Team credits:

Photography by Chuck Reyes
Styling & Art Direction by Mari David
Hair by Sayaka Otama
Make-up by Mayu Yamaji
Model: Maisie Dunlop (at Oui)
Fashion assistant: Daisy Oldfield
Special thanks to Alan and Andrea at Studio Kogan, Paris

Fashion Credits:

#1 Jacket by Dos Gardenias, Trousers by Essentiel Antwerp, Gloves by Aristide, Bag & Belt by Andrea Crews
#2 Coat by Each x Other, Shirt by Pascal Humbert, Hat & Scarf by Sportmax
#3 Poncho by Golden Goose Deluxe Brand, Top by Shiatzy Chen, bag (worn as hat) & gloves stylist’s own, Belts by Litkovskaya, Trainers by Karl Lagerfeld
#4 Coat by Koché, Blazer & Trousers by DA/DA Diane Ducasse, hair clips stylist’s own
#5 Shirt by Rouge Margaux, Trousers by Sportmax, Cap by Andrea Crews, Mask Goggles 
(worn around neck) by Smith
#6 Coat by Litkovskaya, Jumpsuit by Each x Other, Earring by Victoria/Tomas, Bag strap (worn as belt) by Victoria/Tomas x Nico Gianni, Trainers by Karl Lagerfeld
#7 Shirt, Trousers & Bag by Pascal Humbert, Hat & Belt by Litkovskaya,
 Mask Googles by Smith, Socks by Falke, Sandals by Sportmax
#8 Sunglasses by Marc Jacobs, Body by Litkovskaya
#9 Coat by Dawei, White Shirt with Feathers by Sportmax, Pink Shirt & Earrings by Forte Forte,
 Turtleneck by Petit Bateau, Shorts by Victoria/Tomas, Cap by Arthur Avellano, Key Ring by Pascal Humbert,
 Trainers by Pierre Hardy
#10 Shirt by Rouge Margaux, Mask Goggles 
(worn around neck) by Smith

Team Credits:

Photography by Sarai Mari
Styling by Karolina Brock
Hair by Peter Matteliano (at Bryan Bantry Agency)
Make-up by Caoilfhionn Gifford
Model: Amelia Rami (at Heroes)
Dancers: Austin James Diaz (at BOX Artist Management), Jessica Pinkett and Mayu Oguri
Photographer’s assistant: Danny Lim
Stylist’s assistants: Sandrine François, Madison Headlee and Jackiline Arredondo

Fashion Credits:

#1 Dress by Eckhaus Latta
#2 From top: Austin
 wears Blazer & Boots by Sagittaire A, T-shirt by Diesel,
 Trousers by Acne Studios;
Mayu 
wears Coat by Moon Choi, Vests by LRS, tights stylist’s own, Shoes by Calvin Luo; Amelia
 wears Coat by Sagittaire A, Vest by Gauntlett Cheng,
 stockings stylist’s own, Boots by Hardeman, Bag by Building Block; Jessica 
wears Body by Faith Connexion,
 Jeans by Mavi, Belt by Calvin Klein Jeans,
 Shoes by Laurence & Chico
#3 Mayu
 wears Jacket by Diesel, Dress by Gauntlett Cheng, tights stylist’s own, Shoes by Calvin Luo; Austin
 wears Hoodie by Helmut Lang,
 T-shirt & Boots by Diesel, Trousers by Acne Studios, Belt by Calvin Klein Jeans
#4 From top: Austin
 wears T-shirt by Sagittaire A, Jeans by Helmut Lang, Belt by Calvin Klein Jeans, Boots by Maison the Faux x Adult Antwerp; Jessica
 wears T-shirt by PH5,
 Shoes by Laurence & Chico, tights stylist’s own; Amelia 
wears dress by LRS, stockings stylist’s own, Shoes by Calvin Luo
#5 Mayu 
wears Body, Tights & Platform Shoes by Laurence & Chico; Jessica 
wears Body by Faith Connexion, tights and shoes stylist’s own
#6 Jacket by Faith Connexion, Bodysuit, Tights & Shoes by Laurence & Chico
#7 Jessica
 wears Body by Faith Connexion, tights stylist’s own, Boots by Diesel; Mayu
 wears Jacket by Faith Connexion, Body & Tights by Laurence & Chico
#8 Body by Vex Clothing, socks stylist’s own, Shoes by Laurence & Chico
#9 From left: Austin 
wears Sweater & Trousers by Acne Studios, T-shirt & Boots by Diesel, Belt by Calvin Klein Jeans; Mayu
 wears Vests by LRS, tights stylist’s own; Amelia 
wears Coat by Joseph, Top by MISBHV
#10 T-shirt by Sagittaire A,
 Jeans by Helmut Lang,
 Belt by Calvin Klein Jeans, Boots by Maison the Faux x Adult Antwerp
#11 Body by Faith Connexion, stockings stylist’s own

