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Alice Magazine Chapter 7

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CHAPTER 7<br />

VOLUME 2<br />

JULY 2017


“I’d rather be dead than cool.”<br />

Kurt Cobain of Nirvana - 1992<br />

<strong>Alice</strong> doesn’t put celebrities on our covers. We don’t put supermodels<br />

on there either. We don’t care about how many Instagram followers<br />

you have or how popular you are in the LES. If your music<br />

makes us want to dance, fuck or punch someone in the face, we’re<br />

listening……..<br />

Editor in Chief<br />

Melissa Rodwell<br />

Art Director<br />

Richard Ray Ruiz<br />

Managing Editor<br />

Kris DeVito<br />

Digital Director<br />

Jan Klier<br />

Digital Supervisor<br />

David Neilands of Solstice Retouching<br />

Cover Photographed by MELISSA RODWELL


DAVID<br />

STRANGE<br />

Photographed by JESSE FROHMAN<br />

Styled by TAMARA BARKLEY<br />

David Strange is a character. Long wavy hair, lots of eyeliner and an equal penchant for<br />

ladies’ blouses as well as tech “gear”. He’s the type of guy you’ll stare at on the subway<br />

only to realize you’re wishing you knew where he bought his lariat necklace (definitely<br />

vintage). A style all his own for sure, but in no way is it smoke and mirrors to the savant<br />

level talent that takes center stage at their shows. Close your eyes and you’ll feel like<br />

Jimmy Paige just inhabited his body.<br />

I met him and his drummer Brian at their rehearsal space in Williamsburg for a chat<br />

about the fight/alliance between technology and music; what’s next for them and as<br />

much information as I can digest about his signature double neck guitar.<br />

<strong>Alice</strong>: How would you describe your live sound and style?<br />

David: Live is a little bit different than the recordings I have out, but right now my<br />

sound is really defined by limitations because for a while I was kind of like, there are so<br />

many tools available to musicians today with all the technology. You can get GarageBand<br />

and they’re like “wow you can get all these drum machines and samples and different<br />

virtual instruments” and really the palette of colors you can use to create music now is a<br />

little bit daunting. So, when I was kind of getting my sea legs I was experimenting with a<br />

lot of different things and to not a great effect, in my opinion, and I came to the realization<br />

that I am a guitar player because since I was a kid I’ve been doing this since I was 11<br />

years old. I was obsessed with playing guitar as a teenager I would play for like 8 hours a<br />

day and I got really good at it. So, I decided to stick to what I know, not step outside into<br />

these shortcuts that have been invented through different technology companies that<br />

are making programed drums, and you can get a guitar sound but clicking this mouse<br />

over here. So, I decided to stick to guitar and let that dictate where I go. Because the


guitar is a very, very deep tool. You can spend your life studying it! And I feel like playing<br />

it for as long as I have, I’m still scratching the surface on a lot of things and it will<br />

give back to you. It will give back to you as much as you give to it. It’s a very mutual and<br />

reciprocal relationship which I can’t say for most other things or people. You give to it X,<br />

you get back X, you give 2X you get back 2X and that’s a great thing. So, I’m just going to<br />

limit it to that. For my EP we had a full studio full of toys that created great sounds and<br />

textures and it was all analog and it came out sounding great but when we came to applying<br />

the sound of the record to what we do live, I was still daunted by, “how am I going<br />

to pull this off? I need a 5 or 6-person band to do it!” and I thought, that’s going to be<br />

a fucking nightmare because even if we can all get on the same schedule for one show,<br />

we are never going to have a chance to rehearse together and that’s just based on bands<br />

I’ve been in in the past. The most important thing to me was perfecting my craft as a<br />

guitar player and that’s my strongest suit and I wanted to lead with that. The way I did<br />

that was limit what I was going to do to each song on guitar. I never meant to do it this<br />

minimal, always the idea was when I met Brian, we will rehearse on guitar and drums to<br />

learn the song and get it down and maybe add a bass player and a keyboard player but<br />

once we started rehearsing as the two of us and our “bromance” began and we realized<br />

what a dream it was logistically to just have two people as well as financially since there’s<br />

not as much cake to cut. It was then I started getting obsessed with gear, using different<br />

devices to get lower frequencies out of my guitar and one of those is using really big<br />

amps. Nobody does that anymore especially in New York because they’re so heavy. The<br />

big amps have the most low end to me and in order not to have a bass player it’s what<br />

we do. That’s the geeky definition to my sound. The aesthetic definition of my sound is<br />

very much akin to the classic rock guitarists of the 60’s and the 70’s that I gained a lot of<br />

influence from and lyrically I get a lot of influence from poetry like Leonard Cohen, RIP.<br />

A: How did you a Brian get together? How did the bromance begin?<br />

D: We met 10 years ago through a guy named Joseph Parker and we didn’t see each other<br />

for a while and then one day he was working at this local music store I came in to geek<br />

out in one day and he was like “I play the drums, here’s some videos” which happens a<br />

lot in music. But I was like wow this guy is amazing and that was it! I’m his second wife<br />

now.<br />

A: Is your onstage persona different than your real-life persona?<br />

D: No, not really. In a lot of ways, I am freer to be myself onstage because unfortunately<br />

I’m not in a position in life where I have “fuck you” money or power, and if I did I’d feel<br />

much freer offering my “fuck you” opinion more often than I do. But in order to swim<br />

with the currents I have to swallow the “fuck you” and say the things I have to say in<br />

order to get by. My life is a much younger and more bohemian version of “Curb Your Enthusiasm”.<br />

I do enjoy performing a lot and get I get to be myself onstage. I really have to<br />

fight for that hour onstage, it’s like 23 hours dealing with other stuff to get there.


