Emma Magenta: Artist of the Month – July 2016

Art, artist of the month, Uncategorized

Interview by Jess Petrylak


Emma Magenta

Who is Emma Magenta?

I am an artist, author and now I’m heading into film making.

In your TEDx talk, you stated that with art and writing you attempt to map the terrain of the collective emotional landscape, and describe yourself as as a cartographer of the heart. What does this mean in terms of your artistic process?

I guess through my process of these two mediums, writing and drawing, I undertake my mission to base jump into my own darkness, collective unconscious and all matters to do with inner world to understand the invisible forces at play in us all. I imagine myself sometimes as a kind of Indiana Jones undertaking missions to find the treasures hidden are I’ve surpassed the challenges facing me as I look at at the unlovable, the painful and the destructive aspects in myself. I go to these places and my drawings and writings are landmarks i leave behind as possible help for those making the same journey. My process is basically this to help myself and maybe create something meaningful.


Emma Magenta

What is your first memory with art?

It was seeing my mum’s sketchbook in our foreboding floor to ceiling library as a kid. It blew me away that she had this secret talent, she was an exhibiting ceramicist, so I traveled a lot as a kid for her shows. Drawing was always something I always did and didn’t think about it except that it gave me freedom and pleasure to do so. I always poured over comic books and the tipped-in plates in rare books in my father’s library. I guess my first experience of drawing being “art” was when I spent my lunchtimes at school in the library and read every book there was on Modern Art and I felt that these artists were my people, I felt for the first time, understood. I never thought I wasn’t an artist until after I finished art school and saw how the contemporary art scene was the opposite of creativity and it killed my mojo.


Emma Magenta


When visually portraying an emotion, what are some indicators you utilize, other than text, that gets your message across? Are there any recurring symbols?

I have my own symbolic language that was born out of keeping my visual language as simple as possible while conveying as much as I could. I used a lot of math signs such as equations, plus and minus symbols to convey positive and negative emotions, division symbol for feeling divided or confused. The human body for me is the ultimate tool for me to convey emotion and body parts doing certain things to express what is happening internally, such as the hair taking on a life force of it’s own. The hair for me is about thoughts that we have not surrendered thought patterns, contained ideas and cosmic consciousness at it’s best. Cutting hair is often used to release such thought history and growing it long is nostalgia in a way. Feet for me are our unconscious steps and I often use bird feet to show fragility and not being grounded. Blood tears is about ancestral pattern release and may appear negative but is actually the essential process of transforming one’s own darkness. Animals as well are used to convey the symbolic meaning of the animal such as foxes being sneaky, wolves are the instinctive part of the masculine, birds are the higher aspects of the spiritual dimensions of the human, cats are intuition and dogs are loyalty. Nature is always for me the source of all metaphoric glory, I derive all my inspiration from nature.


Emma Magenta


Are there any emotions that are too hard to portray? Too easy?

The works that people respond to the most are my very hopeful pieces which is natural, people don’t want to be looking all the time at the darkness. I began to introduce the darker side into my work, because that was what I was experiencing and I make my work to understand myself, not to appeal to an audience. A lot of what I have been doing of late is confronting for some people who have enjoyed my more Anne of Green Gables era of drawing, but that is the price i have to pay for being authentically where i am at. Having said that, the work that I am doing of late is opening me up to a new audience who are prepared to accept that life is not just a feel good mantra on a Facebook meme. I don’t struggle to draw the darkness, of late I am finding it harder to draw the whimsical, the über hopeful, but I can only be true to where I am at if I want to call myself an artist.


Your work is composed of simple but confident lines, and primary colors. How do these add to your message?

I think the style is actually where the artistry resides and also is not separate from the message. Most people look at it and think a child could do that and I say thank you. It is not easy to draw unencumbered by years of adulthood should’s and should not’s. Some people view my work through a very conservative lens of “art should look like this, but not that” I think the simplicity shocks people sometimes and they miss the point. The point is that the simplicity is a juxtaposition of the deeper message. I am merging the best parts of the child and adult into the one moment, such as the innocence, playfulness, emotional honesty of the child and the wisdom, experience and insight of being an adult.


Emma Magenta


What other visual artists do you look to for inspiration?

Unfortunately Frida Kahlo has been hijacked by Art Capitalism and turned into a fridge magnet and shopping bag, but i have loved her since i was 15. Her independence, politics, style and honesty. I love Remedios Varo, Leonora Carrington, Louise Bourgious, Bill Viola, but to be honest, I have stopped looking at other artist’s work for inspiration as i see them more with appreciation. I derive all my inspiration from nature, observing human behaviour, books, conversations and meditation.


Emma Magenta


During what part of the artistic process do you feel most yourself?

Drawing for me is when I come in to the true essence of myself. It is when the intellect is dissolved and the heart is in control. Writing is more of a skin shedding process like I’m trying to exorcise demons. The best part of me emerges when the space between the intellect and intuition merges and I am no longer myself, but everything. That is when I do my best work and am the happiest being alive.


Emma Magenta


What is your go-to art making song?

