JAVA Feb issue

265 • FEB 2018
Aaron
Chamberlin
CHARLES SCHIFFNER • OLIVIER ZAHM • HARRISON FJORD

family bonding @smoca
Akunnittinni: A Kinngait Family Portrait
Pitseolak Ashoona I Napachie Pootoogook I Annie Pootoogook
February 3 – May 27, 2018
Prints and drawings by three generations of Inuit women chronicle the evolution of their
intimate, and sometimes harsh, memories of their personal and shared cultural histories.
Organized by the IAIA Museum of Contemporary Native Arts, Santa Fe, New Mexico. Curated by Andrea R. Hanley, Navajo. Sponsored locally by
Dr. Eric Jungermann
Pitseolak Ashoona (Inuit, 1904 – 83), Games of My Youth, 1978. Stonecut and stencil on paper, 16 ¾ x 34 inches. Courtesy Dorset Fine Arts, Toronto,
Ontario, Canada
SMoCA.org I 7374 East Second Street, Scottsdale, Arizona 85251 I 480-874-4666

CONTENTS
8 12 22
34
JAVA MAGAZINE
EDITOR & PUBLISHER
Robert Sentinery
ART DIRECTOR
Victor Vasquez
ARTS EDITOR
Amy L. Young
FOOD EDITOR
Sloane Burwell
MUSIC EDITOR
Mitchell L. Hillman
WE PUT THE ART
IN MARTINI
60TH HEARD MUSEUM GUILD
INDIAN
FAIR &
MARKET
8
12
22
30
34
FEATURES
CHARLES SCHIFFNER
Architecture as Alchemy
By Ashley Naftule
AARON CHAMBERLIN
Chef on Fire
By Jeff Kronenfeld
ON THE LAM
Photography and Styling:
Lauren Waldvogel
HARRISON FJORD
Returns with Polychrome
By Mitchell L. Hillman
OLIVIER ZAHM
Musique Connection
By Tom Reardon
Cover: Aaron Chamberlin
Photo by: Enrique Garcia
COLUMNS
7
16
20
30
38
40
BUZZ
Architecture, Food, Music
By Robert Sentinery
ARTS
Love, Heartache, Survival
By Jenna Duncan
Kaori Takamura
By Amy L. Young
Cheyenne Randall
By Amy L. Young
FOOD FETISH
Meat (and Fish) Monger Madness
By Sloane Burwell
SOUNDS AROUND TOWN
By Mitchell L. Hillman
GIRL ON FARMER
A Pea-Sized Proposition
By Celia Beresford
NIGHT GALLERY
Photos by Robert Sentinery
CONTRIBUTING EDITOR
Jenna Duncan
CONTRIBUTING WRITERS
Demetrius Burns
Jack Cavanaugh
Jeff Kronenfeld
Ashley Naftule
Tom Reardon
PROOFREADER
Patricia Sanders
CONTRIBUTING PHOTOGRAPHERS
Dana Armstrong
Enrique Garcia
Puspa Lohmeyer
Johnny Jaffe
Lauren Waldvogel
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Reproduction in whole or in part of any text, photograph
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JAVA MAGAZINE
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email: javamag@cox.net
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www.javamagaz.com
Artist Christian Candamil puts a twist on a piece
by Janis Leonard and fashion designer Galina Mihaleva
THURSDAY DATE NIGHT
Join us for a perfect night out and
take advantage of SMoCA Free Thursdays
with free admission to the museum
all day (12 --- 9pm)
PHOTO: FROM LAST YEAR’S FASHION SHOW, CAESAR CHAVES, HEARD MUSEUM
MARCH 3 & 4
TWO DAYS, 600 ARTISTS,
LIVE PERFORMANCES, FOOD
AND MORE.
BEST OF SHOW RECEPTION
AND FASHION SHOW
FRIDAY MARCH 2. TICKETS,
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We cook till half past midnight every night of the year
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4 JAVA
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SDT051_VAMP_BALL18_JAVA_3.875x3.875.qxp_Layout 1 1/17/18 4:25 PM Page 1
Scorpius Dance Theatre and Davisson Entertainment presents
VAMPIRE
BALL
L
L O V e B I T E S
INDULGE IN AN EVENING OF GOTHIC ELEGANCE and ROMANCE
FEBRUARY 9TH, 2018
8PM-1AM
THE GRAND BALLROOM/CLUB PALAZZO
Tickets/Information: PHXVAMPIREBALL.COM
This event is 21 & up
BUZZ
ARCHITECTURE, FOOD, MUSIC
By Robert Sentinery
This month, JAVA explores three of the strongest facets of this city’s cultural
scene: architecture, culinary arts and music. Architecture has long been one
of the most important aspects of our identity, going back to when Frank Lloyd
Wright first set foot here in 1927 to consult on the Arizona Biltmore Hotel. During
that time, he met Dr. Alexander Chandler, who wanted Wright to design San
Marcos-in-the-Desert, a resort in the foothills of South Mountain. Wright fell in
love with the Sonoran desert and a few years later purchased a large swathe of
land outside the dusty outpost of Scottsdale. Taliesin West would become his
winter home and the western locale of his architecture school.
Wright built an experimental camp called Ocatillo [sic] to live in while he
designed Chandler’s resort (which sadly never came to fruition because of the
Great Depression). It was here that Wright discovered the idea of utilizing
light-diffusing canvas for roofing and window covers, which he later brought to
Taliesin West.
Fast-forward 50 years, and not far from Wright’s original camp, one of his former
students, Charles Schiffner, designed an epic residence called Presley’s House
of the Future – a demonstration project for the Presley Corporation’s 2,500-acre
planned community of Ahwatukee. With soaring 32-foot ceilings, an open floor
plan, loft and minimalistic built-in furniture, the unusual wedge-shaped structure
came complete with a computer system and powered keyless entry door, which
was beyond advanced for 1979. Schiffner is still living and practicing here in the
Valley and continues to look to the future. We had the opportunity to interview
him for our “Icons of Phoenix” series. (See “Charles Schiffner: Architecture as
Alchemy,” p. 8.)
The farm-to-table movement has really taken hold here, and one of the chefs
most responsible for that is Aaron Chamberlin. His Phoenix Public Market Café
has become a staple for affordable high-quality seasonal food since it opened in
2013. No doubt, having an actual farmers market outside his kitchen door made
it easy for Chamberlin to maintain his fresh/seasonal ethos.
Just a few weeks ago, Chamberlin opened his Tempe Public Market Café. The
transformation of a former Circle K location is no less than stunning, thanks to
architect Christoph Kaiser of Kaiserworks Phoenix. Any day now, Chamberlin is
about to open another restaurant in Roosevelt Row: Taco Chelo, with Chef Suny
Santana and artist Gennaro Garcia (see “Aaron Chamberlin: Chef on Fire,” p. 12).
Finally, we need a soundtrack for all this local activity, and the perfect person
to bring it is French expat Olivier Zahm. His Electric Lotus recording studio and
Chromodyne record label are the creative outlets for this self-professed studio
rat, who literally loses himself in music for days on end. Zahm brings an international
perspective to our scene, having worked in his native France as well as
Stockholm, Sweden. He currently has his sights set on China and India, two huge
emerging markets with countless consumers that will need music to move them
(see “Olivier Zahm: Musique Connection,” p. 34).
WEDNESDAY LADIES NIGHT
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HAPPY HOUR
Tuesday - Sunday from 2pm - 6pm
Yama Sushi House.com | 602-264-4260
4750 N. Central Ave. Unit B-2, Phoenix

Charles Schiffner
Architecture As Alchemy
By Ashley Naftule
“There’s probably a mine up there.”
Charles Schiffner and I are standing in the backyard of a house in Sunnyslope.
A mountain rises over lemon trees and a wall that runs along the edge of the
property. The architect points at a tiny patch of white rock on the mountainside:
“That’s quartz. Prospectors searching for gold would start digging whenever they
found quartz. Usually if you see one, the other isn’t far away.”
At this distance, the quartz he’s gesturing toward is as small and insubstantial
as a tennis shoe hanging from a distant power line. I could have stared at that
expanse of rock, dirt and cacti for a half hour and never noticed it, but he saw it
in a heartbeat. That eye for detail, his profound awareness of his surroundings,
is just one of the many qualities about the man that make him a great architect.
“Architecture is the least understood or comprehended art in America,” Schiffner
says ruefully as we sit in the shadow of the mountain. “It usually isn’t until
college that you can get a class in architecture. And because there’s so much
bad architecture – just drive down Thomas Road if you want to get an image –
we’ve become desensitized to it.”
Bespectacled and crowned with a mound of shaggy gray hair, Schniffer carries
himself with the gravitas of an esteemed professor. He talks slowly and
deliberately; it’s as though each word is a tile he’s delicately setting down to
create an ornate mosaic. But he’s never boring, especially on the subject of
architecture – an art form that he’s devoted most of his life to.
Born in 1948, Schiffner cemented his reputation as an architect with forwardthinking
designs like the Floating House in Paradise Valley and the House of the
Future in Ahwatukee. The Floating House is a sleek marvel, boasting a flowing
sense of space and a negative edge pool that looks like it’s suspended in midair.