A: Strangest gig you’ve ever played?<br />

D: That’s a really good question because there’s been a lot of them. The strangest is<br />

probably been we played at an advertising agency on Madison Avenue right by Grand<br />

Central Station. They were just this big global billion-dollar advertising agency and one<br />

of the guys there came and sauce play and became a big fan and he was like, “we have<br />

this bar in our building we would love to have you come and play at.” It was such a fiasco<br />

because also we have a friend named Emily Shepherd who is a fantastic performer, she’s<br />

a burlesque performer and an actor and model and she’s just incredibly talented and<br />

she performs with us sometimes. And she was going to do our show with us, and just<br />

one of the many fiascoes if she came and got ready, all dolled up ready to go with hair<br />

and make-up and about two minutes before we were ready to perform they told her she<br />

couldn’t do it because some people might take it the wrong way if we have a burlesque<br />

dancer perform here. But before I even get to that, it’s one of those massive buildings in<br />

Midtown and they have so much money, and they’re like “we can pay you for the show<br />

and will pay for all of your expenses and all that” so we get to the show, we load in and<br />

it’s just super weird because it’s all just these business people in this very weird lounge<br />

it’s kind of like a bar you would find in an airport hotel. And here I am an eyeliner, wearing<br />

a Stevie Nicks hand me down and we go and play the show. Also, just to walk in the<br />

door we had to get this crazy insurance that cost like $600 just to carry equipment into<br />

the building. They told me not to worry that they were going to pay for all of our expenses,<br />

so we played and it was super weird because nobody knew what to do. Also, the<br />

song we opened with his one that we open with often called “Propaganda” and I don’t<br />

think it really connected with people being at a whole agency. It went over their heads<br />

they didn’t really understand the irony. We played fine. It was kind of like being on one<br />

of those dates where you’re really not getting along but you have to get their dinner so<br />

you’re going to the motions. So, at the end one guy just said, “you know you guys really<br />

well but I think we should’ve said something like there was free pizza, more people<br />

come when there’s free pizza” and I was just thinking to myself, this is so weird. We left,<br />

and they ended up not paying for the insurance so the insurance company is coming<br />

after me because my name is on the thing and they’re sending me all these letters saying<br />

they’re going to report it to the credit agency. It was just a fiasco being the middleman<br />

between this giant corporate structure and trying to explain to them how I got asked<br />

to do the show so I needed to get paid back for the insurance. So that’s definitely the<br />

weirdest one we’ve probably had.<br />

A: Did I read correctly that you used to tour with Courtney Love? What was that like?<br />

D: I did yeah, it was really awesome. We didn’t see Courtney too much because she’s really<br />

busy doing other things but I got to play in front of some of the biggest audiences<br />

I’ve ever performed in front of. Even though I’ve been playing all my life it’s just a different<br />

thing being on stage in front of 10,000 people. However complicated or simple the


piece might be, it becomes more of a mental thing or psychological like playing golf or<br />

something where it’s like, it’s not hard to hit the ball from here to over there but it’s the<br />

focus or mental game that is complicated.<br />

A: What made you realize you wanted to be a guitar player? I mean, the double neck guitar<br />

is really impressive.<br />

D: That’s a common misconception, you don’t play both necks at the same time, one is a<br />

12 string and one is a 6 string and on the 12 string you press down on two strings at once.<br />

So, it’s kind of double the sound. Its great though because there are no other musicians<br />

in the band, if I break a string I can just switch over to the other neck. It’s so not cool<br />

and nobody is doing it and every great guitar player is known for their guitar like Jimmy<br />

Paige definitely did it from Led Zeppelin so he had it on me, but since then nobody else<br />

has a double neck guitar as their signature guitar. Whenever I see one I buy it, I definitely<br />

have a gear sickness, but a new strain of the virus is now I want to buy multiple<br />

versions of the same thing.<br />

A: How did you end up in the rehearsal space you’re in now?<br />

D: We had a space behind the Crown Victoria which is this awesome bar and restaurant<br />

that was two blocks away. We had a secret door that led to the backyard there and in the<br />

summertime, they’d have free movies and in the winter the bar had a fire and food and<br />

drinks and stuff. It was an amazing situation. It was home! We could rehearse, grab some<br />

food and a drink and then they sold the entire block to this boutique hotel and they<br />

knocked down everything so we were the classic gentrified case of our spot. It’s [gentrification]<br />

a double-edged sword though, because I really like nice cheese and coffee and<br />

then I’m like, “fuck these prices! But I want!” (laughs).<br />

A: Next steps?<br />

D: Yes! Our album. We have a LP that we recorded basically the entire thing for and it’s<br />

pretty magical. We played our songs from start to finish and if it didn’t sound good, we<br />

just started playing it over again. We are in the process right now of mixing it and finishing<br />

the vocals and the next step is figuring out how to put it out because the medium of<br />

the album is kind of obsolete because people listen to singles.<br />

David Strange is the in rigorous process of writing and recording their full length album,<br />

but until then, catch them playing around NYC. Tell them <strong>Alice</strong> sent you.


