: Joe and Carlos were super respectful, and I felt they truly believed in our<br />

musicianship, so I was comfortable to try a lot different things.<br />

AM: You’ve got a pretty heavy and vast touring schedule for the next few months,<br />

from Kansas City to Newton, New Zealand. After the next few months wrap up what’s<br />

next for Bleached?<br />

JENNIFER: Very excited to play Seth Myers! Then we go on small tour playing a<br />

bunch of cities that bands don’t always tour through which is gonna’ be fun. Then we<br />

go on a US tour with the band Beach Slang aka the tour name “Bleached Slang”. So<br />

stoked on what we have going on, I feel like now is the time!<br />

MICAYLA: I feel so much energy surging around this band and feel very alive when<br />

we’re playing together. We are united and have a clear vision, and are pushing<br />

ourselves to be our best. I can’t wait for all the cool shows coming up!!!

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