CONTENTS CONTENTS FE BRUA RY 2017
upsetmagazine.com
EDITOR’S NOTE
Editor: Stephen Ackroyd (stephen@upsetmagazine.com) Deputy Editor: Victoria Sinden (viki@upsetmagazine.com) Assistant Editor: Ali Shutler (ali@upsetmagazine.com) Contributors: Alma Roda-Gil, Ben Kitto, Danny Payne, Danny Randon, Heather McDaid, Jake Richardson, Jessica Goodman, Kathryn Black, Kristy Diaz, Phil Smithies, Rob Mair, Rosie Ramsden, Sam Taylor, Steven Loftin All material copyright (c). All rights reserved. This publication may not be reproduced or transmitted in any form, in whole or in part, without the express written permission of The Bunker Publishing Ltd. The opinions of the contributors do not necessarily bear a relation to those of Upset or its staff and we disclaim liability for those impressions. Distributed nationally. P U B L I S H E D F RO M
THE BUNKER W E LCO M E TOT H E B U N K E R.CO M
IN THIS ISSUE... RIOT!
FEATURES
4 AV E N G E D
22 D E A F H AVA N A 30 F R A N K CA RT E R & T H E R AT T L ES N A K ES 34 C LO U D N OT H I N G S 36 YO U M E AT S I X 40 G REY W I N D 42 AS I T I S 44 A F I 46 A L L I SO N C RU TC H F I E L D
S EV E N FO L D 8 PA L I SA D ES 10 JA PA N D RO I DS 12 M E N AC E B E AC H 14 WST R 16 T H E M E N Z I N G E RS
ABOUT TO BREAK 18 B RU T US 20 WA RS 21 PA E RI S H
RATED 49 G O N E I S G O N E 52 TA L L S H I PS
When most bands talk about comebacks, they’re not working on the same scale as this month’s cover stars. At the end of their last album, you’d be forgiven for thinking we’d probably seen the last of Deaf Havana. How wrong we would have been. Working through their problems, they’re reborn, back with what’s almost certainly their greatest triumph to date. They’re returning into a scene that’s packed with excitement. Frank Carter & The Rattlesnakes have a stormer of a record in the bag, You Me At Six continue to drive towards the very top, As It Is have dropped a pop punk album to believe in - and that’s just scraping the surface. 2017 isn’t holding back for anyone. x
S
RIOT ING IN ROCK E V E RY T H I N G H A P P E N
ALL THE WORLD’S A STAGE
A S U RP RI S E A L BU M RE L E AS E , A L I V E 3 60 V I RT UA L RE A L I T Y G I G O N T H E RO O F O F
CA P I TO L REC O RDS , A C O L L A BO R AT I O N W I T H AST RO P H YS I C I ST N E I L D EG R ASS E T YSO N YO U N EV E R K N OW W H AT AV E N G E D S EV E N FO L D A RE G O I N G TO D O N E XT. WO RDS : H E AT H E R M C DA I D.
F
irst. In the internet age, speed is The Thing. Being the first to comment on a post, reply to a tweet, to have an opinion. It’s a word you can easily tire of. For Avenged Sevenfold, however, it’s a word that peppers many of their sentences - a reclamation of sorts - and one they’re proud of. Repeatedly proud of. ‘The Stage’ is a triumph in many respects. Since the passing of Jimmy ‘The Rev’ Sullivan, the band have been on a journey of grief and finding their feet again through ‘Nightmare’ and ‘Hail To The King’. This is the album where they found them. Tackling artificial intelligence and the breadth of mankind, they’re
the first rock band to drop a surprise physical release, the first to do so with a groundbreaking virtual reality gig and they’re (you’d imagine) the first band to get astrophysicist and cosmologist Neil deGrasse Tyson to wax lyrical about space and humanity on a metal record. But the real question is, why? “For us, something’s been missing in how albums are released nowadays,” explains guitarist Zacky Vengeance. “It’s become so boring and mundane, because when we were growing up, there was a very special, almost magical moment of going into a record store having saved up money. You finally get the album that you want, look at the artwork, check the tracklistings, and decide which album to buy, and then you get to take