Leather jacket MACKAGE<br />

Bra PERILLA at BRIGADE MONDAINE<br />

Leather belt ZANA BAYNE<br />

Leatherette legging CALZEDONIA<br />

FRENCH<br />

CONNEXION<br />

Photographed by SYLVIE CASTIONI<br />

Fashion editor FANÉLIE PATRAS<br />

Model MORGANE WARNIER @HEROES MODELS<br />

Make up Artist OCÉANE SITBON GHOULA<br />

Hair Stylist MASSANORI YAHIRO


Tulle dress NADIA ACIMI<br />

Leather harness ZANA BAYNE<br />

Leather jacket VICTORIA THOMAS<br />

Tank top DRYCLEANONLY<br />

Suede short MAJESTIV FILATURES<br />

Ring and bracelet UNO DE 50<br />

Spartans VIC MATIÉ


Silk bombers IKKS<br />

Bra ELISABETTA FRANCHI<br />

Leatherette legging CALZEDONIA<br />

Varnished heels ELISABETTA FRANCHI<br />

Leather jacket FRENCH DEAL


Fringe jumpsuit & Leather jacket ELISABETTA FRANCHI / Leather bracelet ELF ZHOU at BRIGADE MONDAINE<br />

Lace body PALOMA CASILE<br />

Tank top ELISABETTA FRANCHI<br />

Foal belt THE KOOPLES<br />

Short ELISABETTA FRANCHI


Net body ELISABETTA FRANCHI<br />

Bra GOD SAVE QUEENS at BRIGADE MONDAINE<br />

Leather & silver necklace ZANA BAYNE<br />

Cotton jumpsuit PAUL & JOE x COSABELLA<br />

Necklace with pearls THE KOOPLES<br />

Silver ring UNO DE 50<br />

Suede over the kneels CESARE PACIOTTI


Photographed by DYLAN PERLOT<br />

@dylanperlot<br />

www.dylanperlot.com<br />

Creative Director / Stylist DINA VIBES<br />

@dinavibes<br />

BLACK<br />

STAR<br />

Model RYAN FOSS @theskiftesvik<br />

Prop designer RACHEL ROSEN @rachelarielrosen<br />

-<br />

Fishnet NASTY GAL<br />

Short Pants: KONUS<br />

Choker BOWENERO<br />

Underwear SINGLE


Snake Skin Trench Coat BRADLEY BAYOU


Underwear: SINGLE<br />

Snake Skin Trench Coat BRADLEY BAYOU


RAPTURE<br />

Photography by PAUL GISLE<br />

Styled by VALISSA YOE<br />

www.valissayoe.com<br />

Dress CALVIN LUO<br />

Rings, Earrings & necklace LARLARUICCI


Blazer & Pants DZOJCHEN<br />

Top FYJ by DANI BEAD<br />

Vest HARRISON MORGAN<br />

Shoes MARC JACOBS<br />

Dress JYPSY SPORT<br />

Jacket DZOJCHEN<br />

Underwear NASTY GAL<br />

Shoes UNITED NUDE<br />

Neclaces LAURICCI


Swimsuit CHROMAT<br />

Jacket LAUREL DEWITT<br />

Belt worn as necklace CADIEUX<br />

Necklace HAUS OF TOPPER<br />

Shoes GIANVITO ROSSI


Top CHROMAT<br />

Pants & Shirt DZOJCHEN<br />

Jewelry LAURICCI<br />

Shoes UNITED NUDE<br />

Coat & Blouse CADIEUX


Dress GYPSY SPORT<br />

Bodysuit TRUE ROCK<br />

Jacket YOU AS<br />

Shoes STEWART WEITZMAN<br />

Sunglasses THIERRY LASRY<br />

Top pants & Blazer CADIEUX<br />

Necklace & Rings LAURICCI<br />

Scarf BURMA BIBAS<br />

Shoes KAT MACONIE


FLEUR<br />

DU MAL<br />

Photography by SAM M. ESTRELLA<br />

Styled by LENA LELU


Top H&M<br />

Trousers VINTAGE<br />

White Coat CONBIPEL


Jacket MARYSE CEPIERE<br />

Belt VINTAGE


Coat PHILIPPE LE BAC<br />

Shirt URBAN OUTFITTERS<br />

White Coat CONBIPEL<br />

Trousers JENNYFER<br />

shoes ZARA


THE SHELTERS<br />

Photographed & Interviewed by KRIS DEVITO


I’m in Greenpoint Brooklyn pushing myself through a bunch of Governors Ball<br />

vrevelers, cursing the first summer heat we have had. It’s rained the day before so air<br />

today is thick, sticky and muggy and its 10pm. I’m wearing all black and Doc Martens,<br />

my typical rock uniform, and already regretting it in the crammed subway where the airconditioning<br />

has already broken (good luck NYC summer!).<br />

The venue, Warsaw, is an unusual one. It’s a Polish-American hall that sells kielbasa and<br />

pierogis in the back with a cash only bar in the front that looks like an afterthought. The<br />

mainstage reminds a little of my high school dances, but without the teen angst. As I<br />

enter, I’m hit with the delicious smell of cooking onions and saddle up to the bar for<br />

bourbon. I’m here to meet Josh Jove, lead singer and guitarist for The Shelters. He’s<br />

got a cool throwback look with hair slicked back into a mini pompadour with stovepipe<br />

jeans and a huge belt buckle. The Shelters hail from Los Angeles and I already imagine<br />

those jeans being hot in Los Angeles like the subway I just was on.<br />

Just this past June their debut album was released and co-produced by the one and only<br />