The House of the Future got its name thanks to its sharp geometric design
and state-of-the-art automation, which was so radical in 1979 that President
Carter was planning on attending the house’s ribbon-cutting before the Iran
hostage crisis threw a monkey wrench into his plans.
Son-in-law of the legendary Frank Lloyd Wright, Schiffner shares Wright’s
almost evangelical passion for architecture’s ability to add “grace to the
landscape.” Schiffner refined his eye as a student at Taliesin. It’s because of
that appreciation for beauty that Schiffner is rankled by the bad architecture he
sees every day in the Valley.
“Architecture that’s for profit only, devoid of any sense of giving the world
beauty,” he says with visible scorn. “If you really took in the horror of what
we’re doing to our desert and to our plains and mountains, filling them with this
crap – you’d have to put on blinders not to go insane!”
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When it comes to defining beauty in architecture, Schiffner has what he calls
“an esoteric view” of the subject. “One of the unfortunate situations in America
is the preponderance of people who believe that beauty is in the eye of the
beholder: ‘I know it when I see it and I like it’. But I insist that beauty exists in
spite of the eye of the beholder and is beyond opinion. There are higher forms of
beauty that we’re not even aware of, ” says Schiffner.
This notion that forms can possess an objective level of beauty was a view
shared by Schiffner’s father-in-law. “Frank Lloyd Wright was designing a home
and the wife of his client asked, ‘Where is the hallway where I can put my
family photos?’” Schiffner says. “And he said, ‘Oh, you don’t need that, you can
can put them on this table over here.’ What he was doing was challenging her:
Did she understand the opportunity that was in front of her, to create a Frank
Lloyd Wright original? In order to do that, she’d have to rearrange her values. To
see the beauty that was beyond herself.”
Schiffner shakes his head. “It didn’t work out, and the house wasn’t built.”
Fortunately, that wasn’t the case with the Schiffner house where he and I are
having this conversation. Completed in 1985, the property at 1752 E. Vogel
Avenue in Phoenix was a house created in a relative harmony between Schiffner
and the original owners. While the architect often talks about beauty as a kind
of Platonic ideal, the house on Vogel (which is currently on the market) gives
insight into the kind of aesthetic touches and grace notes that Schiffner puts
into his work.
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Schiffner’s concept for the Vogel house was “bringing the outdoors in.” He
accomplished this with carefully placed windows: 652 of them, to be exact.
Glass blocks dot the walls around the home, which also features curving walls
and teardrop-shaped ceilings. As you wander through its halls, the sense of
freedom and ease of motion the house instills is a revelation. It’s a sobering
reminder of how confining and rigid it feels when you’re inside an assembly-line
house, the kind of place that Schiffner derides as “four walls with a couple of
holes for windows.”
To Schiffner, that’s one of the more important questions to ask of any piece of
architecture: How does it make you feel? “That’s the question to ask a student:
What do you think the architect who designed this building thinks of you?” he
says. “How do you feel in here? How do you feel here compared to church?”
These kinds of concerns make Schiffner another idealist in the long train of
thought on this subject. Chinese philosophers developed feng shui because of
their belief in how a person’s surroundings could radically affect their mind,
health, and fortunes. The Romans would consult and give offerings to genius
loci, the protective spirits of places. The French Situationists integrated these
ideas by creating the practice of psychogeography, which Guy Debord defined
as “the study of the precise laws and specific effects of the geographic
environment, consciously organized or not, on the emotions and behavior of
individuals.”
Architecture’s ability to influence and shape our being is what makes it such a
vital part of our civilization, according to Schiffner. “Architecture is the cure, the
solution.” As to how it can be a cure, Schiffner cites the miracle of Medellin,
Colombia – a city torn apart by gang violence and drug cartels that was saved by
the power of architecture.
“The leadership there, the mayor, drew maps of Medellin,” Schiffner explains.
“And where the gangs were most prominent, they’d put in a library. They did a
world search to find the best architect and then plunked the library down right
where the gang activity was. They did this in several nodes throughout Medellin,
and it totally changed the city.”
What Schiffner is describing is almost alchemical in nature – the lead of society
is transformed into gold, given the proper ingredients. Even the way he talks
about his profession sounds a bit like Paracelsus, the Swiss alchemist who
practiced during the German Renaissance: “The architect is in the practice of
transforming materials. Architecture is a process of synthesis.”
“The materials, the budget, the terrain, the nuances of the family in the house
that you’re designing for – does the husband like to get up early and read the
paper while watching the sunrise? Why did they buy this land? Was it for the
distant views? The isolation? The surrounding architecture? And so on. Each
project that I’ve done has been a totally new facet of the same gem. It’s all about
finding relationships.”
The urge to transform and beautify seems to be the driving force behind
Schiffner’s latest project: a series of proposals that would give a whole new
meaning to the term “organic architecture.” Emboldened by a successful
proposal he submitted to the city of Casa Grande involving a large-scale
greenhouse garden, Schiffner is imagining a brighter, greener tomorrow for our
malls.
“We’re trying now to meet with property owners,” Schiffner says. “All of the
malls have enormous parking lots, and hardly any of that space is being used.
Now that malls are becoming a thing of the past, we could activate those
spaces. We would have a series of elevated glass greenhouses; you’d have the
product up above, and you can drive underneath them. All of the parking would
become covered parking! And we would capture the CO2 from the parking lot
and use it to enhance the growing.”
Schiffner also envisions this type of greenhouse parking becoming a staple for
grocery store chains like Safeway and Fry’s. They could have the produce they’re
selling inside their stores growing above their patrons’ parked cars. I think back
to what he said earlier about how architecture should make you feel something.
How much more pleasant would it be to go grocery shopping when you could
walk under a canopy of gardens?
“Architects are unique in that we need to think and create in three dimensions,”
Schiffner says as the sun sets on Vogel Avenue. Listening to him talk about a
world where malls become greenhouses and libraries halt gun violence, I feel as
though I’ve only been seeing in two dimensions. Like that tiny patch of quartz on
the horizon, Schiffner sees a golden future that most of us are blind to.
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By Jeff Kronenfeld
PHOTOS: ENRIQUE GARCIA
Aaron Chamberlin has known what he wanted to do
since he was a kid.
“I grew up in Mesa, and right out of high school, I
knew I wanted to be a chef,” Chamberlin said as we
sat on the spacious patio of Tempe Public Market
Café, in the shade of a large brick outdoor chimney.
The café had opened its doors in south Tempe just a
few days earlier, on January 12.
“I left Arizona telling myself that I wanted to work
in all the major cities, work in the best restaurants,
and then come back and open my own. I remember
being at my house, about four miles from here,
in high school, and I had to write up some sort of
paper about what I wanted to do with my future,
and literally what I wrote down, I’ve almost
completed.”
Chamberlin, along with his brother and business
partner David Chamberlin, currently operates a
number of restaurants around the Valley, including
St. Francis and Phoenix Public Market Café. In
the next few weeks, Chamberlin, with chef Suny
Santana and artist Gennaro Garcia, will be opening
Taco Chelo on Roosevelt Street.
Before Chamberlin opened any of these, though, he packed his bags and headed off to San Francisco
to begin a long decade of metropolis-hopping, exploring and learning from some of the buzzed-about
restaurants in the country along the way.
Chamberlin worked at Rubicon in San Francisco, opened by restaurateur Drew Nieporent and co-founded
by director Francis Ford Coppola and actor Robert DeNiro. Though it closed its doors in 2008, Rubicon was
a trendsetter in the Bay Area gastronomy and wine scene for over a decade. Like Chamberlin, many of the
restaurant’s former cooks have gone on to open their own successful restaurants.
Chamberlin worked in fine dining establishments in New York City, Los Angeles and even Mexico for a little
bit, before returning to Phoenix in 2003. Upon his homecoming, he was amazed by how little the restaurant
scene in the Valley had changed.
“When I was in high school, there were a handful of chefs: Christopher Gross, Mark Tarbell, Eddie Matney,
Michael DeMaria and Vincent Guerholt,” Chamberlin said. “When I came back, there were, like, no new
chefs that caught my attention.”
Once back in the Valley, Chamberlin began working for La Grande Orange (LGO), then recently opened, now
an Arcadia landmark and anchor to a small ecosystem of restaurants in the neighborhood, run by Bob Lynn
and LGO Hospitality. Chamberlin helped Lynn and company launch a few restaurants before leaving in 2007
to begin the process of opening St. Francis.
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“What I learned when I worked for [LGO]
is that community gathering places, where
you can hang out and lounge, are what people
really want – casual places where families
can come,” Chamberlin said. “I slowly
started shifting my career.”
St. Francis is located on Camelback Road near
2nd Street. Chamberlin knew the area was
“underserved” and had “all kinds of opportunities.”
The light rail starting running in 2008, and Arizona
State University had opened its downtown campus
a couple of years before that.
“Since I opened St. Francis, I think something like
33 restaurants have opened within a three-mile
radius,” Chamberlin said, proceeding to list the
lion’s share of these restaurants extemporaneously.
With the success of the locally sourced menu and
fancy cocktails of St. Francis, Chamberlin then
turned his eye south, launching the Phoenix Public
Market Café in 2013.