It used to be Arvo Pärt, but now it’s ambient electronic artists like Dead Texan, Steve Roach, Harold Budd or 1970’s over toning singer David Hykes. Some times, Kate Bush or Bjork, but that is only if I’m not trying to pull down new ideas.


How do you decide what phrase or wording represents the emotion you’re depicting?

I don’t think too much about it. I guess I just wait for the feeling of what I want to say and then I wait for the words to construct in my head and then I wait for the feeling in the belly of certainty. I am always writing, thinking and constructing ideas in my head so it’s just a matter of pulling something down.


Why is it important as a contemporary artist to share your work online?

I used to struggle with the online world as my process is so organic and non techno and being a nature lover and all, but the beauty of online is that you’re simultaneously connected to people all around the globe while never having to leave your studio. It is a great tool to share your work and also take out the middle man, the vampires all wanting a piece of your creativity and pushing you into a tight box of how your work should be seen. I’m tired of that shit. I became tired of not being the one in the driver’s seat of my own creations. I am interested in connecting with people not just dialoguing with other artists in a narrow world of “experts”. I am more interested in people honestly connecting with my work, being online as opposed to physical galleries is that it helps you reach a broader range of people. Also, no one cares about your work as much as you do, so you have to love it like a child and take responsibility for it’s path in the world and the online process is more autonomous…for now.


Emma Magenta


What is the worst thing that’s ever happened to you in the studio? What’s the best?

Commissions with a brief are the worst. The worst. Sometimes they can help you think about your process in a new way, but rarely. Usually it is someone trying to squeeze your style into their average concept and usually it is a very twee feel good creation that makes my dark side grow stronger. Magazine work is usually my top Never Again thing to do, no, wedding present drawings actually are my all time low. The best thing is being left alone with no concern of where the work is going to end up and creating without external pressure or deadlines, no exhibitions and just making work to unfold something I’m trying to understand about myself. Once in an old warehouse studio in the city when I was 23, I was so in the zone, of my work, I left my body but was still in the room and i was filled with such an indescribable ecstasy that I was timeless and I became everything that has ever existed or will exist. That was my best studio moment.


You speak about the connection between growing older and the progression of censoring emotions in your TEDx talk. Why is it important to shed that censorship? How can it help the artist?

I feel like have I kept my child self intact and always see the world through the child eyes, so adults have always seemed so unhappy and I could never figure out why. It’s like I saw that they were always lying to themselves or taking on false roles to fill someone else’s agenda. It never made sense to me, until I became and adult myself, I saw how we get sucked in by our generational attitudes to how we should be. I was in my 20’s in the 90’s so irony and sarcasm were like social cues to kneel before if you were to be included and I just never could. I was always like “we don’t have to be unhappy guys, come on”. Censorship creates a false self and therefore your work as an artist is false and is buying into the strict codes of whatever era you’re passing through. It is this fear of not being included by your peers, but a true artist must be brave enough to walk alone if they have to and not be concerned if they’re not adored by their peers, to not conform, to trailblaze into deeper and deeper truths and realities IF they want to create meaningful work. If they just want a career that leads to a show at MOMA, then sure, conform and fill out those grant applications and dwindle your creativity down into the criteria of a panel of experts.


Emma Magenta


Do you believe art school creates “anti-artists”?

It depends on the art school and what era you go there. It’s better to get technical skills than theoretical skills in my opinion. Because art schools are now becoming privatized or they are here in Australia, it will mean a diminished education and more hoops to jump through to fulfill government criteria agenda. Doesn’t sound like a good place for artists. But then sometimes yes, it will make you become a better more accurate artist because you have seen that even the art world has succumbed to the tyranny of the system and you’re basically own your own. This is very freeing and i hope art school creates more anti-artists but not to be cool. I just want to see integrity, honesty, talent and work that speaks to me. I don’t want to read a manifesto on why you are creating visual art unless it’s in book format. Academia has killed art, but has pushed the ownership of creativity back onto the artist if they’re willing to walk it with brave autonomy.


What is the best advice you have ever received as an artist?

It was actually from no one. Everyone around me was adhering to art history and academia so I was alone. The best advice was something I gave to myself and it was this: “Give up art, accept that right now you’re an athlete, draw for fun, draw what you want and feel. It is your world and therefore the only rules are the ones you give yourself, the flaw is the entry point for invention of new aesthetic combinations.”  So I did and here I am.


Emma Magenta


What is your plans for future art and your future self?

I exhibit my work in this remote mountain gallery, but I just won money to write and direct my first film that will be a combination of live action, magical realism and animation. I made an animation a few years ago for The ABC called The Gradual Demise of Phillipa Finch and this is my first short film called Remembering Agatha. It’s about a mother of 2 in a flagging marriage who finds a portal through the dishwasher to the forest of her child self. I’ve been writing the treatment and script since August last year and it will showcase in October 2017. I’ve been working on an accompanying illustrated novella as well. It looks like the film world is opening up to me with this and another project afterwards, i’m just going to explore it as a new medium. My future self is creating work, making books, films, drawings, making a new straw bale studio in my backyard, camping, building my vegetable garden. I’m involved in a community garden project next year so there’s that to focus on as well, lots of bush walks and longer term: constructing a community multi-platform production studio under my company name Cellar & The Attic.