Tom Petty. As you listen, there is no mistaking their musical influences and California<br />

swagger. It’s rock music with a beat you can dance to, just like our parents had. American<br />

rock music nostalgia with just a cheeky sprinkling of British Invasion. Perfect summertime<br />

BBQ music, exquisitely California.<br />

After I grabbed my drink, Josh obliged me to sit down for a quick chat before they<br />

opened for Royal Blood.<br />

<strong>Alice</strong>: Pick your poison.<br />

Josh: Makers [bourbon] is it. I can only speak for<br />

myself.<br />

A: How did you guys get together as a band?<br />

J: Our band got together by always being in different<br />

bands in the LA area. It’s kind of incestual in<br />

different areas of LA on the west side where a lot<br />

of these guys are from where I live now, we kind of<br />

all met and started playing together. Yeah, I mean<br />

I joined a group that they all played in besides our<br />

bassist, Jacob. I joined that playing guitar and the<br />

band sort of fizzled out and we started this next<br />

band. We have been together for three years now<br />

years as The Shelters.<br />

A: Inspiration behind the name.<br />

J: Oh wow. It wasn’t a very inspired name. We<br />

came up with a huge list of names.


It’s actually really difficult to come up with an original<br />

band name now and all of our favorite rock band are<br />

“The- something” especially when you get down to<br />

the one word. That’s really hard. What’s the word that<br />

hasn’t been used? I don’t know, The Shelters. I guess<br />

we got kind of lucky with that. There wasn’t much inspiration<br />

behind it to be honest. Coming up with shit<br />

bad names is the easiest. We had a huge list of really<br />

funny ones that we would go around joking about but<br />

those could never actually work.<br />

A: Are all of you from California originally?<br />

J: Yeah actually. I grew up in Florida myself but was<br />

born in Northern California. We are all Californians.<br />

I’ve been there for about eight years myself.<br />

A: Did music bring you out to California?<br />

J: Yes. I’m 28 now I moved out there when I was 20<br />

years old to do music and not necessarily to have a<br />

band on my own, but just to play guitar. It’s way less<br />

work to be a guitar player and get really wasted before<br />

a show and just bop your head around. Now that<br />

I have to sing and do everything else, it’s a lot. I’ve bit<br />

off more than I can chew.


A: I’ve read that California plays a large part in the inspiration for your song writing process.<br />

Explain.<br />

J: The history of California music is so deep. I like thinking that we’re a part of that just<br />

that a later time. For me music is very geographical when I moved to LA I kind of enveloped<br />

myself in California music so once at the opportunity to start an original band<br />

I kind of thought, give a tribute to California pulling from a range of influences like the<br />

Doors, The Beach Boys, The Byrds, there’s so much great music, especially from the 60s,<br />

in California. Even in present day, even as we were growing up there’s always been great<br />

music coming out of California. So, for me especially a part of my songwriting I consciously<br />

like California influence everything I do especially, because this is our California<br />

rock band.<br />

A: Is it mainly California bands that inspire you?<br />

J: I wouldn’t limit influences to anything in particular that way, but it just happens to be<br />

a lot of California. And a lot of people here too so we also love British Invasion music.<br />

There’s a lot of crossover stylistically between the British Invasion music and California<br />

music. There’s a lot of similar sounds and things so we let all of that influence us. We<br />

don’t limit ourselves and would like to be influenced by basically anything we hear. Every<br />

band that we go on the road with also influences us in one way or another. We tend<br />

to be the opener at this point in our careers so we watch these bands that are successful<br />

play after us to figure out what they’re doing that’s making them so successful. How are<br />

they laying out there set list, how are they doing all these other things. So, we take inspiration<br />

from everybody.<br />

A: Any pre or post show traditions?<br />

J: None that I can repeat (laughs). Actually no, none for me personally. I like to have a<br />

sip of whiskey.<br />

A: Plug away!<br />

J: We just put out a new video for our song “Gold” that’s on our album that was directed<br />

by Mark Pellington and features the actress Juno Temple. And obviously check out the<br />

records that came out last June. It’s a full-length album. We’ll be coming out with a second<br />

album next year we have about half of it written and recorded. Record a little here<br />

and there, tour on the road, then record a little here and there.<br />

The Shelters are touring all this summer if you’re lucky enough to catch them, but fear<br />

not! They begin their major tour in autumn where they will be with Dandy Warhols and<br />

Bronch.<br />

A: Dream collaboration?<br />

J: We’re pretty lucky with whomever we’ve been able to collaborate with so far, but<br />

there’s lots of people. Any great producer, that is out there now would love to work with.<br />