Previously run by the nonprofit Community Food
Connections (CFC), the 14 East Pierce Street
location had served as an indoor location for
the Phoenix farmers market. Phoenix Public
Market Urban Grocery closed its doors in 2012,
citing a lack of sufficient population density and
decreased traffic due to the long construction
of the light rail, which created an opportunity for
Chamberlin and his team.
With loads of experience, a clear vision and a fresh
young design team, Chamberlin was undeterred by
the problems the previous tenant had experienced.
But even more than that, Chamberlin wanted to
partner with and help the downtown farmers
market remain open and thriving. “I literally go to a
farmers market every Saturday and Wednesday.
I’ve dreamed of having a restaurant where I could
open my kitchen door and walk out to a market,”
said Chamberlin.
“I opened there purely because of the farmers
market,” Chamberlin explained. “One thing that
is important for me is the use of high-quality
ingredients. I love seasonal produce and farmers
markets, so I wanted to stick with selling highquality
seasonal food at a value. That’s the direction
I went with the café.”
Sara Matlin, Market Manager at Downtown
Phoenix Public Market, said working with
Chamberlin has been wonderful. “He has the
same kind of mission as us,” Matlin said as we
stood among the bustling crowds at the market
on a brisk Saturday morning. “He’s trying to build
community through food. His chefs are always
out here picking up produce from our farmers.”
For the redesign of the space, Chamberlin turned
to his then neighbor and fellow local restaurateur
Aric Mei, who opened and runs the Parlor Pizzeria
and whose latest project, the Farm at Los Olivos,
was profiled in last month’s issue. Mei teamed
with another designer, Blake Britton, who sadly
died of cancer in 2015.
“When you’re going into these adaptive
reuse projects, the existing architecture
always presents challenges and opportunities,”
Mei explained. “We worked within
the parameters of the existing building and took
the front space, which is the south half of the
building, and really opened it up. Then we added
a bunch of windows, cut in that big bar and
created the patio on the east side of the building,
which is the optimal exposure for this climate,
because in the summertime, if you have a patio
on the west, it just gets nuked.”
Despite the challenges experienced by the former
occupant, the Phoenix Public Market Café has
done incredibly well. “I think success can be
very simple, yet it is very hard,” Chamberlin
said. “First, have a great design, good service,
good food and really just be hospitable. Try to
take care of people. That’s really the basics of it.”
For the Tempe Public Market Café, which is
located at the intersection of Rural and Warner,
Chamberlin went with architect Christoph Kaiser
of Kaiserworks Phoenix. If you didn’t know, you
would probably never guess that the beautiful
brick building was once a Circle K, which
Chamberlin described as being extremely ugly.
Aaron and David Chamberlin spent hours explaining
to Kaiser what they liked and thought was
important for the design and feel of the space.
Chamberlin believes the area was sorely lacking the
kind of community space that they strived to create.
“We worked with Christoph on how to create a vibe
where families can hang out,” Chamberlin said.
“How do we make it so kids can spill ketchup on
the tabletops and it isn’t a big deal? We didn’t want
to get too hung up on things like that.”
The Phoenix location has a wood-burning rotisserie,
while Tempe serves pizza, offering four standard
varieties, plus a fifth seasonal option. Those are
the main menu differences between the locations,
according to Chamberlin.
“We have a large dinner business in Phoenix,”
Chamberlin explained. “We’re catering to
mostly business people who work in downtown,
ASU students and people that live in Roosevelt
Row, so it’s a little bit of a different demographic.
The Tempe café is surrounded by neighborhoods, so
we’re feeding families.”
Though the Tempe location only recently opened,
Chamberlin has been delighted by the support the
community has shown. “This is an area where
there are not a lot of independent restaurants, so
people are just so ecstatic to have this,” Chamberlin
said. “The feedback from the community has been
overwhelming. The Mayor of Tempe has been here,
and all kinds of community leaders have been
supporting us.”
While the Tempe location may be just a few
miles away from Chamberlin’s old backyard,
where he once dreamed of opening his own
restaurant nearly a quarter century ago, the chef
and restaurateur has come a long way. With Taco
Chelo’s opening next on the slate and just around
the corner, Chamberlin is staying busy, building
community one meal at a time.
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ARTS
LOVE, HEARTACHE, SURVIVAL
Akunnittinni: A Kinngait Family Portrait
By Jenna Duncan
When one thinks of contemporary art, the assumption
is that it comes from “the now.” So SMoCA’s current
exhibition of works by an artist who was born in 1904
and most active 70 years ago is unexpected.
Meet Pitseolak Ashoona, the grandmother and
matriarch of a family of artists that included several
strong women. Akunnittinni: A Kinngait Family
Portrait features her work, along with that of her
daughter Napachie Pootoogook and granddaughter
Annie Pootoogook.
The curator of the exhibit, Andrea Hanley, Membership
and Program Manager at the IAIA Museum of
Contemporary Native Arts in Santa Fe. “This exhibition
serves as a reflection on the role of narrative between
three generations of women from one family,” Hanley
says. “If you are standing in the gallery, you really
feel this conversation between these women.”
Hanley first designed the show for IAIA, pulling
six images from each artist. She had been familiar
with Annie Pootoogook’s work for a very long time.
But when she visited a private collector, Edward J.
Guarino, a retired schoolteacher from New York, he
showed her hundreds of images by Annie’s mother
and grandmother. Hanley began to see connections
between the women in their work; their relationship
revealed itself piece by piece.
Akunnittinni, in the Inuit language, translates as
“between us.” Hanley’s own heritage as a Navajo
woman, coming from another matriarch-led Native
American culture, helped her connect to the multigenerational
nature of the works. Hanley also has a
Valley connection; she grew up in Tempe, worked at
the Heard Museum and managed the Berlin Gallery.
She also worked for almost a decade at the Smithsonian
National Museum of the American Indian in
Washington, D.C.
In addition to borrowing from Guarino’s collection, the
exhibit also draws from Dorset Fine Arts, which has
represented Inuit artists of the West Baffin Eskimo
artist cooperative since 1978. The Cape Dorset arts
community in Canada is known as “the capital of
Inuit art,” Hanley says.
Annie Pootoogook’s art is probably best known of the
three women’s work. In 2006, Annie was awarded
the Sobey for art from the National Galley of Canada,
along with a $50,000 top prize. Her work has been
shown in dozens of exhibitions throughout the years,
and Annie was featured in the Documenta12 exhibition
in Kassel, Germany (2007).
Some of Annie’s drawings are childlike, remembrances
from formative moments in her young life, drawn
in colored pencil with black outline. One touching
print shows just her grandmother’s thick-rimmed
glasses. The item on its own is so representative of
Pitseolak, it almost seems she could be in the room.
Napachie Pootoogook has a somewhat more sophisticated
hand, creating stone-etching prints with lots
of depth and shading. Pitseolak Ashoona’s images
look more familiar, like the representative Inuit art
one might see in an airport gift shop in Juneau. All
three women have had amazing careers, Hanley says.
And none of them received formal training in stone
etching or drawing; their artistic training was passed
down through the family.
Pitseolak Ashoona was widowed at a young age
and over the years was responsible for caring for
17 children, only six of whom lived to adulthood.
Hanley says that Pitseolak looked at printmaking
as a way of earning a living. The Cape Dorset group
provided Inuit families a way to earn an income after
the fur trade declined.
Pitseolak began working in this art form in her 50s,
and then she became prolific, making thousands of
drawings and prints in her lifetime. She received the
Order of Canada in 1977 and was the subject of a
number of documentaries and books. The National
Film Board of Canada produced a film based on one
of those books, Pitseolak: Pictures of My Life.
While Pitseolak tended to create images of things
very representative of Inuit culture and reminders of
days that have passed, Napachie captured many contemporary
issues and even the struggles of her community.
Many of her works are feminist, and some
tackle hard-to-discuss topics, such as domestic violence,
human trafficking and even cannibalism. “You
see the survival, you see the resilience of indigenous
women, in such an isolated place. Not necessarily
what was happening to her, but what was happening
in this place,” Hanley says.
“We have never had a three-generation show,” says
SMoCA’s implementing curator, Claire Carter. “And
the fact that it was matriarchal was intriguing to us,
as well.” Carter explains that the show is small and
intimate by design. Having only 18 selections from
the thousands of works these women produced helps
put the pieces into a more streamlined dialogue.
Pitseolak’s “Dream of Motherhood” shows a
woman with another, smaller woman on her head,
who is carrying a child in an amauti, an Inuit parka
designed for carrying a baby on the mother’s back.
One can imagine the three generations of women
in this vision.