Emma Magenta


Where can we contact you, buy and view your work?

My website will be up this year, but  for now you can view/buy and contact me through the following:

America Was Never Great

music, Playlists, Uncategorized

The most unpatriotic playlist you’ll hear all day…

america was never great

Playlist and edit by Jessie Petrylak

The 69th Best Drummer of All Time

music, Uncategorized

An Interview with founding Melvin’s drummer Dale Crover

Interview by Dylan Conner

dale dale dale

Dale Crover at The Showbox, Photo by Dylan Conner

I arrived in downtown Seattle during rush hour traffic on May Day, a massive line of fans already forming outside the Showbox. After dodging a riot (yeah, perfect timing I know), armed police officers and a lot of studded belts I finally made it inside. Dale Crover of the Melvins was recently named among the top 100 drummers of all time by Rolling Stone, so I was eager to finally get inside and talk to the legend himself. I sat down with Dale in a small room backstage and chatted with him about life, and the long awaited album titled “Three Men and a Baby.”

Sucker: So *loud guitar riff in the background* How’s it going?

Dale: Great!

Sucker: How’s the tour been treating you so far?

Dale: Great, it’s been really great. We’ve been out since March 18th, so it’s been a long one.

Sucker: Kinda ready to be done?

Dale: I mean yeah, we got a little bit of a break and then we’re doing one more.

Sucker: Well hey, a break is always nice! So, do you consider yourself to still be part of the local scene here in Seattle?

Dale: Well, we haven’t lived here since- well I haven’t lived here since the 80’s- so it’s kinda hard to say. But I mean, people still think we’re from here anyways. See… it’s weird, we have like 3 home towns. Here, San Francisco ‘cause we moved there when we left Washington, and then Los Angeles. So all these shows are kind of a pain in the ass cause all our friends and relatives are coming out.

Sucker: Ah yeah, the relatives.

Dale: I mean it’s fine! It’s just kinda stressful ‘cause it’s like “okay make sure everybody is cool” you know?

Sucker: Oh yeah for sure. Do you feel like anything since the 90’s has changed for the worse?

Dale:  The worse? Gosh.. I don’t know. Good question!

Sucker: How about for the better?

Dale: I mean not really, maybe bands selling more records. But I mean, I don’t know. Things are great now.

Sucker: So do you think the booming music scene from the 90’s in Seattle would have had the same impact had it happened today?

Dale: Umm, hard to say. I mean probably considering the way that the music scene is today, certainly a band like Nirvana or Pearl Jam- any of those bands- wouldn’t sell as many records as they did. Because, people don’t buy records anymore. So it might not have, but it’s hard to tell because now- everything is so much more available, looking at that now it’s pretty phenomenal that that had happened at all.

Sucker: Yeah it’s pretty incredible. The new record, Three Men and a Baby has been a long time coming since 1999 correct?

Dale: That’s correct.

Sucker: Damn, what’s the story there?

Dale: So we started the record with Mike Kunka from this band called “godheadSilo,” he lived in Olympia for a while and they had a deal on Sub Pop Records. And the band kinda fell apart, I think Dan the drummer cut his hand really bad and he couldn’t play. Anyways yeah they had a contract with Sub Pop and Mike came up with this idea to do a record with us. We started it in 1999 and had it almost finished then he just kinda… lost interest or things happened and he, uh, didn’t finish it. Kinda went away for a while. *Laughs* Disappeared into the woods of the Olympic Peninsula someplace. Anyways, I got a message from him on Facebook a couple years ago and he was like “Hey! Wanna finish this record?” And I was like.. Yeah. I mean for that long we had just blown it off and it never happened. So, after all this time, we are finally on Sub Pop Records.

Sucker: Woah, that’s insane.

Dale: We have never been on Sub Pop. People don’t know that! They think that because we’re from Seattle then we must be on Sub Pop.

Sucker: Yeah there’s definitely a Seattle/Sub Pop association!

Dale: Yeah we’re latecomers. It took a loooong time.

*Cue a long pause… it was very loud in that tiny room, folks.*

Dale: (on the volume) yeah this might last for a while.

Sucker: I mean they sound great!


Dale Crover at The Showbox, Photo by Dylan Conner

Dale: You know these guys?

Sucker: I actually don’t, I gave them a listen while I was stuck in 2 hours worth of traffic on the way here though, not too bad at all. So… What was it like going back and revisiting an unfinished project from 17 years ago and finishing it now?

Dale: …. Strange. We hadn’t heard some of the songs in so long so we had forgotten about that record completely. So going back to it was strange but still cool to hear it you know? Actually, it wasn’t a bad recording. I mean all we really added to that record was vocals and some overdubs. Most of it was finished, and we finished it up completely in our recording studio. We have our own place and our own engineer and he finished it up.

Sucker: That is so awesome, wow. So do you think it would have sounded the same had you finished it back in 1999?

Dale: I don’t think so.