Obviously, Dan Auerback we love his production style, that dude Foxygen, he’s a really<br />

talented force you can tell. For some reason, I’ve always wanted to work with Beck, making<br />

a record with the Beck would be really cool. We’ve been lucky enough to work with<br />

Tom Petty so that’s why it’s kind of hard to think any dreams situation because we’re<br />

already in a dream situation. We are lucky, I feel guilty putting another one out there.<br />

A: Do you notice a difference between West Coast and East Coast music scenes?<br />

J: I know a bit more about the California music scene. But truthfully, I’m a bit out of<br />

date on current music, I listen to a lot of 50s and 60s music myself. It takes a lot for me<br />

to hear about a band but if you hear a lot about it from a bunch of angles, I’m like “alright<br />

I’ve gotta check this band out”. I’ve done that recently with the band The Lemon<br />

Twigs. That’s a great example of a New York band that is the same influences as we do,<br />

and they sound totally different, but they’re also very different from the California scene<br />

in general. But there’s a lot of overlap, a lot of people with good musical taste, love the<br />

same stuff. People Love British Invasion, Garage rock. But to answer your question, I<br />

don’t have a firm grasp on the current situation between East Coast and West Coast music<br />

myself. I feel like with the Internet things are all sorts of mixed up now days because<br />

it’s coming from all different places.


STRANGE<br />

DAZE<br />

Photographed by STEVE ROY<br />

Styled by JESS MEDEROS<br />

Model SIAN OSBOURNE @ RED MODEL MANAGEMENT<br />

Make-Up RACHEL TOLEDO<br />

Hair DAVID HARRINGTON<br />

Shot @ NEO STUDIOS NYC<br />

Jacket,Top & Shorts QUEENIE CAO


Pant LIANA CAMBA<br />

Top MR.LARKIN<br />

Top BLAKE HYLAND<br />

Jean LEVIS


Suit KENNETH COLE<br />

Top LEVIS<br />

Sunglasses ILLESTEVA


Jacket KELSEY RANDALL<br />

Hat SENSI STUDIO<br />

Bolo THE SHINY SQUIRREL VINTAGE<br />

Top BLAKE HYLAND


CREEPOID<br />

Photos, Intro and Interview: @ghost_lenz (BILLY HENRY)<br />

Beautiful accidents happen. Maybe in the bedroom<br />

(that’s how I was born), or the crockpot, or in a<br />

photograph. Or in music. With the right bits sometimes<br />

some sort of nonchalant savage combustion<br />

occurs and the result is a phenomenon. So it is with<br />

Creepoid. A hard-nosed band with brash<br />

backbones and warm hearts and a gritty lifeblood that<br />

is so Philadelphia. Over three albums and three<br />

EP’s, including the newly-released “Burner,” the band<br />

plays a wide range of style and sound that<br />

cannot be bogged in the goo of a cheeky music<br />

category. Creepoid is layered, loud and charmingly<br />

deviant. Moving in and out of atmospheric haunts and<br />

fast, hazy heaviness with subtlety and lean<br />

aggression. They’ve shared the stage with numerous<br />

powerhouse acts including Dinosaur Junior,<br />

Drive Like Jehu, Against Me and Best Coast. And<br />

through a rabid work ethic and a relentless push of<br />

their music’s possibility, Creepoid has<br />

unassumingly kicked the door open and<br />

invited themselves into the party of great<br />

rock n roll. Lovebirds Anna (bass and vocals) and<br />

Pat Troxell (drums), guitarist and<br />

vocalist Sean Miller, and slide guitarist<br />

PeteJoe Urban know how good they are. Yet through<br />

their<br />

playful demeanour and authenticity they reveal their<br />

refreshingly high level of gratitude and humility.<br />

And when they chose to cordially walk away from a lucrative<br />

record label opportunity, after the label’s<br />

primary angel investor was unveiled as an immoral<br />

scumbag, Creepoid showed their integrity. Here is<br />

a band making music and handling business: their way.


<strong>Alice</strong> <strong>Magazine</strong>: Sean you said you felt uncomfortable when we were shooting photos<br />

earlier. When<br />

Creepoid first started, how many shows did the band do with the bleached sheet covering<br />

the stage?<br />

Sean: Three or four. I was still playing acoustic. Anna hadn’t picked up the bass yet.<br />

Anna: I was playing the tom drum.<br />

Sean: And the tambourine.<br />

Anna: We were all sitting down.<br />

Pat: We didn’t want anyone to know who we were.<br />

Sean: We were silhouettes against a projection onto a sheet that was bleached. It was a<br />

confidence<br />

builder. It was cool. I kind of forgot about it. Let’s do it tonight.<br />

<strong>Alice</strong> <strong>Magazine</strong>: It’s going to make it difficult for me to shoot photos.<br />

Pat: We took it on the road in front of people and it felt great.<br />

Anna: Yeah it was just fun to do something different. We were all in other bands and this<br />

was just our<br />

side-job at the time. So it was just “Let’s be weird and play behind a curtain because it’s<br />

not really a<br />

band it’s just like an experiment.”<br />

<strong>Alice</strong> <strong>Magazine</strong>: An experiment that came from forming a band by accident.<br />