Akunnittinni: A Kinngait Family Portrait
February 3 through May 27
Scottsdale Museum of Contemporary Art (SMoCA)
www.smoca.org
Annie Pootoogook (Inuit)
Family Sleeping in a Tent 2003-04
Pencil, Ink, Pencil Crayon, 20” x 26”
Courtesy Edward J. Guarino Collection
Annie Pootoogook (Inuit)
A Portrait of Pitseolak, 2003-04
Pencil Crayon, Ink, 26” x 20”
Courtesy Edward J. Guarino Collection
Napachie Pootoogook (Inuit), 1938-2002
Nascopie Reef, 1989
Lithograph, 17” x 19”
Courtesy Edward J. Guarino Collection
Pitseolak Ashoona (Inuit), 1904-1983
Family Camping In Tuniq Ruins, 1976
Stonecut & Stencil, 33 3/4 x 24 3/4”
Courtesy Dorset Fine Arts
Pitseolak Ashoona (Inuit), 1904-1983
Dream Of Motherhood, 1969
Stonecut, 33 3/4 x 24”
Courtesy Dorset Fine Arts
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KAORI TAKAMURA
AT GEBERT CONTEMPORARY
By Amy Young
Between Shapes is Kaori Takamura’s new exhibition,
which opened February 1 at Gebert Contemporary in
Scottsdale. Approximately ten of her complex mixed
media pieces show how she is able to envelop the
chaos in their structure and use that energy to help
bring each piece to vibrant life.
Takamura, who was a graphic designer for twenty
years, still has an artistic relationship with the computer.
She utilizes it in her process. The end result
of these pieces features laser-cut shapes that are
silkscreened with prints and patterns and stitched
onto a surface of wood, the thread and the woodcuts
mingling to create a multitude of motion.
With the computer, Takamura plots each piece to her
exact vision – each shape, its placement, its print and
color, and each dot that will be aligned with dots on
the wooden backdrop for the stitching. This intense
strategy is something Takamura has an affinity for.
“I love the labor-intensive process,” she says, “and
watching the work evolve.” The precision threading
was something she mastered through trial and error.
Her dedication is apparent. The pieces swirl with
bold colors, a tangle of wood and thread, and a blend
of shapes and pattern. Despite the complexity, each
one makes absolute sense. They’re engaging and
whimsical, which also maintains the artist’s vision. “I
want them to be warm and joyful,” she tells us.
The use of numerous shapes and symbols is a strategy
Takamura brings to her work from her previous
design career, making it her own. “For two decades,
I created symbols and logos for companies to use in
their corporate branding, and that has always made
me think about symbols and what they mean in
everyday life,” she says.
The wood is a new avenue for Takamura. Previously,
she utilized canvas, which gave her work more of
a textile look. “I wanted to give the work more of a
3D feel. I didn’t want a completely flat surface,” she
says. She likes that the pieces sometimes have the
look of classic toys. “Laser cutting sometimes burns
the edges, and I like how that adds to that vintage
look.” That nostalgic look isn’t simply an aesthetic
she likes but one that harkens back to her childhood.
“I want that look and feel in the artwork to highlight
a simplicity of how life used to be.”
She strays from that particular style for a couple
of pieces in the exhibition. A graphic image of a
typewriter with text incorporated is a nod to her love
of the “simple and dynamic” work from the graphic
design movement in 1980s Japan. Another piece captivates
with its darker palette that maintains a look
of black and white, not immediately giving way to the
purples and greens that are included.
Evolution is Takamura’s focus. She will be expanding
on her use of wood for future pieces. “I like the freedom
I get from this style; each part of what I do is an
achievement, a step into the next realm.”
Between Shapes
Through February 28
gebertartaz.com
Between Shapes 2317
Acrylic on Wood, Laser cut, Silkscreen, Stitching
43” (H) x 43” (W)
Between Shapes 1617
Acrylic on Wood, Laser cut, Silkscreen, Stitching
45” (H) x 43” (W)
CHEYENNE RANDALL’S
HEARD MUSEUM RESIDENCY
By Amy Young
For the first couple of weeks in February, Cheyenne
River Sioux artist Cheyenne Randall will be in
residency at the Heard Museum in central Phoenix.
The mural work will remain up indefinitely, but due to
its ephemeral nature, visitors will likely have about a
year to view Cheyenne Randall: The Mural Project.
The project is a collaboration between the artist and
the museum’s fine arts curator, Erin Joyce, who came
on board at the Heard in the fall of 2017. Working
with Randall is something she wanted to do long
before then. “I first became aware of his work about
four years ago via Instagram,” she tells us, “and was
intrigued when I saw his piece of the tattooed Audrey
Hepburn.” Sometime after that she discovered that
Randall was a Cheyenne River Sioux artist, which
was exciting to her not only because it gave context
to the work she had admired immediately but also
because working with Native artists has been her
focus for many years.
The result of this connection between artist and
curator will be a total of eight murals. Six will be
located on the grounds of the eight-acre Heard
Museum campus. The others will be pop-up
satellite extensions of this exhibition. One will be
in downtown Flagstaff and the other in the Grey
Mountain area of the Navajo Nation. Up north,
Randall will be collaborating with artist Chip Thomas
(aka jetsonarama), whose Painted Desert Project
creates art across the Navajo Nation. On the Heard
Museum property, Randall will activate lessertraveled
and underutilized areas with his murals.
Randall’s mixed media work comes to life through
digital photography, paint, Photoshop and wheatpaste
installation. The pervasive cultural obsession
with celebrities – and the broader idea of celebrity,
itself – is a recurring theme in his art. Iconic images
of public figures are amended to feature them
covered in tattoos. His subjects have included the
Kennedys and James Dean.
The ink adornment, on its own, takes the
timelessness of the photo away, making the subject
a priority focus rather than just a legacy icon. It also
examines the subcultures of tattooing and rogue art,
which inspires thoughts on boundaries and borders.
A deeper look at the graphics that Randall places on
the subjects shows his use of indigenous imagery,
finding him exploring his own Indigeneity and culture,
as well as how all of these factors interact.
Besides the opportunity to bring to fruition a longdesired
exhibition by an artist whose work she admires,
Joyce is excited about some of the broader benefits
that Randall’s residency may spark. “Overall, this
project is generating work from great contemporary
artists,” she says, “and that alone is wonderful. I hope
it also helps court younger audiences to be a part of
this institution.” She hopes that having the project
expand beyond the museum’s walls will be a part of
helping to break down the stereotypes and fears that
keep people from visiting museums.
Cheyenne Randall
Heard Museum Artist in Residence
February 2–15
www.heard.org
Buffalo
Wheatpaste on wall, Dimensions Unknown
Steve McQueen
Digital Photographic Print, Dimensions Variable
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MEAT (AND FISH) MONGER MADNESS
By Sloane Burwell
Once upon a time, most people did their meat purchasing in the style of Alice
from the Brady Bunch, where Sam the Butcher knew the family’s taste and
budget, and would assist with cuts, expertise and suggestions. These days,
butcher shops are seemingly long gone. In the valley, we’re lucky to have a few
remnants and old faithfuls, like Hobe Meats and the Meat Shop.
If you’re a fan of fresh seafood, or fish priced beyond what might scare your
wallet (and certainly not that fresh), you could perchance find it at AJ’s. And if
it couldn’t be found there, you were pretty much out of luck. But not anymore.
In less than a year, we’ve been lucky enough to have not one but three butcher
shop/fish mongers open around the Valley. Interestingly enough, two are on Indian
School Road, less than two miles from each other, and the last is in South Scottsdale
in a strip mall next to a live music venue.
Sure, great meat and seafood are never going to be cheap, but a relationship with
the right butcher, to assist your family (and your budget), will have you eating the
good goods in no time. Please note, quality meat and seafood follow market pricing,
which means the prices can change quickly, depending on availability and shipment.
It is not uncommon to see slight variations in pricing in between visits, sometimes up
and sometimes down. Keep an open mind and a curious palate, and explore! It goes
without saying that at each location, the skilled butchers were more than willing to
suggest an item and cut it to my exact specifications, even if that meant I was only
spending $5.
ARCADIA MEAT MARKET
Located in a bright and cheery mini strip mall,
you’ll find Arcadia Meat Market tucked in the back
between a hot yoga studio and cheeseburger and
beer joint. The whole place is impeccably lit to near
blinding levels – I challenge anyone to find a mere
speck of dust. With the largest selection of the
three shops, Arcadia Meat Market tilts toward local
sustainably produced beef, chicken, pork and lamb.
Absolutely stunning osso bucco in near Jurassic
sizing can be found alongside dry-aged rib eye. The
friendly staff is ready to answer questions and share
samples of their excellent jerky and fiscalani cheese.
If you ask nicely, Nick might even tear open a bar of
Jacobsen chocolate and hand over a sample. Animalfriendly
bags o’ bones can be found in the reach-in
freezer, below enormous tubs of bone broth.
I was particularly impressed to see that for a mere
$5, Arcadia Meat Market will donate a pound of meat
to a family in need. Also, rumor has it there will be a
smoker, so they can produce their own bacon. In the
interim, buy some of their fantastic pork belly by the
pound. And speaking of pork, here are some of the most
gorgeous pork roasts I’ve seen in a while – the perfectly
cut rounds that look like the porcine goodness usually
only seen abroad or at an exorbitantly cost-prohibitive
price point. Also, pick up some of the aforementioned
cheese or a selection of tasty microgreens. Jacobsen
Salt Co. provisions round out the offerings.
