Monday, January 22, 2018

Drudging up the gloom | An interview with Aviv Grimm

When did you discover photography was your passion and can you tell us
how you found yourself working as a photographer?

I first became really interested in photography in high school. I used to shoot only analog and develop all of my film in our school's darkroom. From then on it just continued to progress and form into my number one creative outlet and the only thing I could conceivably see myself doing career-wise.

 Your work is very unique and has a very ethereal and dark mysterious
undertone to it. Where do you find your inspiration for your work and are
there central themes you like to visit and re-visit?

I'm inspired by old horror films, elements of witchcraft and demonology and the images in texts on the subject, pieces on mourning from the Victorian era, and of course the darkest and dreariest parts of my own mind. The central theme of my work is just an outer display of my inner torment (coupled with the visual inspirations I mentioned previously), and I'm afraid that's one that I'll likely be re-visiting on an eternal loop.

Are you self taught or did you study photography? 

I'm primarily self taught. I studied it a little in high school and learned the basics of analog photography. In college I tried to take a course and was so put off that I dropped out after the first class!

You often model yourself in your photography. Is this deliberate or
primarily convenience?

Its definitely more convenient to shoot myself - I find that its always easier to manipulate my body and movement to achieve the exact outcome I’m looking for rather than direct someone who’s vision might not align with what I have in mind.

Of course, aside from a photographer you are also a model for other photographer’s work. Which came first? Modelling or photography and what do you love about each of them?

Photographer first, definitely. I still feel uncomfortable in front of a camera! Photography is an instantaneous satisfaction of whatever vision I've been plotting. I love being able to convey a mood in an instant like that. When modeling I'm conveying the mood for whoever I'm working for. To me its harder work! But fun to play a character and bring pieces to life.

A lot of your photography features a mystical and almost macabre aesthetic whilst maintaining a somewhat modern feel. Can you explain the importance of the imagery in your work and the ethos behind it? Would you say your photography is inspired by the places you visit and capture more
so than the photography informing the subject?

A lot of the mood behind my work sprouts from the tangled roots of mental illness. My images portray our inner demons, the darkest corners of our minds, pain and fear and beauty. I wanted to show that even in a photo of a beautiful cathedral, for example, there is always something lurking - a darkness that may not be visible to all but undoubtedly looms and preys. My disorders hover over everything I do, acting as a shadow in every image I take. In this way I think the photography informs the subject. My little demon is present in a planned out shoot or a simple photo in my bedroom. I think this plays to the modern feel as well - by showcasing this darkness in my every day life it becomes more accessible and less ethereal. 

Are there any artists you admire and would love to some day work with?

I regularly dream about bringing Bill Crisafi's drawings to life. I'm very fond of Nona Limmen's work, Crystal Lee Lucas, and Courtney Brooke.

 Is there any subject matter or person you would love to shoot but haven't
yet had the opportunity to?

A lot of my work is very heavily based around architecture, but I'd love to step away from that and shoot subjects against nature - the Icelandic landscape, dense forest fogs, or seaside caves.

 You predominately shoot black and white. What is it about black and white tones that you love most and do you prefer shooting analog or digital?

I'm not sure what it is, I'm always happier when its grey outside and the saturation just falls around me. The same thing with my home - everything is in grey scale. I just think its so beautiful and calm.
I only recently started shooting digital because it just seemed more practical for the types of projects I was doing. Analog will always be my real love though. There's something immensely satisfying about manually controlling a photo from start to finish.

 What can we expect from Aviv Grimm in the future?

I'm excited to be modeling in Ashley Rose Couture's New York Fashion Week show this February, releasing more limited custom framed prints in my shop (, and drudging up more gloom from the pits of my psyche for the Internet to enjoy.

© Mckenzie Leek for Ashley Rose Couture

Saturday, January 20, 2018


© Jesse Draxler

With shape shifting cowboy guitars and acid rain synths, VOWWS’ new single “Esseff" opens with a shadowy, foreboding intro, before a rapid drum fill instantly transforms it into a boot-stomping dance club banger. 
"Esseff is like James Bond spy music updated for the modern world. We wanted to create a sound that felt like you were being chased by something scary, but enticing... like a tornado, or drugs. We embrace menacing intent in our music, but that's not everything - even the bleakest shit has light in it... so we turn up the contrast and make both sides of the coin shine." - Vowws 
The single released today, is the second cut from VOWWS' upcoming album Under The World, out in March 2018 on Anti-Language Records. 