Pat: Yeah. There was no “Let’s get together and start a band.” It was literally “Let’s hang<br />

out and play<br />

with some stuff.” That’s how the band started. Sean came to hang out and jam. We grew<br />

up together<br />

but never played in a band together. Sean got snowed in for the weekend and we ended<br />

up writing<br />

the entire 7-inch.<br />

<strong>Alice</strong> <strong>Magazine</strong>: With no intent of making a 7-inch.<br />

Anna: Sean was in a band and we were in another band.<br />

Sean: We were running in the same circles for awhile as far as playing shows. But we<br />

hadn’t played<br />

in the same band.<br />

Anna: And then Creepoid seemed to pick up speed quickly on its own. We had the Best<br />

Coast show,<br />

and the Kurt Vile show, just within the first six months of being a band. So it just felt<br />

like “This is cool,<br />

this is getting momentum, so let’s keep it up.”<br />

Pat: Seven years later.<br />

<strong>Alice</strong> <strong>Magazine</strong>: And it’s been non-stop touring for a couple years now.<br />

Pat: Yeah. We all left our jobs to do this band. Total commitment. We jump off the cliff<br />

together. The<br />

first couple years being a band, we didn’t tour at all. We played weekend tours here and<br />

there. When<br />

we finally had the full opportunity to go out there and give it our go, we were like “Fuck


yeah.” It’s awesome. Not saying that the road is the easiest thing in the world. It’s very<br />

hard. We’ve learned a lot and grown as people and how we deal with things...from this<br />

experience of this band.<br />

<strong>Alice</strong> <strong>Magazine</strong>: Some cities stake claim to a signature sound. Is there a “Philly” sound,<br />

and if so, do you think Creepoid does or doesn’t reflect it?<br />

Anna: It’s less of a sound and more of a...<br />

Pat: The way we hold ourselves.<br />

<strong>Alice</strong> <strong>Magazine</strong>: Attitude?<br />

Anna: Yeah. Attitude. I think Philly bands work very hard in general. All the ones getting<br />

noticed are the bands working hard, and aren’t sitting around waiting for a good show to<br />

come to them. They are out there going to shows. Talking to people. Promoting.<br />

Pat: I can’t think of a single Philly band that is out touring that isn’t busting their ass. I<br />

can’t think of a single one that it was just handed off to them. Every one of them are out<br />

there grinding. It’s aworking-class city.<br />

Anna: Yeah it’s definitely fast-paced. Work hard.<br />

Pat: I go to a lot of shows in West Philly, the DIY venues, local punk spots. I like going by<br />

myself and watching these younger bands. It’s inspiring. That is exactly what I was doing<br />

when I was their age in that exact same neighborhood on that exact same street. I think<br />

that it’s cool that no matter what happens in Philadelphia, West Philly is still the same.<br />

It’s still go to a burnt-out row home to see a punk show. It’s beautiful. Philly is a great<br />

place for music. Especially to be in between New York and Baltimore.<br />

<strong>Alice</strong> <strong>Magazine</strong>: The music, at least the way I’m hearing it, seems to weave in and out of<br />

cerebral darkness and then jumps out into the light. I love beauty and light within darkness.<br />

Is it reasonable to think that’s going on with Creepoid’s music?<br />

Sean: Yeah, that might be our version of where we’re from, with the Philly thing coming<br />

through. How we interpret it. Philly is gritty and ugly but we still love it so that helps us<br />

see...that thing you were talking about...the beauty within the ugliness. When you think<br />

too hard about things, the world’s really fucked up. That’s definitely coming through. But<br />

it’s hard to imagine what that would sound like so we try to take it and ease it, maybe.<br />

Anna: I think we pull from our own experiences, our understanding of our reality, for<br />

inspiration for lyrics. While those experiences could be dark, what you’re experiencing<br />

right now, or the past, or what you’re anticipating for the future, you’re still hoping that<br />

it’s going to be good, or learning from something that happened that was shitty, or<br />

understanding that situation wasn’t the best but I can take something from it and move<br />

forward. So there isn’t an intent to teach people about darkness. But more like, “Nah,<br />

step back, be bigger than that.”<br />

Sean: Yeah unless the mistakes you’re making are teaching you something, you’re a total<br />

fuck up. We can draw from negative things in a positive way and harness that.<br />

Anna: Yeah, harness the power that comes from that.<br />

Pete: Whatever I do is for myself but I also do it in hopes to...even if we just reach a few<br />

people, that’s all that really matters to me. Making a small difference. Putting a spin on<br />

something where someone can have a different perspective about it.<br />

<strong>Alice</strong> <strong>Magazine</strong>: Let’s talk about your hashtags on Instagram for weed and mushrooms.<br />

Pat: It works<br />

Anna: We started it two years ago when we first went on tour full-time. We were suddenly<br />

in the situation where for three months we were in a different city everyday. For Pat,<br />

who needs to smoke weed all day every day, it’s not ideal for getting an illegal substance.<br />

You don’t know someone in every town.<br />

Pat: I do now.<br />

Anna: It was just something Pat started doing on all our Instagram and Twitter posts, as a<br />

joke, and then it started working. People come up to the merch table and....<br />