Arcadia Meat Market
3950 E. Indian School, Suite 120, Phoenix
(602) 595-4310
arcadiameatmarket.com
CHULA SEAFOOD
Open for nearly a year, Chula Seafood is the
grandpa of the bunch. But prior to having a brick
and mortar, Chula Seafood began bringing its
sustainable seafood from San Diego to Phoenix
farmers’ markets and restaurants in 2015.
Sustainability is their stock in trade, especially
tilting toward harpoon-caught fish.
Their shotgun-style building layout now hosts hightop
and regular tables, where Chula capitalizes on their
fresh seafood offerings by producing killer poke, their
famous tuna melt and more. In the front, the smallest
case of three holds stunning seafood, like 10-count
scallops (10 to a pound, making each enormous),
salmon and sea bass. Tucked alongside the fresh
goodies, you’ll find impressive treats smoked on
site, like a sinfully savory smoked salmon pastrami
(seriously, so good I thought I was going to cry).
When dining out, pay attention to your favorite local
seafood dish. There is a decent chance it came from
Chula’s wholesale arm. Rounding out the selection is
a well-curated sideboard of local wunderkind culinary
purveyors like Tracey Dempsey Originals desserts,
Nonna pasta and Jacob Cutino’s selection of hot
sauces, both Homeboy’s and Cutino Select.
Chula Seafood
8015 E. Roosevelt
Scottsdale
(480) 621-5121
chulaseafood.com
NELSON’S MEAT AN FISH
Lamb bacon – really? I’m not sure I need to say
anything else about this butcher shop than that.
Or maybe the fresh duck fat by the pound. Either
way, Nelson Meats tilts slightly fancy, and that
is a good thing. Wedged into a treacherous and
challenging parking lot (on every visit, we parked
a couple doors down and walked. Sorry, Circle K), it’s
super easy to miss.
Nelson Meats is the only one of the three that offers
both meat and seafood. You’ll find stunning salmon
and fresh-cracked stone crab claws, and this is quite
possibly the only place town with John Dory, uber
famous chef Tom Colicchio’s favorite fish. Beef and
pork abound, as does the Nueske’s bacon, which is,
in this shop’s opinion, the finest bacon in the country
right now. I’m not sure I concur, but I’m ready to keep
testing, again and again.
You’ll find within reach things like fresh cocktail
sauce, frozen bison and the aforementioned duck
fat. There’s also a small selection of pantry items,
including Hayden Flour Mills products. A word to
the wise: Nelson keeps a stash of items in the back,
so be sure to ask. It’s an endearing not-so-secret
secret for fans of items they might stock in smaller
quantities.
Nelson’s Meat and Fish
2415 E. Indian School
Phoenix
(602) 596-4069
meat.fish
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On The Lam
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Photography & Art Direction: Lauren Waldvogel @novafoxsees
Hair & Makeup: Sage Muniz @overdosagee
Models: Vast Moyie @vastmoyie, Sage Muñiz @overdosagee
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HARRISON FJORD
Returns WITH
By Mitchell L. Hillman · Photos: Freddie Paull
Polychrome
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In 2015 Harrison Fjord exploded on the local music scene, and no matter
where you turned, you couldn’t seem to get away from them. These young
adventurers wasted no time climbing the ranks of local esteem. They were
just there and brilliant right out of the box and started showing up on the best
lineups. Soon they were headlining their own shows, with stellar friends in tow.
It’s hard to fathom that we haven’t heard from Harrison Fjord in two years, since the
release of their video for “Approximately 906 Miles,” a favored track from 2015’s
Puspa in Space. In that time there have been a few shows here and there, including
a spectacular event at the Musical Instrument Museum (MIM), but the band has
been keeping their cards close to their chest. With the kind of talent and vision they
possess, that would suggest something big was in the works, and it turned out to be
their full-length debut, Polychrome.
Since the start of the year, no other album that has crossed my plate even
approaches the sheer beauty of Polychrome. Perhaps it’s Harrison Fjord’s love of
harmonies, barbershop, jazz and a psychedelic aspect, but the band seems intent on
maintaining beauty as part of their aesthetic. If you sit down and think about how
many artists are concerned with aural beauty as much as they are melody, clever
lyricism or pop hooks, the list is pretty small.
Harrison Fjord is at the top of this list and should be commended for that
achievement alone. What Mario Yniguez, Dallin Gonzales, Kevin Mandzuk, Matt
Storto, Taylor Morriss, Jonathan Sheldon and Jacob “Ace” Lipp have presented here is
sure to stand as one of the most fascinating and wildly eclectic album releases of the
year, and one that washes you in soundscapes that enchant your soul.
The album begins with an a cappella invocation called “What Do You Say” that
is reminiscent of “Are You Ready?” from their 2015 debut EP. With tracks like “Our
Prayer,” it recalls Brian Wilson’s experimentation on SMiLE. It’s enough to get the
goosebumps going. If you think, for some reason, that there is a Captain Squeegee vibe
to “Viewmaster,” which immediately follows the opening salvo, it’s because the song
features long-term Squeegee member Chris Hoskins. It’s also because both bands are
willing to take psychedelic explorations into jazz with an eye toward nuanced pop.
“Game” is the first single from Polychrome, and it’s not diffi cult to hear why.
Remember when Maroon 5 started and they weren’t awful? They had this kind of
out-of-step direction, and Adam Levine’s vocals seemed neat for a moment. “Game”
reminds me of that, but it’s better than any Maroon 5 composition. It does have the
most obvious pop backbone of any song here, and it is certain to garner some new
fans who might not have previously been seduced into Harrison Fjord’s tangled web.
Of note, Yniguez wrote this with Chuck Morriss III of Jared & The Mill fame,
who happens to also be the big brother of guitarist Taylor Morriss. When it
all breaks down, it’s got a fantastic funky groove and hook a thousand miles
wide. If they have a stab at another viral hit, this is the one.
The saxophone solo that is “Body” is the perfect transition between “Game”
and the far more esoteric “Mind,” which sounds as psychedelic as the lyrics
are metaphysical. It moves through fascinating time signatures and wild leftturn
movements, while soaked in jazz and fascinating effects and fl ourishes.
If you could swim in music, this is the kind of song that could keep you afl oat.
It’s also the kind of tune that makes you think Harrison Fjord should possibly
team up with Captain Squeegee and tour the world. The song is best summed
up by the lyrical passage, “Craft things by your own for a change/That way
what you preach will be that which you’ve learned.”
On the title track, Harrison Fjord plays with color, both lyrically and musically.
“Polychrome” is as clever a title as it gets with what they are doing. The story
seems to be of a love or friendship in memory, with colors symbolic of where
they stand. The chorus shifts at the end, tellingly, with “In Polychrome, I see
you in black and white.” While it may not be in the running to be a single,
it’s a favorite track on the record. The intricate percussion, which is soon
consumed by the lush vocals and orchestrations, leads into unusually buoyant
jazz that carries you from verse to verse and deeper into the exalted chorus.
“Ace’s Wounds” features guest vocals by Cassidy Hilgers (Hyperbella),
whose voice has brought life to tracks by bands as varied as Field Tripp
and Wyves over the years. Crossing the chasms between barbershop and
gospel, straight-up rock and bouncy jazz, psychedelia and pop, this sevenminute
track will consume you completely. It’s a kind of pocket symphony
that commands the second half of the album and a tune where the music far
surpasses the scarce lyrical imagery.
With a woozy beginning, there’s almost a dream pop feel to the start of
“Winnebago.” This strange disorientation continues right until the bass
starts to hold things down and creates a groove to walk through the garden
of verses. It’s a song that sounds like recollecting romance from college or
a friendship that went distant – a realistic but sentimental stroll through
memories divided by time and perhaps physical distance. The entire backdrop
is as engaging as the story itself and somehow seems to add more backstory.
The bridge feels like a montage of years escaping, bending space and time to
explain months or years inside fi ve minutes.
The album finishes with the first song written for the band by keyboardist
Mandzuk, and it is outstanding. He brings an even stronger Steely Dan vibe
to the band, which provides the perfect buoyant landing for the album. What
starts as a soft piano ballad slowly transmogrifi es into a wild jazz ride that
creates an absolute sense of joy over what you’ve just experienced. It’s got
enough of a hint of Ben Folds in it to keep people slightly mystifi ed with
something the band itself describes as “Tastefully Strange.”
This stands out as one of the most essential tracks, along with “Viewmaster,” “Game,”
the title track and “Ace’s Wounds”: a brilliant anchor for the end of an album that will
keep you absolutely engaged. Polychrome is the full-length album I’ve been waiting for
since Harrison Fjord began, and now I’m just going to play it again.
Harrison Fjord’s Polychrome will be available February 20th on all streaming
services, and vinyl will be available through Hello Merch later in the month.

HESPERUS
Dark Corners in My Circle
JAM NOW
Universal Love, Part One
SONGS LACKING TALENT
Post-Dramatic Stress Disorder
MOUSE POWELL
First Love
HEART SOCIETY
Wake the Queens
HOSTILE WORK ENVIRONMENT
Flat Earth Girls Make the World Go Round
In Greek mythology, Hesperus was the evening star.