Over the past few decades we have witnessed a stream of fascinating subcultures, whose styles and cultural significance have come to influence the music we listen to, the food we eat and the clothes we wear. Often based around a sharp eye for fashion and style, well-dressed groups such as mods and Britpop aficionados have created their own lifestyles and ways of dressing, building a sense of belonging and affinity among them. Through their now-iconic looks, these groups have made stylish polo shirts, well-fitting jeans and impeccable boots staples in many wardrobes around the world. And one brand has been the uniting force for them all: Fred Perry. Having appeared on daring artists and celebrated groups such as Oasis, Paul Weller and Amy Winehouse, Fred Perry and its instantly recognisable laurel wreath logo is, to this day, an emblem of unity. The connection to music has always been strong, and artists from all over the world have embraced the originality and stylishness that Fred Perry has come to symbolise. And to celebrate the fantastic originality and creativity of the Swedish music landscape today, The Forumist met with two artists who don’t shy away from expressing themselves, and who, through their abundant and varied creativity, have generated their own identity, inspiring others around them to generate their own style and way of life, regardless of who they are and where they come from.

Jocke Åhlund

Even if the name Jocke Åhlund doesn’t ring any bells for you immediately, you’re bound to be familiar with his work. The musician, producer and music-video director makes music at almost factory-output levels of consistency, all stamped with his unique sound. And his more than 20 years in the rock game have produced some memorable songs, from the manic rock funk of Teddybears’ Cobrastyle (a song later covered by Robyn) to the motorcycle growl of Caesars’ Jerk It Out. Last year, most of Åhlund’s attention was taken up by another of his bands, Les Big Byrd, who released Iran Iraq IKEA, their first studio album in four years. Les Big Byrd’s soaring krautrock is another reminder of Åhlund’s ability to span genres – between all his bands, his creative energy leads him to explore a vast range of sounds. Iran Iraq IKEA had a difficult gestation, but the response to the record proved to Åhlund it was all worthwhile. “I feel like it was definitely worth the hard labour – if I’d left the album unfinished, it would have been a big failure, but I’m really happy with how it all came out, and that is the most important thing to me,” he says. “And then, of course, it doesn’t hurt that we got great reviews in both the Swedish and international press, and got nominated for Swedish Grammis both for the rock album of the year and me for producer of the year.” Åhlund’s way of working, with multiple projects always in play, means you can never take your eye off him and assume he’s limited himself to one project at any one time. Not long after Iran Iraq IKEA was announced, he dropped the bomb that Caesars were also on the way back to the live scene, with a slot at Stockholm’s Popaganda festival followed by more dates around Sweden. “That was more of a coincidence,” says Åhlund. “Frans, the bass player from Les Big Byrd, booked Caesars for a private Christmas gig at the bar where he works, so we got everyone back together and did that. That was meant to be just a one-off thing, but someone saw it and offered us a spot to headline the main stage at Popaganda in Stockholm last August. We all felt like that was super-fun to do, so when we were offered a couple of other really good gigs, we accepted those as well. But as far as recording plans go, there are none at the moment. But I guess you never can tell for sure.”

Even though his relentless creativity in music would be more than enough to occupy most artists, Åhlund also directs his energies into the non-musical aspects of his bands, with the striking cover art chosen for Iran Iraq IKEA, taken from an image by the artist Gunnar Thorén, being a powerful introduction to the album. “The visual side of things is super-important, of course,” he says. “I’m trying to create more than just music as an artist. I think that everything you do is part of a world that you are trying to build around the project, and the visual aspect as well as what you say in interviews, and what you wear, is a part of how you project yourself as a band or an artist. I don’t feel you can ignore any of those elements or let other people do them for you. I grew up with the DIY ideals of punk rock, so it’s always been pretty natural to me. Plus, of course, if you can’t afford to let other people do stuff for you, you’re kind of forced to do them yourself. But that doesn’t mean that I do everything myself – I collaborate with a lot of very talented people, such as Gunnar Thorén.” The Jocke Åhlund factory is already running at full speed as we move further into 2019. “I’ve got so much stuff I want to do. I’m in the midst of starting my own label, Chimp Limbs, and through that I’ll start putting out even more stuff this year. Plus, more stuff with me and [the Swedish artist] Jockum Nordström – we have three albums out now and we’ve already come quite far in making the fourth. Plus, more stuff with Les Big Byrd, of course. We’re not done touring yet, but on days off, we have started making material for the next album. I’ve been touring a little bit with mine and Jockum’s band, too, plus Teddybears, so it’s kind of hectic actually. But I like to stay busy, I guess – it gives you less time to think about death and Armageddon.”