it home and be the first to decide what you think about it. You get to listen to it in its entirety, and it’s an investment. “Nowadays, you have 500 reviews before an album comes out, everyone’s got an opinion, albums leak a month in advance, bands release four singles, literally almost half of an album before it gets released and then people have already made an opinion before they get it. We wanted to let fans have their own opinion once and for all, just like how we used to growing up, that could give people something special in this day and age.” That something special included hundreds of thousands of albums being sent to stores weeks in advance under strict secrecy, pals like Chris Jericho posting dud announcements to throw
people off the scent and creating their own artificial intelligence, the Deathbot. “The world’s moving in a different direction and we wanted to give our fans the opportunity to visit our live experience in a different manner,” says Zacky, on their virtual gig. “Ultimately fans from all over the world will be able to tune in one day and feel like they’re standing on stage with us, and we just want to be one of the first bands to help pioneer that. It still has a long way to go, but if you never take the first step, you’ll never get on with your journey.” On this current journey, they have a new member in tow, with Brooks Wackerman holding the fort on drums. “When Jimmy passed away it was a huge void in the band. The way that we’ve traditionally written music incorporating that
RIOT
LEMON FRESH L E E DS D U O M E N AC E B E AC H M A K E WO N D E RF U L LY SC U Z Z Y A LT- RO C K . FO L LOW I N G T H E I R W H I RLW I N D D E BU T, S EC O N D A L BU M ‘ L E M O N M E M O RY ’ S E ES T H E M M O RE ASS U RE D T H A N EV E R B E FO RE . WO RDS : SA M TAY LO R . P H OTO : DA N N Y PAY N E .
12 upsetmagazine.com
Hey Ryan, what’ve you guys been up to since your debut? Are you the same band now as you were when you made ‘Ratworld’? In some ways yes, but in most ways no. The time around recording this album is the first chance we’ve had to stop and think about what we want to do creatively now that we’ve accepted that this is more of a full-time prospect than we first imagined. The first couple of years of Menace Beach was a bit like learning the shot-put in the stadium at the Olympic games; we recorded the first songs I’d ever written just for a laugh, or like a thing to do when we moved to Leeds. A week after that it had been passed on to Too Pure and we had a release, then maybe three weeks after that we’d got booked to do a BBC 6music session, and maybe another three weeks after that we signed a record deal. That was before we’d even done a show together, so we felt on the back foot from the get-go. I’m obviously really grateful for all that stuff, but it’s been really important to have nearly a year just doing nothing but resetting. I feel like I get it all now. When did you start working on ‘Lemon Memory’, and where did you find yourself writing for this one? ‘Give Blood’ was in Ibiza, wasn’t it? Yeah, Liza [Violet] and I found a girl out there with an apartment that had a few instruments included, so we took a laptop and did some
writing and super basic recordings. We wrote the bulk of the record in Formentera which is a tiny island just below Ibiza that was a regular stop on a 60s hippy trail. Bob Dylan lived in a windmill there in the late sixties and Pink Floyd and Janis Joplin were there around the same time. We only found all this stuff out while we were there from an English couple that had moved there in 1963 for similar reasons to those guys, and after that I got well stuck into the history of the place. There are still a fair few creative communities out there and the place has somehow retained that open and relaxed spirit.