To Phoenicians, Hesperus is an experimental hiphop
outfit combining the talents of MC/DC (mic), JD
(guitar, keys, drums) and Gimpheart (synths, electribe,
kaoss pad). You know it’s going to be an interesting
time when the sampling at the start of “Paycheck” kicks
in. There is an attention to fun dance grooves and lyrics
that celebrate “Andrew Jackson snacks,” like Funyuns
and a 30 pack. It’s an absolutely intoxicating anthem
about living paycheck to paycheck.
“Relaxed Rapper” starts with a woozy cough syrup
vibe and never allows you to get your sea legs. It
feels like you’re on the light rail after accidentally
mixing Vicodin and Klonopin, with echoes of
Portishead on someone else’s headphones. “Lost in
Thought” tackles racism and oppression with three
and a half minutes of social and self-awareness and
a rave-up track backing it. Meanwhile, “Smoking a
Cig” seems to take aim at all things bourgeois (well,
maybe not all) with a Krautrock-synth background.
It’s pretty amazing, albeit brief. The jazzy backdrop of
“Song I Wrote at Work” features Austin Rickert on
sax, and it’s another ode to middle-class roots mixed
with college hipster heights.
“Louis Armstrong” features vocals by Mystic Hightower,
and it’s more synth-heavy than you’d expect with a
title like that, but still a solid centerpiece to the album.
It floats seamlessly into “Daydream About Sleeping,”
addressing alienation in modern society and sleep as a
form of escape, complete with a sing-along bit. Nuances
are what Hesperus is good at, and “Subtleties” is no
different for that reason. “Aggression” rocks like early
Faith No More with a little RATM, while “Love Me
Tender” closes out the album with some psychedelic
indie-folk poetry, because why the hell not? Dark
Corners in My Circle is a masterful debut from a crew
that likes to take risks and find new grooves.
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Jam Austin Murray first came to my attention
playing bass for Vintage Wednesday. As JAM NOW,
he is pursuing his first solo record, releasing it in
two parts tied to a Kickstarter campaign to fund
the remaining release. In the end, I imagine the
completed album will be a folk-rock symphony to the
cosmic consciousness. If you’ve ever met Jam, you
know he has that higher-awareness vibe about him.
JAM NOW will release Universal Love, Part One on
February 24. Oddly, it doesn’t include his stunning
debut single, “Believe It’s Possible,” but it does
include four new tracks.
The title track echoes sentiments of rockers past who
got into Transcendental Meditation, but I’m pretty
sure Jam was born with a mantra on his mind. It’s
got a fantastic sound, like it was yanked straight
out of Southern California circa 1971. “Giving Tree”
has a softer, more wistful vibe to it, with a hook that
lays in wait for nearly a minute before it grabs and
keeps you. If there’s a video for this, Jam better be
wandering through some enormous old-growth forest
with a guitar.
Murray explores mortality, metaphysics and love in
the gentle hippie folk of “Circle of Life,” and I mean
that in the best way possible. It feels restorative
when it’s delivered this authentically. Seriously
though, someone should film this kid playing all
these songs on the porch of a log cabin. This
installment of Universal Love finishes with “Silver
Screen,” which rocks when the album needs it
most, with shimmering guitars that border on
power pop. It’s a fantastic sendoff that leaves
you wanting more – which is perfect, because
you should go see about making sure his Kickstarter
campaign gets funded by February 10, so JAM NOW
can hit the studio in the spring.
Sounds Around Town By Mitchell L. Hillman
You’ve got to love any EP that starts with a minute
and a half of Bill O’Reilly becoming unhinged during
failed takes. I like to think it sets the tone nicely. You
think, this record is probably going to be as thought
provoking as it will be fun, and something you can
get pissed with on whatever level you choose. The
sample leads to the powerful “Jahilyyah,” which
talks about the cycle of slavery and decay in a late
capitalist dystopia. Musically it’s garage drums and
a wall of guitars that sound like they’re straight off a
punk album from 1988.
“Milk Me Vegan” continues the intelligent and wry
criticism of society’s desperate ways. Once more,
it’s difficult not to lose yourself in the roaring guitar
orchestra that’s feeding the frenzy. Plus, the band
gets to pose the rhetorical question, “Who would
have guessed that a Machiavellian could have
mastered the situation?” It comes off like what
would have happened if Dylan met Glenn Branca
early on, with a touch of Minor Threat’s Ian MacKaye.
Speaking of 1980s hardcore, “Take a Number” is just
like that: like you’re back in a shitty dank basement in
1987 and you paid $5 to see six bands you’ve never
heard of and someone’s blood is on your pants. That’s
just how it feels.
SLT ends the record with “The Ghost of Hillary
Rodham Clinton,” which is possibly more harrowing
than all the events of the last two years, but only
slightly. It recalls mid-period Hüsker Dü, when they
were brilliant and limitless. In the end, one can only
come to the conclusion that there aren’t enough
records like this these days: critical minds expressing
a distaste for nearly everything, and rightfully so.
These are songs for anarcho-communists to brush
their teeth to before another day of hard work
dismantling the state.
In 2013, Mouse Powell released These Are the
Good Times, but time hasn’t slowed his groove any.
The proof is that he sold out Crescent Ballroom last
month when he released First Love. The album opens
with Mouse’s older brother leaving a message about
his first love, before the beats kick in with a jazzy
intro to a hip-hop meditation on love, with horns
blaring from the back. “Coffee” mixes pop, funk, rock
and hip hop into a catchy package, featuring guest
vocals by Sara Robinson.
Andy Chaves guests on “God in the Jukebox,” which
gets back to hip-hop basics with a darkwave tinge
and a great flow. “Webs” keeps the groove going
and the brass returns, creating a tropical vibe to
this ready-to-go, low-key dance number. Kicking off
with a piano groove, “On the Hood” is a sentimental
little number that’s as funny as it is relatable, with
accurate perceptions at the end of a relationship.
“Porches” features Grieves on an acoustic guitar
number about growing up and getting to where
you’re going, providing a self-reflective break in the
album’s unrepentant energy.
Across a hypnotic trip-hop backdrop, people tell
their tales of first loves on “Hotline Bling Pt. 1.”
Jason Devore from Authority Zero guests on “The
Weekend,” a grungy little number with a fantastic
swing and an eye toward pop hooks. “Clouds” is
another number where I have to hold back laughter
at the ridiculous way Powell has a tale to tell.
Robinson reappears for “You Don’t Wanna Hold Me,”
which is a decidedly cool bluesy number, and Andres
Rodriguez joins in for the soulful rap of “Back to the
Bay.” After another confessional with “Hotline Bling,
Pt. 2,” both of those guests return for the finale of
“Killer.” This is Mouse Powell’s consummate work, to
be enjoyed on many levels.
I’ve been following Teneia Sanders since she moved
to Phoenix in 2010 and watched as she’s gone from a
solo act to a duo with her husband, Ben Eichelberger,
to become Heart Society. Wake the Queens is the
debut record from Heart Society, whose music
celebrates the love of humanity and the love they
share. Right from the start, I was blown away
thinking about Teneia playing a solo acoustic set
years ago to the rip-roaring rock ’n’ roll of “What’s
on Your Mind, Kid?”, which opens the album. It’s a
two-and-a-half minute self-possessed scorcher that’s
also dead sexy.
“Rocket” gets a bit more into rhythm and soul, with
a sweet pop hook. It’s a danceable number with an
infectious melody, percussion straight out of the
tropics and a 1970s vibe with an occasional rock
riff. The title track almost comes off as seductive
dream pop with a bit of a synth backbone, until a
knock-your-socks-off guitar appears a minute in and
it becomes anthemic. “Boxes” returns to the territory
found on “Rocket.” It’s an easy-on-the-soul song
about self-awareness that’s as lush as it is lovely, like
a fine wine for the mind.
Sanders-Eichelberger’s voice is the complete
showcase in “Call Somebody,” where a near-gospel
arrangement wraps around her perfectly as she urges
people to reach out when they’re in trouble. The
record finishes with the epic anthem “I Don’t Give
a Damn,” where she gives her most vicious vocal
yet, touting indifference like brandished weapon. It’s
really about living how you want rather than how
you’re told, and it’s overwhelmingly powerful. Wake
the Queens is an impressive debut from a duo on a
mission to share their love of each other, music and
the best in humanity.
Sounds Around Town By Mitchell L. Hillman
Hostile Work Environment is a vehicle for the slightly
twisted vision of Jake Paxton. Two years on from
their debut, with nearly a completely different band,
HWE returns with a terse album of scorching rock ’n’
roll and lyrics delivered with a knowing smirk. “Role
Reversal” kicks it off with a jumping groove and an
epic croon from Paxton coming on like The Strokes
when they mattered. The guitar riff is just as killer.
There’s a total post-punk vibe to “Everyone You Know
Is Going to Die,” right on the edge of Goth, heavy on
the Gang of Four, but light on the guy-liner. “Skynet”
was an early single from the album and it still rocks
heavy, while prophesizing our inevitable doom in the
hands of technology. It’s still as catchy as hell over a year
on. Kicking off with a thick and funky bass groove, “The
Struggle” is really about social awareness in pretty
bizarre times. “Birdperson” may be the first indie-rock
song built on a “Rick & Morty” reference, and if not,
it has to be in the running for one of the best. It’s also
as harrowing as it is catchy, a heavy-as-hell juggernaut
that reeks of police brutality to be sure.