@jockeahlund

Blenda

Though she’s only been officially active for a couple of years, since the release of her debut single Chill in 2017 Blenda has already marked herself out as one of the Swedish music scene’s rapidly rising stars. Across five singles, she’s showcased her effortless ability to flit between genres and styles, from soft neo-soul on Exe’s Vibe, to thumping electro-pop on Chill and funk-flavoured dancehall on Payday. But, supremely self-driven, Blenda isn’t one to get caught up in the industry’s stardom flow. Despite her relatively short stint in the “biz”, she’s already found herself running into walls and struggling with some of its worst drawbacks. Last year’s release, Payday, was followed by a long pause as she tried to figure out what she really wanted from her career. Her return this year, the tender, dreamy ballad Funeral, proved that she’d lost none of her spark in the time she’d been away. Blenda’s interest in music started in her childhood. Raised in the Stockholm suburb of Vällingby by her Congolese parents, her father played guitar in the local church and was a major inspiration for the young artist-to-be. “My father was my first introduction to music,” she says. “He introduced me to James Brown, Michael Jackson, The Jackson 5 and Aretha Franklin, among many other legends. My father himself was a songwriter and produced many songs just for himself, and he played the guitar and bass. It’s too sad that he hasn’t done anything with those songs that he wrote, but I guess that’s where I come into the picture.” Blenda’s musical inspiration comes from the very depths of her soul, from the three factors that make up who she is: her faith in God, her feminist ideals and her Congolese roots. “Those three facts are my facts, which means that it’s my truth and I need to stay true to myself. That’s the only thing I owe myself and the people around me.”

Success came fast to Blenda once she had released Chill, but her determination to be in full control meant that she soon decided it was time to put the brakes on and consider the artist she wanted to be. “I had a period where I didn’t feel genuine to myself and to my work,” she says. “I hated everything that I was doing and the woman I was becoming. I didn’t listen to myself – all I was doing was trying to be wanted and accepted in the music industry. In that, I think I lost my voice and my authority. So I decided to take a break from the music, to ask myself what I wanted and who I wanted to become.” That period of reflection resulted in her re-emergence as a solo artist, releasing on her own label, SION, in full control of her creative and commercial ship: “SION gives me the ability to create with no boundaries, and to me, that’s freedom and power.” After creating SION, she returned with Funeral, a beautifully sad song that’s the sound of Blenda opening up and showing her vulnerable side. That it’s already been a popular release doesn’t surprise her, as she sees it as a song with universal appeal. “Who hasn’t been taken for granted? Who hasn’t been heartbroken? Who hasn’t asked themselves, ‘Why am I here?’ Or, ‘If I wasn’t here what would you do?’ Or the most interesting question that I think every human has asked themselves at least once, ‘What would you say at my funeral?’ That’s what Funeral is about, being taken for granted.” Now in full control of her own destiny as an artist, Blenda’s got a big year ahead. Norway’s famous showcase festival by:Larm was already booked when we spoke, and she’s also heading out on tour with celebrated Swedish rapper Erik Lundin. “I have so many surprises for you guys, you don’t even know,” she says. “I’m going on tour now for eight weeks, so that’s going to be really fun.” Her strength and self-confidence is evident in her position, in control of the whirlwind that is her career. It can be hard to take so much on, and to have that much duty and responsibility, especially when it’s to yourself. But the vulnerability that she showed on Funeral is also part of her creative identity, and her total honesty means she would never hide it. “Yes, of course it’s hard sometimes. But I’ve chosen to be an artist, so I think I have a responsibility to try to do my best to tell my truth and to open up.”

@Blenda

Team Credits:

Words by Austin Maloney
Photography by Felix Swensson
Styling by Natalie Olenheim
Hair & Make-up by Elva Ahlbin
Special thanks to Fred Perry

Fashion Credits:
#1 Taped tracksuit jacket, twill checked shirt, embroidered tracksuit trousers & tassel loafers
#2 Twin-tipped top (M3600) and embroidered tracksuit trousers
#3 Two-coloured knitted button-neck top & embroidered tracksuit trousers
#4 Two-coloured knitted button-neck top
#5 Twin-tipped top (M12) and embroidered tracksuit trousers
#6, #8 Embroidered 1950s tracksuit jacket by Fred Perry x Amy Winehouse Foundation, Twin-tipped top (M12) and embroidered tracksuit trousers
#7 Bold striped piqué top and embroidered tracksuit trousers
#9 Bold checked shirt and vinyl-collar piqué dress

All by Fred Perry

Team credits:

Photography by Tobias Zarius
Make-up by Céline Exbrayat (using Kryolan)
Hair by Sachi Yamashita
Model: Darina Toropova at MP

Beauty & Fashion Credits:

#1 HD Micro Foundation Smoothing Fluid in 300, Satin Powder in Silver, Cream Blusher in Coral and Lip Emphasizer by Kryolan., Earring by Mydaughterisbetterthanyours
#2 Colouring Vision Palette in White and Silver, HD Skinliner by Kryolan., Hoodie by Le Studio Pierre
#3 HD Micro Foundation Smoothing Fluid in 300, Pure Pigments Metallic in Pure Silver and High Gloss by Kryolan., Headpieces by Sachiko
#4 HD Micro Foundation Smoothing Fluid in 300, Pure Pigments Metallic in Pure Blue and Pure Magenta, Eye Shadow Variety in White and Lip Emphasizer by Kryolan., Earrings by Mydaughterisbetterthanyours
#5 Eye Shadow Variety in Yellow, Blusher in Mandarin and Colouring Vision Palette in White, Green and Red by Kryolan.
#6 Colouring Vision Palette in White , Gold, Green and Pink by Kryolan., Headpieces by Sachiko