“I FEEL LIKE I GET IT ALL N O W. ”
Did you learn anything new during the record’s creation? I learnt a lot. I learnt a lot about the industrial, social and musical history of Sheffield from Ross [Orton, producer] he loves that place. I learnt that it’s really good when you just give shit up to people and let them run with it when they have a strong idea that maybe you just don’t get at first. I learnt that it’s hard when you are doing creative stuff and you want people to understand your ideas and get it, but sometimes it’s
okay when people go ‘Yeah I get this, but don’t like it’. I learnt that you just have to show yourself and then if they don’t like it then maybe just doing the process and the work is the destination, and then next time it’s different. A lot of bands say they want their music to be “honest”, what’s your take on that? I have a constant back and forth with this, but for me, I think people can tell when it’s for real, or coming from a real place. But then I hate orthodoxy and I don’t necessarily only like that ‘honest’ stuff - some of my favourite songs are the most contrived things ever created. I mean most people start out just straight up copying their heroes, both musically and aesthetically, and then gradually you start just borrowing little tricks, and introducing your own ideas and then it hopefully just becomes a new thing. Fear is the main thing. You can tell when an artist has let the fear go; the fear of needing to seem cool and relevant and current, and they are just writing and creating whatever they feel, like “I’ve done my bit and now it’s up to you”. That fearlessness is always clear. 2016 felt quite bleak at times - did you find current or social events seeping into the record? Yes of course. I looked and I found no real answers apart from “I know this is a shitty time and I have a basic understanding of that, and this is where we are”. The record has
a lot of self-reflection and a strong sense of compassion for others, which was more important to me than ever this year. Writing and recording this record in 2016 threw out moments that stretched my imagination and made me look at things differently, and I hope that in turn, it could give others a similar sensation. Do you get more from listening to or creating music? I get the most from listening to it. I got a walkman for my seventh birthday and since then I’ve just had headphones on at every possible moment. I’ve listened to this record a lot since it’s been finished and I think because I wrote less of it I can enjoy it more just as a record that I feel less attached to, in a good way. Liza is the exact opposite, though, she enjoys the process of writing and recording with an almost workman-like approach, and then when it’s done she never ever listens to it, she just starts the next thing. Does the ‘Lemon Memory’ vinyl sleeve really smell of lemons? Whose idea was that? I think it was Ollie from our label [Memphis Industries] actually. He always says we veto all his great ideas so we gotta let him have a couple. I love it, but I just really hope it doesn’t smell like toilet cleaner. P Menace Beach’s album ‘Lemon Memory’ is out 20th January. 13
ABOUT
THE BEST
B R EAK
TH E H OT TEST
NEW BANDS
TO
NEW MUSIC
Brutus
BANDS WITH SINGING DRUMMERS ARE GREAT, AREN’T THEY? MEET STEFANIE MANNAERTS FROM YOUR NEW FAVES, BRUTUS. WORDS: SAM TAYLOR.
“WE DECIDED TO TH ROW OUT ALL OUR OWN RULES.”
You guys recently signed with Hassle Records - how did that come about? We started to send out some early unproduced rough songs to several labels. Hassle were the ones who we instantly had a warm connection with. We came to London to play a show and we started to talk and work things out. We’re really blessed that there are people like Hassle, who believe in Brutus as much as we do. You were originally a Refused covers band, weren’t you? In fact, that’s not completely true. Only Peter [Mulders] and I met in this band. We wanted to honour [Refused’s] ’The Shape of Punk to Come’, one of the best punk albums ever made. And when the real Refused reunited we stopped the project, and Peter and I started a new band with Stijn [Vanhoegaerden]. We started from scratch as Brutus. What’s the dynamic like between the three of you? In our “official biography” we gently say that I love Slayer, Stijn loves Bruce Springsteen and Peter loves The Weeknd. That is true. But also, the fact is: I hate Bruce Springsteen and The Weeknd, Peter has never checked Slayer and Stijn loves everything. Building songs, lyrics, tracklists with the three of us being so different… it’s a struggle. We don’t do one “style” or “genre” or it’s not like one person is the boss in the band. We try to mix everything we like and what we are. I think that’s also the most honest thing to do when writing music as a band. But it’s not all fun and games that way. We all love each other and this thing called Brutus, but mixing all these things brings us to the edges of our friendship and even the band. Friendship has a dark side when you can’t detach, but is beautiful when you are able to create a song or an album, good enough to show the world. What do you most enjoy writing about? Are lyrics important to you? The first priority is the music. I believe that with music, you can reach and dig deeper into the skin and soul then any word. Words can confirm a feeling but the music reaches where words fall short. There are also bands where the lyrics are their most powerful feature, but for us it’s definitely the music. Creating our own songs, that is hard work. It takes a lot and absorbs all of our energy to make it work. It always has to be the best version of anything. It always has to be your best song so far. That’s not easy.