Sucker: Yeah that’s a lot of time. Especially with all the changes in the recording technology and equipment and what not.

Dale: Yeah and you know what’s interesting, the bass player at the time when we started that record had been kicked out of the band. He had his own personal problems and we really weren’t friends with him for a long time and then not too long before that he had kinda cleaned up his act and so we became friends with him again. So he was actually involved in the project so the whole thing came full circle. Very strange how that happens.

Sucker: Strange, but super cool I bet.

Dale: Definitely, so finishing that record was great. To be able to do that after that long.

Sucker: So in regards to content, is there anything you’re trying to get across with this record?

Dale: *laughs* I don’t know. Umm… each one of us wrote different lyrics for different songs, like Kevin the bass player, his are pretty creepy. He’s the creep. All those guys are creeps. *laughs* So there is no real message.

Sucker: So, you probably haven’t heard the end of it- but Rolling Stone named you one of the top 100 drummers of all time? That’s fucking incredible.

Dale: No, no, no. They named me the 69th best drummer of all time.

Sucker: Well that’s pretty good!

Dale: I kinda like the number. I had to laugh about that. Like alright 69 duuude. So… that’s better than being number 2 in my opinion.

Sucker: Literally nothing wrong with that.

Dale: Right! I mean 23 would have been cool, I’m a firm believer in the number 23.

Sucker: Also a good number, 22 is one of my lucky numbers! So any end goals when you got into music?

Dale: Angle?

Sucker: No, no. End goal.

Dale: Damn I thought you said “angle” and I was gonna be like “oh yeah man to pick up chicks” or something haha. But uh… No I didn’t. And still don’t really, just wanted to do it.

Sucker: What would you tell yourself as a young punk kid from rural Washington about your future?

Dale: Get out faster.


Sucker: Would you make any changes to your career and how it happened?

Dale: Oh I’m sure I could have. But, don’t look back as Bob Dylan says.

Sucker: Hell yeah, I was named after him!

Dale: Oh really? Bob Dylan fans in the family?

Sucker: Yeah definitely. That’s a great mantra. So did you have any idols growing up?

Dale: Yeah you know I still listen to the same stuff I did when I was a kid. Funny enough, we were in Salt Lake, Utah the other day and we were listening to the Osmonds. Cause they are from Utah, and that was a band I liked as a kid cause they were on TV and they looked cool, at least to a little kid. But yeah we were driving through the mean streets of SLC, wondering what life would be like for a young Donny Osmond. But I guess they’re from Provo… but whatever.

Sucker: Well damn that’s cool. Anyways I won’t subject you to a long interview. Thank you so much man! 

Dale: No worries at all. Enjoy the show!


And enjoy the show I did. The Melvins blew the roof off of the Showbox. Their record Three Men and a Baby was released on April 1st and can be found just about anywhere. I encourage you all to give it a listen because frankly, it fucking rules.

Starbenders are Cooler than Everyone, So I Interviewed Them

music, Uncategorized

A Conversation with Lead Vocalist Kimi Shelter

Interview by Madison Killian

Christian Cody | Brooklyn | 2016

Atlanta band StarBenders have perfected the act of confusing listeners. Delicately mixing punk rock with bubblegum pop, and somehow holding a horror-movie reminiscence close, I’m not sure how to accurately describe or compare them to any other musician. So I went ahead and asked lead singer Kimi Shelter a few questions.

Sucker: I’m sure you guys get this a lot, but I’m going to be a dick and ask anyways. Where does the name Starbenders come from?

StarBenders: The name came to me in the middle of an intergalactic fugue.

Sucker: Do you take inspiration from other musicians or bands? If so, which ones?

StarBenders: Absolutely.  The New York Dolls, Blondie, The Killers, Pixies and The Cramps.. to name a few.

Sucker: Which recent band reunion are you all the most excited for, Guns n Roses? The Misfits? Blink-182?

StarBenders: Guns n’ Roses is pretty fucking sweet. We’ve watched a few of the fan videos people have been posting and Axl Rose sounds more psychotic than ever. No one expected Axl and Slash to ever reunite so it takes the cake.  

Sucker: How have each of your musical tastes evolved as you’ve gotten older?

StarBenders: As you get older, you learn to expand your horizons. If a tree is prevented from growing its roots, it dies.  There’s no partiality, which is an unfortunate side effect of youth.

Sucker: If Donald Trump were to join your band, which instrument would he play?

StarBenders: Politics, really?!  I’d hope he’d play his check book.

Sucker: Which instrument would Bernie play?

StarBenders: The oboe.

Sucker: Favorite Vices?

StarBenders: Miami.

Sucker: I feel like your sound is pretty unique. Do you ever get compared to other bands?

StarBenders: Sure. We get compare to Jane’s Addiction, The Killers and Blondie most regularly.

Sucker: I get a very old time-y horror vibe from your newer music, particularly the song (and video) for Blood. Are you guys inspired by anything other than music?

StarBenders: Love is the sweetest of fruits and the truest inspiration.

Sucker: Where did you all meet each other?

StarBenders: Katie and I went to camp together. Chris and Aaron are both local cats that I knew from the scene.  