Neon signs, wearable technology, drones, AI and electric transportation. Sound familiar? Thought so. Welcome to the reality of the 21st-century cityscape. With its growing size, pace and technological evolution, the modern metropolis and its many ingenious novelties have become the new standard, playing a permanent role in the daily lives of billions of people around globe. But it wasn’t always like that. For previous generations, the vision of the future, of the present reality we live in today, was shared in cult movies such as Stanley Kubrick’s 2001: A Space Odyssey, Ridley Scott’s Blade Runner, and Steven Lisberger’s Tron. This vision, which was conceived by many as a sci-fi utopia, based on naive hope rather than realistic expectation, must have seemed exciting, even far-fetched at the time. What dazzled moviegoers just a few decades ago has, in many cases, become part of our own reality, shaping not only the times we live in, but the exciting future that lies ahead – and this is just the beginning.

One area that has seen a rapid development is electric transportation and mobility, ranging from on-screen tech invention to affordable and environmentally friendly transport alternatives – an exciting and hope-inducing development that is likely to pick up pace even more in the coming years. A pioneer currently in the driving seat of this electrified revolution, always exploring and pushing the limits to shape the future, is the iconic car manufacturer MINI. Ever since its early days, MINI has sought to create smart solutions for the issues and urban challenges of the times, seeking to engender a better, more liveable future. And that’s surely needed. Because even though the sparkling, tech-savvy and exciting advances portrayed in those films are cloaked with a feeling of excitement and possibility, our own reality today is far from perfect. Therefore, these current challenges are being turned into opportunities to change the world for the better. One part of this vision is the the Countryman Plug-In Hybrid, MINI’s contribution to the burgeoning stream of hybrid cars – and MINI will also launch its first fully electric car later this year.

With its sleek design, modern aesthetic and electrifying performance, the Countryman Hybrid offers a driving experience and environmental efficiency that previous generations could only have dreamed of. With its unmissable yellow charging port that represents sustainability of the electric initiatives, the Countryman Hybrid is a bridge between the past, present and future, connecting MINI’s timeless design to the needs of our own times and those of the exciting, uncharted decades to come. Another revolutionary that’s generating the future of electric transportation in its own way is the Swedish bike manufacturer BIKEID. Building on the booming e-bike evolution in recent years, which, according to BIKEID’s CEO Jakob Hultman, has been more focused on functionality rather than design, BIKEID has engineered its own electrified contribution, which is the perfect balance between the two.

Mirroring the sleek, modern design and performance of MINI’s Countryman Plug-In Hybrid, the BIKEID Diamond e-bike lets you pedal your way into the electric future, giving you a fun and special experience in the process. “There are many reasons to choose electric alternatives, but the most common is that you commute a longer distance and don’t want to arrive all sweaty,” says Hultman. “But we also want it to be a fun and enjoyable feeling.” Its design pays homage to the future and the past, and the performance offers an exciting and sustainable alternative for the urban dweller, regardless of whether you’re commuting to work or heading out on a Sunday-morning cycling adventure with your friends. And with its efficient, streamlined design and weighing under 15kg, you will virtually fly along the roads. It’s a bike for the present and a taste of the great potential that electric transportation will continue to bring in the future, one that Hultman looks to with excitement. “We have a very positive view of the future and we believe that the e-bike will become an important part of biking, especially for the daily commute.”

With the emergence of electric transportation and other impressive inventions, who knows what our own future will hold? It’s impossible to know for sure, but one thing is certain: MINI and BIKEID will continue to shape our reality and the way we live and transport ourselves. To celebrate this exciting and hopeful future, The Forumist brought these pioneers together and challenged BIKEID to interpret MINI’s design and innovative spirit. The result? A never-seen-before limited edition of the Diamond e-bike – a marriage of design and philosophy from two brands that, through their inspiring initiatives, will continue to generate a thrilling future, making the world a more sustainable and stylish place in the process. This is just a glimpse of what’s to come.