What’s it like to be an upcoming band in Belgium? Is it a good community to be part of? For a band, Belgium is great! It’s almost like one big city, one big community. There are a lot of opportunities in the bigger cities like Ghent, Antwerp, Brussels, Leuven, Liege... but there are also a lot of cool bands coming from the countryside. In our first two years, we played 100 shows, only in Belgium, almost all different venues and places! For an upcoming band, it’s pretty good here. There is also a lot of friendship and respect between bands, one big family! The band decamped to Vancouver, Canada to record ‘Burst’ - that’s quite a trek. How long did you spend over there? We wanted to get out of Belgium to record our first album, just the three of us. And when we did the math, it wasn’t even that much more expensive. We also used it as a little bit of a holiday. We were there for a month. Two weeks of recording and mixing the album and ten days of absolute chilling and quality time with each other and Jesse Gander, who recorded the album. Great guy. He is pure gold. He works really hard and fast, he laughed along with all of our jokes, and he made us sound the best we have ever sounded! It was great! What was the best thing you learnt during your sessions there? That we are pretty strong as a threesome. I mean, we’ve survived this album and we lived together for a month, just the three of us. Now we know: we can go on tour with just us and it would be great. We also learned a lot about our sound and how to bring it to record. With Brutus, we had never worked on a professional level like we did in Rain City Recorders. Did you get to go sightseeing at all? Yes. The ocean is close and we even walked through snow in the mountains. Good times! And about Vancouver: What. A. Great. City! That city can teach a lot of other cities a huge lesson about multiculturalism and living together with a lot of different people, in peace and harmony. Oh, and all the food is super cheap and super nice. We had the best trip - and food-guide
JULIEN BAKER TO PLAY UK SHOWS Julien Baker returns to the UK in June for two shows: London’s Bush Hall (5th), and Manchester’s Deaf Institute (6th). The announcement comes alongside her signing to Matador Records who rerelease her debut ‘Sprained Ankle’ on 17th March.
SHEER MAG TO RELEASE DEBUT ALBUM Rejoice, Sheer Mag will definitely, 100% be releasing their long-awaited debut album later this year. To play catch-up, ‘Compilation’ - a collection of three EPs - will be released in March.
ever: Jesse Gander himself. This guy is hilarious. He is this great sound engineer and mixer and at the same time he totally missed his call as the best trip advisor ever. When he comes to Belgium next year, I am sure he will know more about our hometown than we do. Maybe we can teach him a little bit about drinking beer? What are you guys up to after the album’s release? You’ve a few dates in the UK next year? Yes, we end our tour in the UK and we are really stoked to play there. For me the UK means Hassle Records. I don’t know why. It is just a country where a few people believed in this crazy little Belgium band called Brutus. So every time we play there, it is a bit like coming home. Besides that, I hope we could play as much as possible. The way I live my life is all for music. I have part time jobs just to sustain this musician life. It is hard sometimes but I think it is harder to live without a passion. P Brutus’ debut album ‘Burst’ is out 24th February.
‘A L L T H ES E E W A L BU M ITH THEIR N W . K D. C RL O BA W D EDGE AN D OW N T H E E E N TO T H E C K TO FA C E N A H AV E B T H EY ’ RE BA D E A F H AVA S N I G H TS ’, ES L . T N U O C I L S M I T H I ES P H OT OS : P H I SHUTLER. W O RD S . A L
22 upsetmagazine.com
23
‘A
ll These Countless Nights’ ends with James Veck-Gilodi wondering if his name is still written on a wall in a bar in Pensacola. It’s a small question in the grand scheme of things, but it’s very human. With Deaf Havana, the little things matter the most. The band have had a long time to reflect on all the things they’ve done, to try and make sense of it all and to get wistful. They have been gone for a long time, after all. And as much as album number four, part comeback, part next-step, wallows in their past, it’s a record that lays it to rest. Or at least tries to. ‘All These Countless Nights’ is “basically a long list of things I’ve done wrong and want to make amends for,” explains James. Opening track ‘Ashes, Ashes’ is out the door with one last look back, all driving determination and hopeful escape, as the band “lay to rest that previous chapter. As basic as it sounds, it’s the end of a period that wasn’t particularly great and the start of probably the best one yet,” explains James, standing somewhere between hope and knowing. He’s quick to criticise himself, calling his songs simple or saying that certain lyrics aren’t the best. He’s honest about the process, happy to explain he doesn’t know why certain things have ended up the way they have and is reluctant to look too closely at what’s yet to happen. He figures fans have stuck around for his band because they’re “nice people who enjoy our music”, and is very appreciative of that fact. Deaf Havana have been a part of the fabric of bands who have defined the past decade of British rock, but they’ve always been on the outside. While others have played with hyperbole, evolution and swagger, James et al have stood back and let their music do the talking. It almost cost them everything but now the band are back from the brink, and they’re not simply waiting for things to happen anymore.