Sucker: Were any of you in bands in high school/middle school? What did they sound like?

StarBenders: We all jammed with friends on the regular, and whatever it sounded like was surely loud and boisterous.


Sucker: Are any of you superstitious?

StarBenders: Fuck yes.

Sucker: Why is art important to you?

StarBenders: Art is expression and was man’s first form of communication. It’s everything.

Sucker: What are your goals as a band? Do you have a message you’re trying to convey through your art?

StarBenders: We want to be on the road for as long as possible and be able to look back and be proud. The message is just to be wild and free. This world is cruel and we need one another.

Sucker: Cats or dogs?

StarBenders: We all like both.  Chris and I (Kimi) are definitely more cat people. Katie and Aaron LOVE their dogs.

Sucker: How has your band evolved, musically since its inception?

StarBenders: Working with our producer, Nico Constantine, has really allowed us to get weird and try things that are more risky than our previous records. We’re just so happy to see what we’re turning into at the 2 year mark, and even more excited for the years to come.

Sucker: Are any of you involved in other projects or do you have any cool hobbies? (like painting or… lacrosse or… whatever) whether it be music or not?

StarBenders: Yeah, for sure. We’re all pretty athletic and enjoy staying active in our downtime. Bowling, basketball, yoga, raising a glass or two, laser tag.. We keep it fresh on the road.

Sucker: What’s next for Starbenders? Any last words?

StarBenders: Our new record, Heavy Petting, will be out May 31st via Institution Records. Come catch us at a show and make sure to say hello!

The Story of May’s Missing Artist of the Month

Art, artist of the month, Uncategorized

Comic by Rhianna Grace Henson

Words by Madison Killian

 All of our regular Sucker readers may have noticed that this month, our usual monthly highlight of underground kick-ass artists was MIA. 

We had been in contact with a fairly well know Vine star and artist, Nicholas Megalis- whom we were all fans of and thought the world of. He had agreed to be our artist of the month! 

After weeks of back and forth and getting jerked around, schedule changes, and still no interview- morale was low in Sucker Magazine’s art department.

Before we knew it- it was halfway through April and our artist of the month had still not given us the interview. 

It was then that the dark haired online King went on a quite misinformed Twitter rant encouraging his followers to skip college- a viable option for some, but not the most opportune or informed decision for many. 

We realized we may have been better off without said artist of the month- but in the spirit of being honest (and unmerciful), enjoy this comic strip.

We will always be honest with you guys, and we will also probably always be assholes. 


rhianna comic 2

Murder Can Be An Art, Too


Lucy Reviews Films: Rope (1948)

Director Alfred Hitchcock

rope 4


“I’ve always wished for more artistic talent. Well, murder can be an art, too. The power to kill can be just as satisfying as the power to create.” –Rope

Everyone knows that Hitchcock is one of the Greats in cinematic history. He started making films in the 1920’s and didn’t stop until he died. He made the first film to ever show a toilet (and it being flushed nonetheless), he had Salvador Dali design the sets for one of his films, he pioneered the McGuffin plot line, and he independently made one of the most iconic films of all time- Psycho. And while Psycho is indeed one of the few true cinematic masterpieces and is worthy of the praise and critical acclaim that it never ceases to get, Hitchcock’s filmography (consisting of 50+ films) there are multiple films that are impeccable but are forgotten and overshadowed by Vertigo, Psycho, and The Birds– a bittersweet situation considering all three of those films are fantastic, but there are some that are better but remain generally unseen.

One of these films is Rope. Not only is it Hitchcock’s very first film shot in color, it is also his most experimental. It’s unlike any other film made in the 1940’s- shot in long takes edited to give the illusion that the whole film is one cut, set in one room, and it’s a story about two men who just barely give off the impression that they might be gay, making this film controversial despite the fact that this rumor has never been confirmed or denied, it even got banned from a number of theaters in America because of that.

Rope is an adaptation of the stage play of the same title written by Patrick Hamilton. Hitchcock kept Rope within the confines and aesthetics of a stage play. He didn’t add or take away anything for the sake of a different format, hence the illusion of one take and the setting still being one room; other little things such as the cast having audible conversations in the background, the unusual cinematography, only seeing the set at one angle, and the background view of the city from the window being the only way to tell that time has passed.

While filming, crew members moved the walls of the set around the cameras so they could move easily and smoothly. Due to the takes lasting up to 10 minutes, the cast tried their best to not make mistakes to avoid ruining an entire scene. One actor missed the table they were trying to set their glass on and a stage hand rushed on set, off camera, and caught it. A cameraman got his foot ran over and instead of cutting the take, they were gagged and taken away from the set. Both scenes involving these incidences are in the final cut, though you cannot tell.

rope 3

Rope is the story of two young men, Brandon (John Dall) and Phillip (Farley Granger), who strangle their classmate, David (Dick Hogan) less than an hour before the dinner party that they are hosting is to begin. They put David’s body in the chest in their living room to “add a little danger” (according to Brandon) and Brandon decides to serve the food from the chest rather than their dinner table and each guest has ties to David- one guest is his father. Phillip doesn’t wish to take things that far, but Brandon insists, and each guest unknowingly eats food off of their friend’s and relative’s grave.