Team Credits:

Words by Petter Bladlund
Photography by John Scarisbrick
Film by Forumist Production
Styling by Gorjan Lauseger
Stylist ’s Assistant: Vanessa Werkelin
Hair by Beata Magnusson
Make-up by Martin Sundqvist
Models: Pontus (at Nisch) and Malaika (at MIKAs)

Special thanks to MINI and BIKEID

Fashion Credits:
#1 Pontus wears Backpack by Hugo Boss; Malaika wears top by Linda Dehkla/Textilhögskolan i Borås, Skirt by Diesel, Ski Goggles by Chimi x J Lindeberg, Bag by Eastpak x Raf Simons
#2 Jacket by Stutterheim, Swimsuit by Calvin Klein, Sunglasses by Prada, Shoes by Gestuz
#3 Coat by Calvin Klein 205W39NY C, Gilet by Mackage, Trousers by Ellesse, Trainers by Samsøe & Samsøe
#4 Gilet by Rave Review, Hoodie by Acne Studios, Sunglasses by Tom Ford
#6 Bra Top by Björn Borg, Shirt by Ida Klamborn, Skirt by Rave Review
#7 Coat by Concepts d’Odeur, Jacket by Nike, Trousers by Hugo Boss, Sunglasses by Ace & Tate, Shoes by Acne Studios
#8 Kimono by By Malene Birger, Shorts by Weekday, Sunglasses by Tom Ford, Boots by Ganni
#9 Top by Dick International/Textilhögskolan i Borås, Shorts by Monki, Sunglasses by Prada, Bra by H&M, Boots by Calvin Klein 205W39NY C
#11 Jacket by Ebba Andersson/Textilhögskolan i Borås, Top by Calvin Klein 205W39NY C, Shorts by Weekday, Sunglasses by Prada

This spring, the cultural centre Schunck, in Heerlen, in the south of the Netherlands, is presenting Basquiat – The Artist and His New York Scene, an affecting show that provides a window into the life and work of the legendary artist during 1979-1980, the year before he became famous.

Before becoming an art icon, Basquiat was just like any other kid trying to get by in New York City. This exhibition showcases his output during these crucial 12 months of his life, when he shared an apartment with his girlfriend Alexis Adler on East 12th Street. The selection of work captures the most intimate and complete image of the artist possible. Thanks to the 100 photographs taken by Adler throughout this period, as well as paintings, sculpture and other works by Basquiat, the public are being given the opportunity to follow his path during what might have been the most significant year of development.

The true path to creativity is to burn out

– Jean-Michel Basquiat

The New York art scene at the time was booming. The late 1970s and beginning of the 1980s were a time of evolution: the place of art in society was moving from the realm of the upper classes to the young and hip. Starting out as a street artist in the 1970s, Basquiat first became known for his SAMO graffiti tag, which became the talk of the town as the enigmatic epigrams and short mysterious phrases associated with it started appearing on the streets of Manhattan. One could say that 1979 was the year of real creative exploration for the artist, before painting took precedence, as he pursued music, performance art, drawing and writing with equal, burning passion.

The exhibition that saw Basquiat’s breakthrough on the art scene was the massive and legendary Times Square Show of the summer of 1980. This was his first show both as the graffitist SAMO and as a painter. Together with other likeminded artists, such as Keith Haring, Nan Goldin and Jenny Holzer, Basquiat presented a new, groundbreaking way of looking at art. It has been said that show changed the New York art scene forever and the Schunk exhibition includes 50 original works from it. Influenced by Andy Warhol, Basquiat went on to become one of the most-celebrated artists of the era and a key member of the neo-expressionist movement in the 1980s. Although Warhol initially distanced himself from the young artist’s approaches, the 1980s cool kid and the king of pop art later came to form a lasting friendship. In just a few years, Basquiat created most of his career’s important pieces at a tremendous pace. At the same time, he became the first black artist to gain respect from an art world that was changing.

By the middle of the decade, he was a fully recognised, wealthy and famous artist, but in August 1988, at the age of only 27, he died from a heroin overdose. Though he was gone, he was never forgotten. He “joined” what has become known as the 27 Club, whose “members” consist of famous artists and musicians and actors who have died at this age, often as the result of alcohol or drug abuse; Basquiat’s death thus fuelled the hype around his work and talent. And as so often happens, after his passing, his work was universally feted by the art world. In May 2017, a 1982 skull painting of his sold for $110.5m at Sotheby’s New York, making it the most expensive work by an American artist ever sold at auction. Today, the myths and stories about Basquiat and his work continue to engage new generations of art lovers.

His premature death, less than 10 years after the exhibition that made him famous, makes the focus of the Schunck exhibition even more fascinating. It allows us a glimpse at the young artist’s progress and helps us understand how he achieved cult status. In a way, what we see is Basquiat in the final days of his innocence. Just as the original exhibition at the Museum of Contemporary Art in Denver in 2017 made waves around the US art scene, the correlating showcase of the exhibition in Heerlen is already doing the same in Europe. Not only a broad selection of Basquiat’s early brightly coloured canvases and drawings, it shares precious memories of his daily life spent in New York’s East Village.