The badass groove continues unabated into “Cut
Me Down,” which mixes equal parts grunge, metal
and glam with impressive, if not maniacal, results.
The psychedelic approach of “Cosmic” is fitting, as
it opens with creepy lyrics referencing Silence of the
Lambs. Essentially Paxton explores the serial killer’s
mindset with a prog-rock backdrop that slowly spins
into a rock ’n’ roll maelstrom. The album finishes
with the near epic-length of “The Junk,” with Paxton
coming on a bit like Jim Morrison, while delivering a
fiery finish.
For more on these events and other highlights of
the Phoenix music scene, check out Mitchell’s blog
at http://soundsaroundtown.net. For submissions
or suggestions contact him at mitchell@
soundsaroundtown.net
JAVA 33
MAGAZINE

OLIVIER
ZAHM
Musique Connection
By Tom Reardon
Photos: Antoine Gedroyc
34 JAVA
MAGAZINE
There is a verse in the Radiohead song “Street Spirit” (from the excellent 1995 album The Bends) where
Thom Yorke sings, “Rows of houses, all bearing down on me/I can feel their blue hands touching me/
All these things into position/All these things we’ll one day swallow whole/And fade out again and
fade out.”
After speaking with Olivier Zahm a few weeks ago on the patio of his home/studio in northeast Phoenix,
Yorke’s words reverberate in the back of my skull like the fuzzy, driven song Zahm played for me while he
showed me his Electric Lotus recording studio. Zahm, a native of France (and still a French citizen), moved to
Phoenix in 2002 and started Electric Lotus in 2007, and, he says, “opened the doors to my victims.”
The French expatriate is joking, of course, as his clients are definitely not victims of anything other than Zahm’s
enthusiasm for recording music, his honesty, and his somewhat offbeat view of the world. Zahm honed his
recording skills in his native France, as well as Stockholm, Sweden, before moving to the desert just over 15
years ago. A self-professed studio rat, it is clear after speaking with Zahm for a few hours that music, and the
love for it, is much more than just in his blood. It seems, quite literally, to be his life.
Zahm represents a dying breed in this world, in that he will turn down working with a band if he feels they
are not ready to record a song or an album just yet. He would rather help a band get ready for the studio than
take their money to record them just because they want to make a record. Take a gander at his website, www.
electriclotusmusic.com, and read the “Bad Cop, Bad Cop” section to get a glimpse of where he is coming from.
If you’re in a band, take the time to talk with Zahm about your next project, but be prepared to think.
Conversation with Zahm is refreshing and brisk. Old enough to know better but young at heart and in tune with
what’s happening in the music world, he moves quickly and jumps from discussing his chosen profession to the
importance of speaking multiple languages to conquering Asia like Alexander the Great, although for Zahm this
type of conquering will be done by spreading music across China and India.
In addition to running Electric Lotus Music (his publishing company), Zahm is a multi-instrumentalist,
songwriter, and the owner of the indie music label Chromodyne. He’s got a dark and mysterious look about him,
to match an equally quick wit and wicked sense of humor, and it is this writer’s opinion that Zahm probably
does very well with the ladies, although we didn’t talk about this part of his life at all. We’re guessing he
doesn’t have a ton of time for a social life with all that he has going on related to music.
Currently, Zahm is working quite a bit with local artist
Ben Anderson (check him out!), Los Angeles–based
singer/songwriter Sean Mullaney (check out his
video for “Come with Me,” which features some
great footage from the 2017 Trump rally protests in
Phoenix), Billy Cioffi and the Montecarlos, rockabilly
foot-stompers Voodoo Swing, and several others on a
slate of Chromodyne releases, as well as maintaining
an active client list for Electric Lotus.
What brought you to Phoenix?
A plane full of crying children.
Perfect. Why Phoenix, though?
I landed here in the summer of ’02. I needed to renew
my green card and I had a 48-hour window to make
a decision. I wanted to make stupid music with
intelligent people and I felt opportunities were too
slim in Europe. I released some vinyl in Stockholm
while I was there, living and working on music for
practically 24 hours a day, seven days a week. It
was deep house, electronica stuff, but it wasn’t my
ambition. I wanted to make more visceral, raw music.
I would imagine winters in Stockholm lent
itself to staying inside.
Oh, summers too (laughs). If you’re a studio rat, it’s
in your blood. It’s a calling. You’re not motivated by
opportunity or glamour. You’re going to get dirty and you
can only tolerate other people who want to get dirty.
Had you been to Phoenix before?
No, it was blind…it was a culture shock. I remember
the drive from the airport. Dusk was creeping in and
I was looking out the window of the car. I was like,
“What the hell am I looking at?” There’s nothing! The
brain starts seeing patterns and details, and I was
like, “Jesus fucking Christ! This is not dirt, this is
rooftops. There is nothing but rooftops.”
The second day, I got lost. I was trying to figure out
the pattern. I thought, “What kind of matrix is this?”
There’s a church, a supermarket, rows of houses.
Then it repeats. I was like, “What do people do? How
do they live? What is this sorcery?”
Phoenix wasn’t the same town 10 to 15 years ago.
It takes some time for the doors to open up and for
you to know where to look and find people who know
what’s up. It’s almost like you have to earn it, if you’re
not looking for the corporate lifestyle.
For two years I hated it.
JAVA 35
MAGAZINE

Why did you stay?
I don’t like failure.
That’s awesome. Pure stubbornness.
Actually, I knew something could be done. It’s a good place to build and it’s a pretty
good location – close enough to LA, but not in the rat race. Everything is a quick
plane flight away.
The town is growing so rapidly right now, and I think, musically, Phoenix
is the best it has ever been.
Yes, but I think in ’05, ’06, there weren’t all the opportunities there are right now,
and you had to actually band together [as a scene] to make things happen. You
didn’t have the islands we have now, so all the different cliques had to work
together. Now, every sub-genre, it’s got its own thing. I miss the commingling when
you had to tolerate and accept each other. It was easier to create a scene then –
now you have specialty aisles.
In the ’80s, I remember the tribes gathering, for example, when you had a
band like Jane’s Addiction playing, where everybody liked it.
Right, if you liked funk, you liked Jane’s Addiction. If you liked rock and punk, you
liked Jane’s Addiction.
So how did you get acclimated?
I started going downtown and hanging out in record stores. At first I was in
Avondale and there was nothing there. It was like a twilight zone with
freeways leading to nowhere. So I started out hanging out at Stinkweeds
and Eastside Records, talking about music and trying to find people who
liked Fugazi. Eventually I got invited to a house party, started playing in bands
and met people like Michael Red, HotRock [SupaJoint] now. We formed Sound
of Birds.
Oh yes! I remember you guys, and I know Michael. He used to blow fire
with us sometimes when I was in Hillbilly Devilspeak.
I remember you guys. We played Black and Tan together. We played Emerald
Lounge…
Oh yes. That was one of those places that you could go in there and feel
like you were in any city, anywhere.
The Emerald was like my second house. It was just insult to injury when Starbucks
took over. You didn’t go there because the place was cool. You went there
because it was warm. It was human. There were good bands and it was
cheap. It was like that old beat-up car that you love. It was dirty, and sweaty,
but you felt an actual connection.
I love the Crescent but I don’t go there to feel like I’m going to connect with
people. I don’t expect a stranger to start a conversation with me when I’m
at Crescent. You knew, though, that if you walked into the Emerald, you will
interact with some fuckers, but everyone was cool. To step into that shithole,
you had to be cool.
Are you doing a band now?
I like playing in bands for the camaraderie and the process, but not so much the
gear hauling (laughs). I like being behind the scenes and creating sounds for
people, like a tailor making a suit. I will play during recording sessions, but I like
being a musician’s musician. I like co-writing, or if someone needs a musician for a
recording session. I was in the house band for the Tempe Center for the Arts when
they did their songwriting showcases.
I love being part of making music. It’s a good high. I love making things happen.
It seems like a lot of people I know who have studios, like Electric Lotus,
are struggling a bit right now.
The studio has really been paying for everything, but it is tough. That’s why it is
a calling. It makes it that much easier to not compromise on sacrifices. Because
there is that irrational vision that is your compass that makes you say, “I will not
buy new shoes for five years, but I need that fucking compressor.”
It drives everyone insane, but in this vision is absolutely clarity. It’s almost
the same fervor that you might find with religious nut bags, but you benefit
others by actually providing a project that is tangible rather than exploiting
psychological insecurity.
How did Chromodyne come about?
Chromodyne was created by coming full circle. Independent media is essentially
being destroyed, so by trying to think of what was [already] here, we decided to
start new. In the old days, if a recording studio believed in an artist, without having
a big company to seduce, they would do it themselves because they had the talent
and all they needed was a product [to release].
When did it start?
About a year and a half ago. It is fairly recent, but I’ve been working long enough
[in the industry] to assemble a team beyond the army of one, so we’re able to
move forward. It’s really done on a shoestring, but you have to have faith in
something.
You mentioned wanting to conquer Asia like Alexander the Great. How
does that work into your plan with Chromodyne?