Pat: We get the craziest shit. Last night someone tried to give us a bunch of acid. It’s like<br />

the floodgate opened up. It works. People definitely do it. Weed is expensive. We put it<br />

on our rider. Some clubs will give it to us.<br />

<strong>Alice</strong> <strong>Magazine</strong>: Some guy appeared during our photoshoot earlier and gave you a huge<br />

bag of grass.<br />

Pat: The cool dude.<br />

Sean: That’s the dude.<br />

Pat: We have a lot of dudes like that. The boomers one is always welcome. Micro-dosing<br />

mushrooms is amazing. For performance and for songwriting. We really get stoked when<br />

people bring mushrooms to the shows.<br />

<strong>Alice</strong> <strong>Magazine</strong>: How about some insight with the psychic vampires stuff.<br />

Pat: Oh yeah. I love that.<br />

<strong>Alice</strong> <strong>Magazine</strong>: Are you the only one in the band rocking that?<br />

Pat: Pretty much. Yeah. I’m into that.<br />

Sean: I am.<br />

Anna: What, like people taking your energy?<br />

Pat: Me taking their energy.<br />

Anna: I believe in that. I think that’s a real thing.<br />

Pat: I fucking love it. As a kid I was super into punk, read tons of books like Malcolm<br />

Mclaren, and the whole idea of punk making you confident, and proving that in any chaotic<br />

moment...it’s a beautiful thing. The idea of going out on stage and pulling the vibes<br />

off everybody, sucking it up, turning whatever is going on in your life, and whatever it is<br />

when you’re out there doing that...you’re a whole other thing. It’s a positive world to be<br />

in and I love being in that spot. Touring especially...I could hate everyone around me,<br />

because I’ve been fucking fighting in the van for five hours. But sometimes you go in the<br />

right club and it’s the best feeling. You’re like “Wait, why am I being super mad? This is<br />

great. Everybody here is super happy to see us.” Their ready to hear the songs we care<br />

about and I turn that into a different thing and try to be more positive in my life. And<br />

it’s helpful from that.<br />

Sean: Or you play the pissed off set and then afterwards it’s totally over. That’s the other<br />

alternative.<br />

Anna: Yeah everybody’s mad at everyone and you’re still mad while you’re playing.<br />

Sean: Yeah waiting for someone to fuck up.<br />

Pat: We’ve gone where we’re totally hating each other, go on stage and we’re still hating<br />

each other,<br />

and then we walk off the stage and we’re all happy as shit, laughing, like “That didn’t<br />

happen.” It’s definitely a family vibe too. But I don’t think that everyone knows the psy-


chic vampire thing is real as shit. Especially for touring bands. They have to embrace it.<br />

The bands that show up to a club and go hide in a room and don’t talk to anybody, it’s<br />

“What the fuck is that? What’s the point in that?” I like talking to people. We have to be<br />

out there hanging out and showing them records, talking about music, seeing what’s up.<br />

That’s what we’re out doing. It’s definitely part of that.<br />

<strong>Alice</strong> <strong>Magazine</strong>: It is part of the job description.<br />

Pat: It is. But you’d be surprised how many people don’t want to talk to people or do<br />

things. It’s so funny being on tour with bigger bands and watching how that all goes<br />

down. And then watching how surprised people are when you’re so easily like “Yeah<br />

I’ll take a picture with you. Fuck yeah I’ll smoke that joint with you.” And they’re like<br />

“What?” So many times on bigger tours people are like “You’re so nice.” No we’re how<br />

people are supposed to be. It’s not nice. This is normal.<br />

Anna: Everybody’s got to deal with tour in their own way. Some people really need to<br />

protect their space. I get that. But when we were out with Against Me, it was cool to see<br />

how they, how Laura, went out every night after their set and talked to people that were<br />

waiting for her at the bus, and would play guitar with them and hang. That was really<br />

inspiring to me. You could totally be like, “I’m big enough to be like fuck ya’ll, I’m going<br />

to bed, I don’t need to be out here hustling.” But she was still out there giving the love<br />

back that they’d given her on stage. It was cool to see. Someone that’s really established,<br />

has made it...but is still giving it back to the people. Very grounded. Such a great<br />

experience.<br />

<strong>Alice</strong> <strong>Magazine</strong>: If you could be haunted by the ghost of anybody, who would it be?<br />

Collective sighs<br />

Sean: Thinking about all the people I know about in the world...<br />

Anna: Is it mean, is it a bad ghost?<br />

<strong>Alice</strong> <strong>Magazine</strong>: It’s up to you.<br />

Pat: I go straight to “Who do I want to hang out with?” instead of “Who do I want to be<br />

scared by all the time?” So does it haunt me all the time, like in present day it’s just going<br />

to show up?<br />

<strong>Alice</strong> <strong>Magazine</strong>: It’s your ghost, your call. But you’re being haunted by this ghost consistently.<br />

It’s a thing.<br />

Pat: Ben Franklin.<br />

<strong>Alice</strong> <strong>Magazine</strong>: That’s the Philly in you.<br />

Pat: He’s sat in on shit and watched shit and was like “I’m not going to participate, you<br />

guys are crazy.” I want to hear what that dude has to say. Also he’s fat as shit. I’d get away<br />

from him quickly. I’d hear his wooden shoes clanking.<br />

Anna: He’s a ghost. He can do whatever he wants.<br />

Sean: I’m having a hard time thinking about it.<br />

Pat: Could it be a puppy? Sean would pick an animal.<br />

<strong>Alice</strong> <strong>Magazine</strong>: Fine. It can be an animal.<br />