Basquiat – The Artist and His New York Scene, until June 2; Schunck, Bongerd 18, Heerlen, the Netherlands (schunck.nl). Includes guided tours, film screenings and graffiti workshops

Team Credits:

Words by Ted Hammerin

Picture Credits:

#1 Basquiat at work in 1982 in the basement below the gallery of Annina Nosei; photograph by Marion Busch
#2-3 Jean – Michel Basquiat. Performing in the apartment, c1979–1980, Basquiat Before Basquiat: East 12th Street, 1979-1980, Museum of Contemporary Art Denver; Photographs by Alexis Adler
#4 Times Square Show, New York City, 1980; photograph by Francine Keery
#5 Painted television in the apartment, c1979–1980, Basquiat Before Basquiat: East 12th Street, 1979-1980, Museum of Contemporary. Art Denver; Photograph by Alexis Adler
#6 Museum Boijmans Van Beuningen, Rotterdam / Creditline; photography by . Studio Tromp, Rotterdam
#7 Photography by Carl Brunn – Ludwig Forum Aachen
#8 Jean-Michel Basquiat, Kings of Egypt III (1982), Museum Boijmans Van Beuningen, Rotterdam; photograph by Studio Tromp, Rotterdam

Unlike Jaakko Eino Kalevi, whose fifth album was recently released, Linn Koch-Emmery is yet to release her first. However, everyone already seems to want a piece of her and we can only imagine where she will be musically once she has the same number of albums to her name. The vitality of her catchy indie rock is set to mesmerise a large span of audiences while still staying true to the sonic traditions of her genre. As a lover and creator of synth-based music, Kalevi generates fresh, new sounds, mainly through his exploration of technological tools. Still, he maintains a scaled-back soundscape that is accessible and meaningful, in both musical and lyrical composition. It is intriguingly futuristic in its own way. Even though their musical styles differ, these artists are brought together by their ability to create melodies that heavily characterise them as creators. And one thing is clear: diverse and unexpected influences are fuelling both their distinct sounds.

Linn Koch-Emmery

With the buzz building about forthcoming releases, the Swedish artist Linn Koch-Emmery is certainly turning people’s heads. Over the past two years, she has been increasing her repertoire of melodic indie rock, with her artistry landing her supporting gigs and tours for acts such as Johnossi and Pussy Riot. Her raspy and intimate vocals soar over effect- driven and guitar-focused tracks. It’s the perfect combination of accessible pop elements and powerful concert material. This dynamic became even more apparent with her EP Waves, released last year, which followed the well-received Boys of 2017. On Waves, she was even more explosive and energetic, while preserving her melody-heavy sound that has made her stand out as a songwriter. Having been finding her voice as a songwriter since her early teens, Koch-Emmery has always chosen to sing in English rather than her mother tongue –
“Maybe because I naively had my mind set at world domination when I started out. English is not my first language, but songwriting is not rocket science either.” And so, when asked about what rock music needs, she says “good lyrics”. And, apparently, better drummers. She wants to have her mind blown and feel something she didn’t expect to at other artists’ concerts: “Tears are good, at least if they’re in the eyes of the audience.” She’s currently excited about the New York-based indie-rock outfit The Dig, a band whose haziness and most distortion-driven moments resemble her own music. “Their album Midnight Flowers has been my soundtrack to pretty much everything during the past couple of months.” However, she has a much broader palette of inspiration than rock. She also mentions Lil Peep, who died in 2017, and whose merging of emotional rock and hip-hop quickly made him famous as part of the rising genre of emo rap. “He had the ability to make young people feel stuff, me included,” she says. “That itself is more rock’n’roll than anything else.”

Koch-Emmery has been known to incorporate her guitar pedals into her live shows in a chaotic manner, where the performance sometimes shifts away from the microphone to the floor. “Sometimes it just makes more sense to turn knobs and push buttons. I never had the patience to learn to play solos.” Perhaps her previous ambitions of world domination weren’t so naive after all, at least in the world of indie music. Koch-Emmery already has a growing international following, in Scandinavia and Europe, as well as across the pond. Up next is a tour that will encompass parts of Northern Europe and England. After that, we can start to get excited about her debut album, which she’s recording later this year.

@linnkochemmery

Jaakko Eino Kalevi

Last October, Jaakko Eino Kalevi released his fifth album, Out of Touch, with this latest addition to his considerable discography showing that his dreamy electronics, rhythmic repetitions and register- roaming voice have come to act as constants. Nevertheless, he is always tweaking and experimenting with new sounds, pushing the envelope without relying on a particular genre. The results are often intriguing journeys through songwriting and astonishing production. With Out of Touch, Kalevi has steadily navigated stripped-down lo-fi and synth-heavy pop, a direction that largely stems from his background in dub. The way his vocals sometimes seem to take the backseat has some similarities to Bibio, while there’s something about his evocative 1980s groove that is reminiscent of Alex Cameron. However, inspiration is inevitably something that shifts over time. “Lately, I have been listening to music kind of passively, without necessarily knowing the artist,” he says. He also mentions an array of artists who inspired him when making the album, who range from the legendary jazz pianist Steve Kuhn and star-spangled funk god Bootsy Collins to Brazilian psych-rock pioneers Os Mutantes and comedian Tim Heidecker and his humorous songs. This somewhat-surprising collection of influences is, at least genre-wise, a good representation of how he is able to repeatedly surprise fans with his unpredictable sonic nuggets. In his songwriting, his dub background clearly manifests itself in his fondness for creating tracks that have melodic synths dancing around a steady beat. “My songs are usually built around a beat,” he says. “First I do the drums and then the bass and then build on that.” But the reverse process can be just as useful.