As the night progresses, Brandon and Phillip’s old professor, Rupert (James Stewart), grows more and more suspicious of their behavior. It’s his suspicion that makes the story grow more intense. It makes the exquisite ending all the more impactful. It’s his fantastic monologue in the end that causes you to really think about the content of the film. As you’re waiting for the closing credits to roll, you find yourself thinking about what Brandon and Phillip did to David.


This film is one that you won’t forget for various reasons.

Bring a lot of Beer, and Ration Your Weed

music, Uncategorized

The Do’s and Don’ts of Music Festivals

By Dylan Conner

Ahh… it’s that time of year. Festival season is upon us. Here at Sucker Magazine, we are definitely into festivals and as an annual festival attendee myself, I believe it’s my duty to give the newbies all the ins and outs of what its really like to survive a multiple-day fest. You don’t even have to be a newbie, but regardless, I have compiled a nice list of things you should and should definitely not do while attending such events.


Make sure and get plenty of rest

We’ll start with the “Do’s”…

  • Plan your group accordingly. Bring people you would definitely enjoy yourself with, and who will be game to keep going when it hits hour 4 of standing at the main stage.
  • Scout out places to pee, and do so whenever you get the chance.
  • Pack just enough food that you think you might eat, chances are you won’t eat half of it but it’s good to be prepared.
  • Bring a lot of beer. Just when you think you have enough beer, grab more.
  • Find a good meeting place in case you lose your group, or you can just safely assume they will end up back at the campsite eventually.
  • Introduce yourselves to the people camping by you! Festival friends are good friends.
  • Camp near the Canadians, they rule.
  • Pack a damn first aid kit, we’re talking the whole nine yards. You’re going to thank me when you have a ton of blisters.
  • Make sure your shoes are comfortable if you want to avoid the issue mentioned before.
  • The Hangover: avoid it by either not drinking a ton, or just go balls to the wall and stay continuously drunk.
  • If you really need to wear that dope body chain, make sure you bring sunscreen to avoid weird tan lines. I mean, bring sunscreen anyways but you know what I mean.
  • Ration. Your. Weed.
  • Plan out who you want to see prior to the actual event.
  • General rule of thumb is to pack like you’re going on a regular camping trip but with music and a lot more people.


Here’s what you absolutely fucking should not do…

  • Don’t try some drug you’ve never done at a festival. If you absolutely must take that tab of acid from the man in the rainbow morph suit, go for it, but make sure you have a babysitter.
  • Don’t be that guy or girl that needs to sit on someone’s shoulders through an entire set. Also don’t make it worse by just being up there to take selfies.
  • If your group doesn’t want to go see a set that you’re dying to catch, ditch ‘em and go see who you paid all that money to see.
  • Don’t pack like you’re going on a plane. Just plan your outfits and bring some backup clothes if the weather changes.
  • Avoid getting so hammered that you tap out before the music even starts and you wake up facedown in the grass, halfway inside your tent with nobody around you.
  • Do. Not. Forget. To. Drink. Water… you’ll pass out and end up like me at Sasquatch 2013 in the medic tent with some drunk dude asking you to flash him your tits.
  • Ladies, the old “hide joints in your tampon wrappers” trick does not work. Just stash shit in your bras, they can’t check you there.
  • Don’t be afraid to take as many photos as you want. Don’t listen to people who give you grief for it, months later you’re going to be glad you did.
  • Oh cool you bought a sick ass Native American headdress? Leave it at home.

In Heaven, everything is fine

Art, Film, Uncategorized

Our Top 10 Favorite Movie Soundtracks

By Lucy F.R.

“Life is beautiful. Really, it is. Full of beauty and illusions. Life is great. Without it, you’d be dead.” -Gummo

What’s a great film without an equally as great soundtrack? (Hint: extremely fucking boring) Even the folks making silent film know that music can pull at your heartstrings more than any image could. Without further ado… Here are a few of our favorite film soundtracks.


  1. Psycho; composer: Bernard Herrmann
  2. Requiem For A Dream; composer: Clint Mansell
  3. Texas Chainsaw Massacre (1974); composers: Wayne Bell and Tobe Hooper
  4. Insidious: Chapter One; composer: Joseph Bishara
  5. Pulp Fiction; soundtrack by: Quentin Tarantino
  6. Kill Bill vol. 1 & 2; soundtrack by: RZA
  7. Eraserhead; composer: David Lynch (with songs by Fats Waller)
  8. Natural Born Killers; soundtrack by: Trent Rezner
  9. Lost River; composer: Johnny Jewel
  10. Gummo; soundtrack by: Randall Poster

What You Call Love, Baby I Call Hell

music, Uncategorized

A Conversation with Lindsey Troy and Julie Edwards of Deap Vally

By Madison Killian


Deap Vally and Wolfmother at The Showbox, Seattle

I’m sitting backstage at The Showbox in Seattle across from Pikes Place Market. The walls are a shiny valentine’s day red, the couches are purple velvet. As I stared at the band sitting in front of me, it was apparent that there was going to be no beating around the bush, they had nothing to hide. Sitting atop the purple throne was a fresh-faced brunette in a tattered black t-shirt, wielding a crochet needle. Directly next to her is a stunning blonde with wild curls, holding a contraption up to her breast, pumping.