Sean: No I don’t want an animal ghost. You can’t trust a ghost animal.<br />

Pat: What about you Pete?<br />

Pete: Chris Farley. He’d just party and laugh. Have him close the fucking hood of a car<br />

on his thumbs and shit. Funny shit. Breaking tables.<br />

Anna: Ian Curtis maybe?<br />

Pat: Oh you wanna be sad with that dude?<br />

<strong>Alice</strong> <strong>Magazine</strong>: Back to you Sean.<br />

Sean: What’s the missing link primate? Bessie? Lucy? I want Lucy.<br />

<strong>Alice</strong> <strong>Magazine</strong>: That seems reasonable. So you’re in the middle of a big tour. Going back<br />

to Philly after this. What’s the plan?<br />

Anna: Possibly going out in August. Hitting the West Coast, which will be fun. Because<br />

we’re not going all the way West this time. Get to California. And just keep working on<br />

the new material. We’ve got a lot of new material. Some of it’s more finished than others.<br />

It’s kind of nice, trying to think of it as a positive...even though we’ve got all this stuff,<br />

and we want to put it out and can’t right now. But it’s good because it’s giving the songs<br />

time to develop and mature. We haven’t always had as much time to let material evolve<br />

on its own through touring it and playing it live.<br />

Sean: It’s in that crock pot. On the slow-cooker.<br />

Anna: It’s on the slow-simmer. Gonna be tender.<br />

Pat: Dripping.<br />

Anna: Falling off the bone.


The<br />

Sweet<br />

Things<br />

Photography by MELISSA RODWELL<br />

Words by KRIS DeVITO


I grew up in New York. In my thirty-something years in this city, so much has changed.<br />

As a teen, my mom used to drop me off at the train station with a couple of dollars and<br />

tell me not to get on the subway, which was exactly what I used to do. I would walk up to<br />

the teller with my money and get a fistful of subway tokens which are now equally obsolete,<br />

and have now been downgraded to flaccid foldable pieces of plastic. I loved that a<br />

subway ride would transport me somewhere totally different, but within a safe distance<br />

to home so my mom wouldn’t find out I was getting my navel pierced underage at St.<br />

Mark’s place (sorry Mom!). The Lower East Side might have had one of the most wild<br />

transformation of them all. In the mid-nineties, it was a haven for artists, bohemians and<br />

rampant drug use, heroin in particular. When Mayor Giuliani vowed to clean it up, man<br />

did he ever. Sure, he cleaned up the streets, removed the drugs (as much as one can obviously),<br />

and made a family friendly NYU dorm extension, but in doing so displaced so<br />

many longtime residents that could no longer afford the rising rents. Longtime vendors<br />

like Trash and Vaudeville even fought the good fight before recently moving elsewhere. It<br />

became exactly the opposite of what it was before, sterile, missing the grit and dangerous<br />

charm it once possessed before.<br />

My editor and I are on our way to interview and shoot The Sweet Things, a new band<br />

that’s been compared to New York Dolls and Johnny Thunders so we were curious to<br />

find out. As we pass what used to be my favorite cocktail bar (RIP White Star), we come<br />

to Clockwork where we are meeting them. Clockwork, a bar that seems to have defied<br />

the odds of gentrification. It’s dive-y, it’s gritty, covered in graffiti, it serves beer and shot<br />

specials, it is unapologetically LES. I’m in love.<br />

A night with The Sweet Things is bound to be a party. That said, that usually means the<br />

night is going to be a blur. From what I recall (thanks bourbon), lead singer Dave arrives<br />

first. Straight out of 1974. He’s got yellow sunglasses and long hair, pure rock. Next to<br />

arrive is Sam, Dave comments on how he’s unusually punctual as he orders a whiskey<br />

he settles in, although his demeanor just exudes settled as a general rule, he’s definitely<br />

the cool kid of the group. As the rest of the crew arrives (Lorne and Darren respectively)<br />

we settle into the graffitied back room for a session over some whiskey and dumplings.<br />

The band, created through pure kismet (and you guessed it, lots of alcohol), has quite<br />

the energetic dynamic. Three of the four are native New Yorkers with Lorne as the lone<br />

Californian. While Sam is definitely not old enough to remember the way the LES used<br />

to be, his knowledge of that time period through the eyes of music is absolutely impressive.<br />

There is a familial love/hate respect between their band, and they like the get their<br />

digs in as much as they possibly can. “He had this low hanging t-shirt, he was dirty and<br />

smelly and just plain annoying.” Lorne’s says laughing at his first impression of Sam.<br />

When asked about their songwriting processes I get specifically; “I like to go to the bar<br />

with my notebook, and get drunk and write.” Perhaps it’s how they came up with Cocaine<br />

Asslicker Blues? With a name like that, it could only have come up in a bar! “It just<br />

can’t be forced ya know, much like sex- if it’s forced, it’s just not good!” No truer words<br />

my friends…. No truer words.


The Sweet Things have been touring the west coast and now the east coast since the<br />

early spring and has no signs of slowing down. If you’ve been feeling the void since Iggy<br />

left The Stooges in 1974, this is your band my friends. And don’t forget, tell them <strong>Alice</strong><br />

sent you!

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