“Sometimes ideas come in a different form, though. It could be also a piece of melody. That’s actually great because it is easier for me to come up with rhythmical stuff. Athens was especially an inspiration for many of the songs on this record,” Kalevi says, who alternated between spending time there, in surroundings more unfamiliar to him, and at home while putting the album together. He also mentions other influences on the lyrical themes of his latest release, which are small stories in themselves. “Some thoughts from my youth. A memory of an old song my friend used to play,” he says. “A fortune cookie. Shampoo commercials. Cooking at night. Dream girls and romances that never happened. Unconditional friendship and stupid fears.” Simultaneously ambiguous and specific, they are all elaborated on in this album. Despite being able to make his living through his music – the dream of many aspiring musicians – Kalevi says that even though he appreciates he is in that position, it wasn’t something he was actively aiming towards initially. “I would like to have some other job though. Just as a balancing thing,” he says. “Sometimes I feel I’m thinking too much about myself. Maybe I could be a waiter. Or a bellboy.” Let’s hope he sticks to music. Regarding his future evolution as an artist, he admits he’s playing it by ear. “I’m always after new synths, and that is inspiring and brings new ways of doing things,” he says. “Maybe there is a new direction that hasn’t been present in my music yet. Who knows?!”

jaakkoeinokalevi.com

Team Credits:

Photography by Alexander Neumann
Styling by Allyson Shiffman and Samantha McCurdy
Hair & Make-up by Silvia Cincotta
Models: Dustin Shirley (at Ford) and Margarita Gambles (at Freedom)
Casting Director: Dennis Schubert
Special thanks to Adidas in collaboration with Caliroots

Caliroots, Lästmakargatan 5, Stockholm

Fashion Credits:

#1 Bucket Hat Adicolor & Satin Coach by adidas Originals
#2 Dustin wears Cozy T-shirt, 3 Stripes Long-Sleeved Top, 3 Stripes Shorts & Samba OG Trainers; Margarita wears Cropped Long-Sleeved Top, Basketball Shorts, Flared Tracksuit Trousers & Adilette Slides. All by adidas Originals
#3 Styling Complements Cropped Tank, Essentials T-shirt, Tracksuit Trousers & Adilette slides. All by adidas Originals
#4 Baseball Top & Long-Sleeved Top by adidas Originals
#5 Dustin wears Baseball Top, Long-Sleeved Top & Samba OG Trainers by adidas Originals, Shorts by Yeezy; Margarita wears Coach Jacket, 3 Stripes Bra Top, 3 Stripes Shorts, Adicolor Hat & Adilette Slides by adidas Originals
#6 Trefoil Dress, Tracksuit Top & Tech 3 stripes Cap by adidas Originals
#7 Essentials T-shirt, Outline 7/8 Trousers & Samba OG Trainers by adidas Originals
#8 Trefoil Sweatshirt by adidas Originals, Trousers by Alexander Wang, Sunglasses by Yeezy
#9 Reversible Tracksuit Jacket & Tracksuit Trousers by adidas x HAGT, Essentials T-shirt by adidas Originals, Necklace by Mikia
#10 Styling Complements Cropped Tank & Essentials T-shirt by adidas Originals
#11 Reversible Track Top by adidas x HAGT
#12 Margarita wears Cozy Half-Zip Top & Cycling Shorts by adidas Originals; Dustin wears Cozy T-shirt, Firebird tracksuit Top & Cozy Tracksuit Trousers by adidas Originals

Team Credits:

Photography by Wanderlust
Styling by Haruka Suzuki
Hair by Kyoko Kishita
Make-up by YOYO
Models: Pia (at IMG) and Sarah (at Supreme)
Casting by Victoria Machmudov
Special thanks to Martine RV

Fashion Credits:

#1 Top, Dress & Trousers by Savoar Fer, Earrings by Justine Clenquet
#2 Sarah wears Cardigan & Top by 9-1ppm, Earring by Justine Clenquet, Knickers & Socks by Baserange; Pia
 wears Dress by Nicolas Lecourt Mansion, Bra top by Baserange, Piercings by Justine Clenquet,
 Stockings by Calzedonia
#3 Top & dress by At-One-Ment by Wanbing Huang, Earring by Justine Clenquet
#4 Top & Skirt by 9-1ppm, Leggings by Drag and Drop, Earring by Justine Clenquet, Socks by Baserange
#5 Dress by 9-1ppm, Bra Top by Drag and Drop, Earring by Justine Clenquet, Stockings by Calzedonia
#6 Pia wears Top by 9-1ppm, turtleneck stylist’s own, Trousers by Baserange; Sarah wears Top & Dress by At-One-Ment by Wanbing Huang
#7 Top by 9-1ppm, 
turtleneck stylist’s own, Earrings by Justine Clenquet
#8 Top by 9-1ppm,
 Trousers by Savoar Fer, Earring by Justine Clenquet, Socks stylist’s own
#9 Sweater & Skirt by Gamut