D
eaf Havana ended their previous chapter at the end of 2014 with main stage performances at Reading & Leeds alongside a lengthy headline run across the UK. It should have been a victory lap for a band who’ve never
invested in anything but their own music and let it speak accordingly, but things rarely work out how you plan them. Behind the scenes, Deaf Havana were at the end of their tether. They were done. “I wasn’t even remotely thinking about writing a new Deaf Havana album at the end of 2014,” admits James. “I was sick of it. I didn’t think there was going to be another one. It went weird for a bit; we didn’t lose contact, but we went through a period where we didn’t do anything. We didn’t play shows; we didn’t write music, and we didn’t hang out.” For a band who’ve been playing together since they left school and have known each for even longer, it was a bizarre situation. “We never actually officially said we weren’t going to stay together or we were going to get back together, we just drifted apart.” Weeks turned into months before James wrote a couple of songs that were too heavy for his solo project. He sent one through to the rest of the band, Lee Wilson, Tom Ogden, Matthew Veck-Gilodi and Max Britton, and “didn’t expect any replies. ‘I’ve written this song, see what you think. It probably sounds shit’,” he explained. “But they all emailed back immediately, ‘Let’s get back together, let’s play’. It snowballed from there and ended up here, which I’m really happy about.” There was no catch-up after the break, no exploration or explanation about what they’d been up to or who they’d become in their months apart. Ask James what the rest of the band got up to, and he doesn’t know. He doesn’t need to. Deaf Havana know who they are around each other. They find sense in one another. ‘All These Countless Nights’ makes the same discovery. “What kept us together was probably the fact we spent time apart and realised that we enjoyed hanging out with each other. I released a solo album and toured [alongside Max]; it was fun and easy, but I missed having the band there. Not only to talk to and have a laugh with, but I missed having that musical foundation behind me. I missed the guitar; I missed the drums, it all stemmed from that. I think we needed to fall apart to come back together because now it’s stronger than ever, which is weird.” Dealing with beginnings and ends, ‘All These Countless Nights’ seeks out a sort of closure and Deaf Havana live it.
Announced during their set at Reading last year - not just because it was one of the few gigs the band would play that summer, and it was in front of the biggest audience - but because “it was sorta the anniversary of when we almost broke up.” Deaf Havana find poetry in the everyday. “We wanted to announce it, but we didn’t want to be boring and do what we normally do and post on Facebook or whatever,” explains James. Taking inspiration from the front cover of comeback stormer ‘Sing’, the band joked about playing in front of a blank canvas before someone came and graffitied the title onto the backdrop. Jokes quickly turned into plans and “it actually worked out way better than we thought it would. It’s weird for us when stuff like that goes well because normally it goes wrong.” Luckily there were no missing ‘o’s. “That was my biggest fear. Can this person actually spell? Because that would have been horrendous.” “We were playing around with a bunch of titles for a while and ‘All These Countless Nights’ [taken from ‘Happiness’] is one of the ones that probably had the least thought put into it. In the vaguest, lamest way ‘All These Countless Nights’ sums up every single song on this record. As vague and basic as it sounds, they were all written about countless nights I can barely remember. Inspiring both hope for the future and a resignation of the inevitable, the title and the record tells both sides of the story in lush, horrid and rainbow-drenched detail. From the self-disgust of ‘L.O.V.E’ and the destructive misery of ‘Happiness’ that both deal in the opposite of what they promise, to the endurance of ‘Like A Ghost’ and the fight back of ‘Sing’, all swagger and curled lips, Deaf Havana don’t hold anything back. Nervous before showing anything off and still a bit anxious before giving it over to the world outside, James doesn’t let that stop his pride. “I think it’s the best thing we’ve ever done.” After debating his nerves for a few moments, he comes back with: “No, I’m quietly confident, to be honest.” More diverse and taking in more stops than anything the band have previously put their name to, their fourth album sees Deaf Havana stretch like never before. Everyone likes to mix their drinks, but it’s not a deliberate move. The band have never
25
O N E O F T H E M OST RE V E RE D M E N I N RO C K I S BAC K : P RE PA RE YO U RS E L F FO R F R A N K CA RT E R’S L AT EST RI OT, ‘ M O D E RN RU I N ’. WO RDS : DA N N Y R A N D O N
A
ggression is an energy that Frank Carter has channelled unrelentingly for the best part of 12 years. Whether you loved or loathed his post-Gallows stab at ballsy rock’n’roll that was Pure Love, there’s no denying Frank’s rebirth under the Rattlesnakes moniker took a red-hot poker and branded the words ‘I’m still fucking angry’ into the backs of his critics. But just when you thought Frank couldn’t get more personal than 2015’s ‘Blossom’ – the incendiary soundtrack to a man ripping himself apart limb-by-limb before reconstructing himself into a more formidable being – its follow-up, ‘Modern Ruin’, is more like the soundtrack to emptying a
salt shaker on his still-fresh wounds. “I’m incredibly proud of the record,” Frank gushes of the band’s second full-length, which they’ve been sat on for the entirety of 2016. “I think it’s the natural progression and the perfect next step for the Rattlesnakes, and I’m now just really eager and quite desperate for people to hear it. “It’s a very considered record,” he continues. “It’s got a lot of layers, it’s very complicated in parts, and it’s got a depth and vibrancy to it like nothing I’ve ever made before.