I interviewed Deap Vally on March 31st before their show in Seattle opening up for Wolfmother. After shaking Julie’s left hand (her right hand was occupied…) and Lindsey had set aside her yarn ball- I realized that this was the most rock ‘n roll thing I could possibly witness in my lifetime.



Photo by Rebekkah Drake

Sucker: How are the two of you enjoying Seattle?

Lindsey: We went yarn shopping. I’m stoked because I have two half done hats, and I didn’t have the yarn to finish them.

Sucker: How’s touring with Wolfmother been?

Julie: Good.

Lindsey: They’re killer, great guys.

Sucker: Were you fans of Wolfmother before the tour?

Both: Oh, yeah. Yeah.

Sucker: What’s a band that you’ve toured with that’s really inspired you/ been an honor to share a stage with?

Julie: Queens of the Stone Age and Yeah Yeah Yeahs for sure.

Sucker: Yeah, last time I talked to you guys you mentioned being big fans of the Yeah Yeah Yeahs.

Lindsey: Well, yeah and then, I mean, Nick [Zinner, of the Yeah Yeah Yeahs] ended up producing our new record. I learned a lot from him. He’s a good guy.

Sucker: You guys have a new album, is there a release date at all?

Julie: It’ll be coming out around the Fall.

Lindsey: Not that release dates stay true anyways…

Sucker: Out of curiosity… What makes a release date so ever-changing when the album is basically done?

Julie: Yeah, so the albums done… But we haven’t signed on the dotted line with our label yet. So, you know… At this exact moment in time, there can’t technically be a release date.

Sucker: What is the hardest song for you to play live?

Lindsey: There’s a new song on the record that we haven’t played live yet, cause it’s like, really fuckin’ hard for me to do. We just have to practice it. In a weird way, a lot of our songs- we’ve been able to play with a minimal amount of practicing. We have this new song that we love- it’s great. We don’t record live and all at once- we do some multi-tracking. And we wrote the vocals after the music was written; I think when you write vocals like that, it’s harder to learn how to sing and play at the same time. Whatever you write and play at the same time is going to be natural.

Julie: We just have to rehearse it. Another one from the first record is “Woman of Intention.” That one’s hard for me. Maybe it isn’t still hard, but it was hard the first couple of years. It would just like, wear me out, it was really exhausting.

Lindsey: We just never knew how that song ended. The ending was just an eternal question mark. *looks at Julie* remember? *Lindsay sings a few ending “oohs”*

Julie: *laughs*

Sucker: If you guys weren’t musicians, what would you be doing?

Julie: I would be a psychologist. I’d probably go back to school for that.

Lindsey: Maybe a writer or filmmaker/ actor. Or a live drawing model. I like the idea of being one of those naked models for a drawing class. Iggy Pop just did that!

Sucker: How do you handle juggling your personal life and touring? Like… Julie, you’re breast pumping right now. How do you factor it all in?

Lindsey: It’s how she gets pumped up!

Julie: Right now [Lindsey’s] boyfriend is on tour with us because he’s documenting the tour- so that’s perfect. She has her personal life here with us. In the past, my husband has tour managed and come on tour for a little bit. When we were at South By Southwest my baby was there. It’s tricky, because when you’re on tour you’re in the little bubble of the tour family. Life continues on without you back home. Everyone you know continues to have their lives together and your life doesn’t really advance with everybody back home.

Lindsey: Restaurants close, new restaurants open. That’s the wildest part. It’s like watching a time-lapse video when you go back to your neighborhood and your favorite restaurant is closing and a new douche-y bar is opening up.

Julie: I think the thing that’s closest to what touring musicians do is military deployment or oil-rig jobs, or long haul fishing.


Suddenly a mess of  dark hair appeared next to me, and a warm smile greets the three of us. Ian Peres, the bassist and keyboardist for Wolfmother stumbled in on our conversation. *************************************************************************************************

Ian: How do you guys know each other?

Julie: We’re doing an interview!

Ian: Oh! I’m so sorry…

Lindsey: *To Ian* How was your night? You got hammered, it was awesome.

Ian: Yeah…

Lindsey: That’s what you gotta do, man.

Ian: Portland was good to me. It was good… to US.

Sucker: What’d you guys do in Portland?

Lindsey: We stayed with my cousin. We got to stay there for two nights! She has a nice big house- with a full fridge, fresh eggs from his chicken… really nice. You know? It was a luxury for us. We kept it pretty mellow. These guys *gestures to Ian* got to party a bit more.

Ian: I’m a bit more hardcore. I went straight to ground control and played video games for a couple hours.

Sucker: When was the last time you guys played Seattle?

Julie: We played here a year ago, opening for Marilyn Manson.