In Velvet Buzzsaw, the recently released Netflix horror movie set in the art world, Jake Gyllenhaal plays an influential art critic who visits Art Basel Miami. In one scene, he dismisses a high-tech robotic sculpture on display: “Wolfson, Female Figure, four years ago… An iteration. No originality, no courage.” Having his name and work mentioned in a major film about the art world is clear evidence of the status the 38-year-old American artist Jordan Wolfson has achieved. Wolfson’s Female Figure of 2014 is an elaborate robotic sculpture in a dirty but seductive outfit that dances in front of a mirror it’s permanently attached to with a pole. Her face is covered with an evil-looking Venetian mask and, through it, her dark, piercing eyes glue themselves to the viewer in the room as she dances to pop songs and delivers monologues. The robot was created using animatronics (the technique first used by Disney in the early 1960s), combined with a facial-recognition programme that controls her gaze. Wolfson worked over a long period with Hollywood technicians to create the work, which instantly had a huge impact on the art world.

In 2016, while running around galleries in Chelsea, New York, I stumbled upon Wolfson’s Colored Sculpture at David Zwirner: it left me stunned. When you’ve seen numerous artworks in all types of media throughout your life, you rarely get that affected. But witnessing a giant puppet-on-a-string type of Howdy Doody doll being dragged around the gallery floor by heavy chains suspended from a mechanised gantry was something completely different. The puppet’s hypnotic blue eyes follow you throughout its tortuous performance and a strange kind of relationship develops between it and the viewer. The heavy physical presence in combination with the digital technology (the puppet’s eyes also have facial recognition) create a theatrical sensation that is hard to shake off. Suddenly, a Percy Sledge song comes over loudspeakers at high volume, almost bringing you back to reality.

When asked about the music he often mixes in, Wolfson says, “The way I choose it is intuitive. I’ll hear hundreds of songs and try them for size in my head, but the ones that work are the most effortless intuitions and I just see it with the imagery and so I trust it.” What about popular culture in general? It is so present in all of Wolfson’s work that I wonder if he still can consume popular culture. “I don’t really try to see culture. I’m just looking out at it and when I purposely open myself to the space of a new project, things organically come in.” Moderna Museet in Stockholm is currently presenting Riverboat Song, a recent video work by Wolfson that the museum has purchased for its collection. Despite being video, this installation is also very physical – the room is filled with lush purple carpet and the giant screen faces the back wall so you almost have to squeeze yourself in front of it.

The animation features a typical Wolfson character getting chopped up by a witch, as well as smoking rats in an aeroplane. Such scenes are mixed with found videos from the internet, including of how to slice an apple and a rough beating. It’s over the top, weird and thought-provoking all at the same time, almost dreamlike. Working with so many technologies, what impact does Wolfson think they all have on our minds? Is our ability to differentiate between the real world, the online world and our minds and dreams altered by what we see? “I think they are all separated by physical activity and our bodies’ position. For example, I’m sitting on a desk chair typing to you with full attention, when I’m looking at VR I’m standing up, when I’m surfing the internet maybe I’m leaning more forward and my body is at ease. For me, consciousness is consciousness divided by physical body orientation.” Wolfson’s first solo gallery exhibition took place at Brändström & Stene in Stockholm in 2002, so his present show at Moderna Museet is not his first time in Sweden. While studying for a BFA in sculpture at Rhode Island School of Design, he also took part in an exchange year at Konstfack, so I wondered how strong his connection with the Swedish capital is. “I’m not nostalgic, so I don’t have an emotional response to being back, but it is very nice to see old friends,” he told me when we met briefly during the installation of Riverboat Song at Moderna. And as for what’s next… “I’m beginning a new VR work, an animatronic work, and a series of graphic works focused on JFK Jr.”

Riverboat Song, until September 1; Moderna Museet, Stockholm.

Team Credits:

Words by Jonas Kleerup
Portraits by John Scarisbrick

Picture Credits:

#1-2 John Scarisbrick
#3-4 Riverboat Song (2017), Stills from digital video, 7:28 minutes, © Jordan Wolfson
#5 Installation view, Jordan Wolfson, Colored sculpture (2016) in Manic / Love (Part 1), Stedelijk Museum, Amsterdam (2017) © Jordan Wolfson, courtesy Sadie Coles HQ, London, and David Zwirner, New York/London; photography by Gert Jan van Rooij (David Zwirner)
#6 Installation view, Jordan Wolfson, Female figure (2014) in Truth / Love (Part 2), Stedelijk Museum (2017) © Jordan Wolfson, courtesy Sadie Coles HQ, London, and David Zwirner, New York/London; photography by Gert Jan van Rooij (David Zwirner)