Artwork by Jesse Draxler

Friday, January 19, 2018


[Born in a warehouse in South Lake Union, Fucked & Bound delivers Seattle hardcore thats built to spank thru. With their album SUFFRAGE, the band slams forth thirteen songs in twenty-three minutes in an acid bath of pure sonic fury. Brickwalled and claustrophobic, these tracks seethe over feminism, nihilism, and the pitfalls of industry, to ask, what is the cost of good living?]

This week I caught up with vocalist Lisa of Fucked & Bound to talk all things Suffrage in it's upcoming release.

RR: How difficult was translating F&B ‘s live energy into a recording when working on the debut?

LM: I think I'm the only person who struggled with translating energy. Between having to break up vocal tracking into multiple sessions and feeling a little restrained inside the booth, there was a learning curve. You can't grab a Neumann U87 and thrash it around the way you would with a live mic, like an SM58. In the end, I think I found a way to mostly break through. There are many tricks I learned from this recording that I can't wait to apply to the next.  


RR: You’ve been described as “honest hardcore”. How would you describe F&B yourself and what is your biggest influence?

LM: "Honest hardcore", I like that. There's a tendency sometimes to over complicate genres or try to add extra complexities, but that's not as much a concern with Fucked & Bound. We've all been listening to tons of heavy genres over the years and this was a way to apply some of the fun things that we hadn't been able to with other projects. We get to thrash, be a little snarky, pull from more straight-ahead sources. Some current favorites are Trap Them, OFF, Death Index, Cult Ritual, and Raspberry Bulbs. Then, you know, classics like Minor Threat, Black Flag, Discharge. We've been really into the Fucking Invincible records that Atomic Action Records put out. It's a great feeling to be label mates with bands that have inspire you as an artist. .

RR: When it comes to lyrics vs music can you explain how the process works for F&B and why it works?

LM: I try to keep it raw and honest, attaching those ideas to the songs wherein they feel most appropriate.

RR: There is something primal, ferocious and feminine about your presence both physically on stage (from performing topless and commanding crowds from within) and vocally through visceral roars. How important is it to you that the feminine be recognized or ignored on your music? Is it something you address lyrically or something you’d rather steer clear from lyrically and politically?

LM: I'm just trying to be myself, some people perceive that as masculine, some as feminine, and it varies. If I take my shirt off and scream, some people lean in, some back off. I'm not afraid to get personal. "Abuse of Registry" is a perfect example of that, relating directly to all those who have experienced trauma.

RR: Are there plans to tour off the back of the debut and when/where?

LM: Yes! We're booking our first tour now. There are a couple dates that we're still working on, but so far we have..

3/17 Seattle, WA @ Black Lodge
3/20 Portland, OR @ Fixin' To Bar
3/21 Chico, CA @ Naked Lounge
3/22 Sacramento, CA @ Blue Lagoon
3/23 Oakland, CA @ Golden Bull
3/24 Los Angeles, CA @ TBA
3/25 San Diego, CA @ Space Bar
3/27 Mesa, AZ @ Nile Underground
3/28 Tucson, AZ @ TBA
3/29 Las Vegas, NV @ The Garth
3/30 Reno, NV @ Jub Jub's for Days of the Loud Fest
3/31 Redmond, OR @ DI Pizza

Thank you for caring!

Lisa Marie Mungo

Suffrage releases February 16, 2018 through Atomic Action Records

Recorded at Electric Wall in Seattle 
Engineered by Robert Cheek

Ann Demeulemeester // FALL 2018 MENSWEAR

Thursday, January 18, 2018

King Woman // I Wanna Be Adored (The Stone Roses Cover)

Released January 17, 2018 
Recorded by Pat Hills 
Cover image by Matt Kadi 
Originally by The Stone Roses

HIDE // "Wildfire"

[The first single off our debut album is “Wildfire”. We made this video with a power trio of women photographers/filmmakers who we have worked with in the past and were eager to do something more involved with. “Wildfire” is about the earth rejecting its inhabitants. The album overall is about autonomy, identity, and power dynamics.]

HIDE "Wildfire" - from the full length album "CASTRATION ANXIETY" (Dais Records 2018) Shot by Nedda Afsari & Kristin Cofer | Edit & Archival Footage by Menthol Pictures

Castration Anxiety
(Dais, March 23rd)

1. Fall Down
2. Bound-Severed
3. Close Your Eyes
4. Wear Your Skin
5. Come Undone
6. Wildfire
7. Fucked (I Found Heaven)
8. All Fours

Tuesday, January 16, 2018



Track Listing Below:


Photo © Audrey Cantrell 
Courtesy of OVATE