I’m seeing India as becoming the second world economy soon. They have a
growing middle class that we no longer have here and they have interest. If they
have expendable income, they’re going to have a thirst. That’s why the civil rights
movement happened in the United States, because you had a strong middle class
and people had job security and time to think about other things other than their
own immediate survival. Isn’t that interesting?
Everything has backtracked. The consumption of “culture” has gone so far down
that people are now semi-illiterate, even with all the technology that is better than
we ever dreamed. I understand that convenience is not necessarily a means to
justify theory, but you can see who profits from these cultural crimes.
36 JAVA
MAGAZINE
JAVA 37
MAGAZINE

GIRL ON FARMER
By Celia Beresford
The dentist is scary. Everyone has their hang-ups,
and mine is the dentist. I am at the point where my
teeth ache whenever they make contact with air.
Instead of going to the dentist, I am in the market
for a new electric toothbrush and maybe some
miracle tooth powder, so I can fi x all the cavities on
my own. It requires the wishful thinking of a fiveyear-old
to believe that this will repair the extensive
tooth disaster that I have going on in my mouth,
but I am willing to believe. The ability to believe in
magical things is something we can carry over from
childhood. But being treated as a child, when you’re
not asking for it, is something that really bothers me
as an adult.
I was using the bathroom at my friend’s and noticed
a shiny silver toothpaste container. It was a fancy
little tube, and on the back it had directions to use
a pea-sized amount each time you brush. As if the
“pea-sized amount” directive weren’t enough, it
also has an image of a toothbrush head with a
picture of a pea. To clarify it even further, it then
had brackets around the brush, which said PEA-SIZED.
How stupid do corporations think we are? The
directions without the diagram should be suffi cient.
Nowadays, everything comes with a warning on it
and, personally, I am insulted.
The warning on the side of a coffee cup because
there might be hot things inside? Yes, I know this
is a result of our overly litigious culture, but still,
it’s rude. The assumption that everyone is too stupid
to know that they might get burned by hot things is
infantilizing. Even if you didn’t know the contents
were hot, you’re not about to pour a beverage all
over yourself. This means that if you do end up
spilling coffee, it was an accident, and it doesn’t
matter if you knew it was hot or not. Hence, the
warning is meaningless.
What about the Tide laundry pod situation? My
daughter told me about the “Tide Challenge” and
I thought she was kidding. For those of you who
aren’t on the cutting edge of what’s happening,
the Tide Challenge is where people, very stupid
How stupid do corporations think we are?
Nowadays, everything comes with a warning
on it and, personally, I am insulted.
people, bite into those little plastic pods of laundry soap on purpose. For fun or
something. If you get very sick, or even die, after intentionally eating laundry
detergent, I will feel bad for your family, but not for you. Spilling coffee on
accident is one thing, but eating a plastic pod full of something that is meant
to clean your clothes is very different. It’s a whole new level of idiocy.
I have a water bottle with a warning on it that says NO BODY PARTS. What the
hell does that mean? It’s a water bottle. I couldn’t stick a body part in there
if I tried – well, maybe a fi nger. If I was a man I could stick my penis in there,
but what would be the danger of that? The mouth of the bottle is plenty wide
enough for even the most girthy. So why the warning? Was the manufacturer
assuming that someone would try and stick a foot in there or something? I
cannot imagine what the hell this is about.
Q-tips. Cotton swabs. They try and act like they were made for multiple uses
like makeup application or removal, but we know they were invented to clean
wax out of your ears. Guess what? There is a warning on the side of the Q-tips
package that says, DO NOT STICK IN EARS. But that’s what they’re made for, to clean
out my ear canals, so I can hear what people are saying. And so when my hair
is up, no one looks at my ears and talks about how gross my ears are. You
know, you’ve seen people with big blocks of yellow, waxy muck in their ears
and commented on how gross it was. And this is the problem with the Q-tip
warning: it discourages ear cleaning and is denying the real reason they were
created. It bucks the natural order. I am a grown-ass woman. I do not need
Q-tips to tell me where I can and cannot stick them.
When I do go to the dentist and am inevitably given the bad news that my
teeth are rotting out, it will not be because I used more than a pea-sized
amount of toothpaste. And it won’t be because I ate a plastic packet full of
laundry soap. And it defi nitely will not be because I stuck too many Q-tips in my
ears, or washed a body part in a bottle. I will take full responsibility for being
a bad tooth-brusher who did not fl oss every night and quite possibly skipped
too many lunchtime brushings. I will tell my dentist that I am bad at fl ossing,
brushing and all that stuff. And I will tell him I still believe in miracles.
38 JAVA
MAGAZINE

NIGHT
GALLERY
Photos By
Robert Sentinery
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1. Lovely Tondra with her new wine filter
2. Gabriel Fortoul at Camelback Flower Shop
3. InstaStars @newdarlings at the Fortoul Bros. show
4. Camille and PAO rock the house at Amplified
Happy Hour
MON-SAT 3-6PM
$3 DOMESTICS
$4 WELLS
$5 STRONG
ISLANDS
5. Scotty and Jilly, Sunday fun at the Vig
6. Jillian is rockin’ the yellow jacket at The Hive
7. Jesse, Richard and Gardner at the Cole’s pre-intentions
party
NOT YOUR
DADDY’SDeli
8. Renée and Marcelle are color coordinated
9. Ed Wong shows up at Icehouse Gallery
10. Kenosha Drucker with her sculpture at Megaphone PHX
11. Cristiana and pal at her pre-intentions party
130 N Central Ave, Phoenix
DeliTavern.com
602.583.7564 JOIN US FOR HAPPY HOUR 4-7 M-F
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12. New Year’s with this stylish duo
13. Richard with his didgeridoo
14. Somebody stole the Chief’s cowboy hat
15. All together now at Amplified
16. Destyn and Kylie at the Cole’s casa
17. Snapped this duo at Megaphone PHX
18. Gardner Cole in his studio
19. Jackie and pal at her NYE bash
20. Mr. P-body in the middle
21. Yvonne and Preston at the pre-intentions party
22. NYE fun with Aileen, Vaden and Amanda
23. Live at Megaphone PHX
24. Met these lovely Sedona gals at the Cole’s party
25. Carson and friends on NYE
26. Good looking pair on First Friday
27. Baron and Jen with their bambinos at Amplified
28. Saskia at Four Chambers’ “In Sight” show at New City
29. Father/son portrait at PAM’s Amplified

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30. Matty and Tracy at Phoenix Art Museum’s Amplified
31. Self Surveillance show ant Megaphone PHX
32. All together now at Megaphone
33. Amplified t-shirt duo
34. Ernesto with a couple of Las Chollas Peligrosas gals
35. PAO members Aldy and Dave at PAM
36. Liliana and Davina at Amplified
37. Cheers to Aileen’s show at Found:Re
38. Rani and his mini-me at PAM’s Amplified
39. Scott on the congas with PAO
40. Kenosha’s juicy sculpture at Megaphone PHX
41. Black Cloud installation at PAM
42. Artist Malena Barhardt’s work was removed from New City
43. Stacey hosts this visiting writer
44. All together now for the Fortoul Bros. show
45. Red wine time
46. Christy and pal at Camelback Flower Shop’s grand re-opening
47. Lara Plecas’ Lineage show at Chartreuse Gallery

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48. NYE fun with Lee and Hila
49. Fortoul Bros. show at Camelback Flower Shop
50. An Old Fashioned toast with these ladies
51. More fun at the Camelback Flower Shop grand re-opening
52. Cheers to these lovelies
53. Camelback Flower Shop’s Teresa Wilson and friends
54. This dude is rockin’ the sweet wool coat
55. Gardner with more of his platinum records
56. All smiles on NYE at Mark and Jackie’s
57. Art-hopping with Liliana and friend
58. Margaree and Caesar at Camelback Flower Shop
59. Tom and friend at the Fortoul Bros. show
60. Stylist extraordinaire Parisa Zahedi and friends
61. Too legit to quit
62. Third Friday at the Hive
63. Soundtrack for the Fortoul Bros. show
64. Cheers to longtime friends
65. Josh and pal at Camelback Flower Show
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66. Ted Decker and pals at the Hive
67. Lovely ladies at the CFS grand re-opening
68. Sharp-dressed trio
69. These women work at The Porch in Arcadia
70. All together now, Camelback Flower Shop grand re-opening
71. Victor and Dominic
72. Adella’s opening at the Hive
73. Miwa and Gary at his Icehouse Gallery opening
74. John David Yanke’s show at Abe Zucca Gallery
75. Nicole’s tiny dance at the Breaking Ground festival
76. Phoenix Afrobeat Orchestra’s horn section
77. Terri from Agency AZ and Becca from Sphinx Date Ranch
78. House of Stairs at Amplified
79. First Friday at the Hive
80. Sunday fun with Sherry, Chris and Drew
81. Elvis Before Noon at the Vig
82. Purple passion
83. John David Yanke’s mattress-spring flag

KAZUMA SAMBE, Unseal, Growth,
2017, Ceramics, 20 x 40 inches.
KATHRYN MAXWELL, Lunar Eclipse, 2017,
Mixed media on paper, 16¾ x 20 inches.
*FREE
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