unexpectedly tore through their ears, it’s the swaggering, stadium rock potential of ‘Real Life’ and the Radiohead-esque synthetic twang of album closer ‘Neon Rust’ that will really throw Frank’s fans off-balance. “The plan with the Rattlesnakes was always to make an immediate platform that was big enough to hold my fucking wild, reckless dreams,” says Frank, who wrote ‘Modern Ruin’ just weeks after the release of its predecessor.
“If I was going to compare it to anything...” He pauses for a rare moment of hesitation. “You know what, I’m not going to even do that because it’s completely different, and I think it’s definitively my best work.”
“We wanted to make an instant platform that was like a moment captured in time but was also believable and relatable to our fans. When they hear the record, it is a change in direction; it’s not as aggressive in sound, but if you read the lyrics, it’s still very aggressive.
The infusions of greasy desert-rock and pulsating post-punk into the first teasings of ‘Modern Ruin’ – ‘Snake Eyes’, ‘Lullaby’ and ‘Wild Flowers’ – are simply that: teasings. Even after the vitriolic carnage of ‘Blossom’
“Life is about ebb and flow, it’s about being up one day and being down the next, and I wanted a record that could convey the complexity and the intricacies of modern relationships. It’s not easy, it’s a lot of work, but 31
W
hen it comes to delving into his band, Josh Franceschi has no problem opening up. You Me At Six have taken a year and a half to create what they consider “the record we had to make.” ‘Night People’ marks a natural evolution, he says, to avoid becoming “a pop-punk nostalgia thing.” “Now, I like to think we can get away with calling ourselves ‘artists’ or ‘songwriters’,” Josh continues, “because we’ve done five records, you know?” With laughter, he divulges: “We’ve needed the records and songs we’ve made in the past for us to be where we are today, for it all to make sense.
36 upsetmagazine.com
“I would not be naive enough to think that nobody’s written melodic rock music before and done a great job at it, but I don’t know if there’s a band right now who is doing what we’re doing with rock music.” It’s a bold statement, but there’s definitely some weight to this thought. “There are people doing interpretations of rock music across the board, but I don’t think there is anybody who’s challenging us. That leaves me to say that I don’t think there’s anybody who is doing just straight up melodic rock in the way that we are, and better than us. If they were, we wouldn’t have a place, and at the moment, we still have a place.” Occasionally labelled as “just” a poppunk band, You Me At Six are doing
everything they can to prove this isn’t the case. They know there’s a whole other world out there. From modest beginnings in small clubs, they’ve worked up to being able to tour arenas and support their friends’ bands at sold-out nights at the O2 Arena. Josh is keen to break through. “If I’m going to have one career in music, and it’s through You Me At Six, I don’t really want to taste one bit of the menu. There’s this whole other side of music that we don’t know anything about, be it the Mercury Award or Brit Awards or fucking Ivor Novellos; things that feel unattainable and unreachable.” While these prospects keep the fight going, where it all started, and why, is still the backbone behind it
OF THE
NIGHT YO U M E AT S I X H AV E T H E I R S I G H TS F I RM LY S ET O N B RE A K I N G T H RO U G H TO T H E B I G G EST STAG ES O F A L L . W I L L ‘ N I G H T P EO P L E ’ B E T H E I R T I M E ? WO RDS . ST E V E N LO F T I N . P H OTOS : DA N K E N DA L L .
37