Lindsey: That was a trip. I played bass with White Lung- my friend’s punk band- over the summer, and we played a couple shows in Seattle as well.

Sucker: What are you guys like on tour? Do you do a lot of partying?

Julie: We’re pretty mellow…

Sucker: Has that changed throughout the course of your band?

Julie: There was one tour we had where I feel like we really went for it. Most of them aren’t like that. You really need a stamina to party like that when you’re travelling. I know I don’t have it…

Lindsey: She’s also been married… Like, I was single for a long time and I was partying more than her- which isn’t really saying much.

Julie: If you drank a beer right now, you’d be partying harder than I do.


(I supress the urge to tell her that I, in fact, drank half a bottle of wine before this interview to calm my nerves)


bryan sheffield

Photo by Bryan Sheffield

Lindsey: You know, we have the nights that we let loose. You just can’t do it every night- I’ll get sick.

Julie: Yeah, also Lindsay really has to protect her voice when we’re on really long tours. Alcohol doesn’t always really lend itself to that.

Lindsey: Also, when you’re stuck in a van all day… you don’t want to have a hangover. It’s not great.

Julie: These guys [Wolfmother]… they’re in a bus. So, the bus drives all night, and they wake up in the city. I think that environment lends itself to… doing whatever the fuck.

Lindsey: And don’t get me wrong, there are nights we’ve partied really hard. I partied really hard the night before we went to Auschwitz. They party there. All the people were showing us a really good time. They drink a lot of vodka and stuff. The next day I was like… trainwrecked. I was not happy, and it was pouring rain. I couldn’t face it. Julie went, (To Auschwitz) and the rest of our crew went. I just felt like a piece of shit.

Sucker: What’s the first thing you guys are going to do when you get home from tour?

Lindsey: I’ll probably have some girl time with my L.A. bestie. I’ve known her for like 7 years.

Julie: Hug my little baby. She’s at home with daddy and grandparents.

Julie proceeds to lean forward and show me not only adorable photos, but videos of her infant daughter. I remain composed, but just barely.

Sucker: How old is she?

Julie: She’s almost 4 months.

Sucker: Have you already planned out which instrument she’s going to play?

Julie: She’s going to be a figure skater.

Keep in mind, during this entire part of the conversation, a video of Julie’s daughter laughing at an electronic whoopee cushion is playing in the background.



Photo by John Moffat

Julie ended up having that beer and announcing to the crowd “I don’t have to breastfeed until tour is over!”

After some face melting guitar riffs and eardrum perforating drum solos, Lindsey’s icy stare locked onto the crowd while she began to chant “I am not ashamed of my rage.”

Deap Vally had taken Seattle by the throat. The band finished up the show and walked offstage to roars of applause.

After the set, I decided to do some recon in the ladies room (where else?) What I found was complete mayhem.

“What was that band’s name?!”

“They were so good. The singer was fucking amazing!”

“I’m going to buy a CD and a t-shirt… they’re my new favorite band”

By the throat.

As for the band- you can keep up with them

As for the band- be sure to check out their latest release Royal Jelly, and if you haven’t already- check out our last interview with the band where they talk Nick Zinner, the band’s formation, and more…

Cumbia Meets Punk Rock

music, Uncategorized

Thee Commons Lotería Tribal Album Review

By Yvonne Villasenor


Ever heard of a psychedelic cumbia punk band?

That’s right.

A psychedelic cumbia punk band.

Thee Commons bring a vast amount of variety to their music – the combination of genres makes for music you just can’t help but get your groove on to.

They’ve taken the sounds from their hometown of East Los Angeles as well as the diverse culture that inhabits it and have created something unlike anything I’ve ever heard. It’s refreshing and new in a scene that can easily become cookie-cutter and unoriginal.  

Thee Commons was founded by two brothers, David (vocals, guitar) and Rene Pacheco (drums). The Pacheco brothers have loved composing music since they were children and are now making their mark in the world of music.

They have recently incorporated saxophone into their songs. Sick, right?

The brothers started the band in 2012 and have released an E.P. named Sunburned at Midnight as well as Rock is Dead: Long Live Paper and Scissors (a compilation of eight volumes of E.P.s) and now, one full-length album since then.

Lotería Tribal consists of 14 songs, with songs titled in English, Spanish and even Spanglish.

The album is upbeat and will keep you on your feet – undoubtedly the ideal soundtrack for summer. Psychedelic, surf rock, punk, cumbia, even some rap components…What more could you possibly want out of an album?

As Thee Commons put it, “summer days are made for loving in this hot weather” and surely, this is an album Sucker will be loving once summer approaches.

Kick off your shoes and kick back, crack open a beer and listen to the sounds of L.A. This is definitely a record you don’t want miss.

The album will be released on Saturday, April 30, 2016.


If you’re in the L.A. area, come to the release party and see them perform at The Teragram Ballroom with bands Quita Penas, Santoros and Sin Color on April 30.  

Doors: 8:00 p.m. // Show: 9:00 p.m. Tickets are $16-$18.

You can purchase Lotería Tribal at theecommons.bandcamp.com or at Burger Records.