I know you are not supposed to post something on the internet that is more than a day old, and this came out way back at Thanksgiving but it makes me so incredibly happy and I thought I might share the love. Again. Cause it’s that good. I never really understood why everyone loved Florence and the Machine so much until I saw this and now I am a total convert. She kills it out of her mind. Hard. So hard, in fact, that she goes crossed eyed for a second towards the end of the video. The crazy thing is this song has been covered so many times- it was originally sung by Bobby Bland, then Gil Scott-Heron, then Jamie xx re-mixed Scott-Heron’s which Drake picked up with Rihanna, which is what is covered here by Florence. Still with me? I included the original version by Bobby Bland and the Jamie xx remixed version just for fun. If you haven’t heard the Drake version, I’m sorry but you live under a rock and you should watch this.

Molly Donahue, formerly of the band Love Story, recorded her first solo album this year, entitled Metal Alvin, which is due out at the end of this month. In addition to this, Molly also has a photo blog where she records her life separated into different segments- namely, “eats,”(food) “out of doors,”(nature) “animalia,”(animal friends) “noir”(spooky landscapes) and “people and places.” Friend, fan, and fellow flower girl, Frances Tulk-Hart, sat down with Molly to discuss the inspiration behind her new project.

Frances Tulk-Hart: Hey Molls, I had so much fun shooting you for your new up and coming album, Metal Alvin. Can you tell us a bit about it starting with the rather obscure name? Where did Metal Alvin come from?

Molly Donahue: I had a blast shooting, too. Metal Alvin just sort of came out of nowhere one night, hanging out with Renn and Jason (Love Story band members) and leaving obscure comments on websites. I guess you could say I used it as a ghost name and it just sort of stuck. I like the way it looks on paper and think it rolls off the tongue nicely. People will hate it or not understand it and that’s okay. Such is life.

Frances: What was the inspiration behind the album?

Molly: I’m at a place right now where I’m really missing the woods and open land and the quiet, and i think that is pretty evident in the songs. Oh, and birds. They make quite a few appearances throughout the album…

Frances: This is your third album, but your first solo album. How was it working on your own as opposed to collabing with  your old band “the love story”?

Molly: The Love Story was pretty magical. We fed off of one another easily and songs just formed out of thin air, no composing required. That’s a pretty special thing and made it really easy to be in a band. It helps that they are two of my dearest friends. But I started out as an extremely shy musician. Still am, actually. My dad was my only audience until I began sending Renn Cassettes via snail mail. This album has been a long time coming. It’s very quiet in comparison to The Love Story, which is on purpose.

Frances: You are also a rad DJ. Which band or singers do you think you have a similar sound to? And where do you play?

Molly: Hmm… Vocal-wise I’ve been compared to everyone from Dolores O’Riordan to Siouxsie. They’re both huge compliments but I don’t hear it at all. I just hear myself. It’s hard to separate yourself from your own voice. And Metal Alvin live? We shall see. I have mind-buckling stage fright.

Frances: If you could have any pop star, dead or alive, over to your house for a dinner party, who would it be?

Molly: Oh man, Kurt Cobain. I was 14 when Nevermind came out. That’s a shape-shifting age. How about I go with the less cliché answer and say Liz Phair. Exile in Guyville is a perfect album, start to finish. Her lyrics are brilliant. and she inspired me to learn to play the guitar.

Frances: If the race for the presidency ended up being between Sarah Palin and Kim Kardashian, who would you vote for?

Molly: Ha! Wow. That’s a nightmare in the making. Politics are so depressing. If I have to choose I say Kim Kardashian. I’d rather the earth be plastered in makeup than covered in an oil slick, though I guess they are essentualy the same thing. Humans can be such monsters!

Frances: And finally, what was your New Year’s resolution? Did you figured one out?

Molly: Just to live long and prosper. Is that a Star Trek quote?

You can buy a CD, download an MP3, or buy a cassette by clicking here (yes, you read right. You can still buy a cassette).
Photos by Frances Tulk-Hart

Obama made an appearance at the Apollo last night for a fundraiser, also attended by Al Green. Channeling the Reverend, the President sang a few lines of Let’s Stay Together. It reminded me why I liked Obama so much four years ago.

Although the Long Island-based quintet Twin Sister just released their first full-length album, In Heaven, this fall, the band has previously released two EPs (Color Your Life in 2010 and Vampires With Dreaming Kids in 2008), and they have enough unofficial material online to create at least two additional albums. The band’s five members—singer Andrea Estella, keyboardist Dev Gupta, bassist Gabel D’Amico, guitarist-singer Eric Cardona and drummer Bryan Ujueta—first met on the Long Island band circuit, where they grew up in adjacent towns. They officially formed a band in the summer of 2008, layering Andrea’s breathy vocals, which range from a suffused whisper to kittenish purring to a ghoulish rasp, with the band’s hypnotic dreamscape sounds. Since then, they have gained worldwide renown and a cult-like following.

As Twin Sister’s European tour was winding down, Andrea sat down before her Parisian show to speak with us about the band’s homegrown approach to making music videos, old versus new songs, her obsession with zany hairstyles and how Nickelodeon led her to her first rock experience.

Sarah Moroz: You played a cover from Italo-disco maestros La Bionda when you played your Paris concert last year. I can’t think of anything more different than your sound, and yet it was one of the most fun and electrifying covers I’ve heard. How did you decide to do that song?

Andrea Estella: I don’t know how we chose that song, actually. I think I or one of us found the video on YouTube. We really liked [it] and were like, “Oh, we could do this!”

Sarah: Are there any other covers you’d be interested in performing?

Andrea: We haven’t really been working on any in a long time. We’ve been playing longer sets now than we used to; we have more music now. We might work on another cover; I don’t know what yet, though.

Sarah: So can you talk a bit more about the new stuff?

Andrea: We’re playing songs from the album In Heaven. So, it’s kind of pushing some of the older ones out of the way, but we’re still keeping a couple—even bringing back one or two that are really old, and then trying to work out the new songs. We’ll practice them when we get home so they’ll be better developed. We started the tour playing “Kimmi in a Ricefield” and then we stopped because we felt it wasn’t ready yet, even though it’s probably fine. We’re just crazy.

Sarah: On your blog, you have work that references both Kimmi and Lady Daydream in the titles. Can you tell me more about your work as a visual artist? What is the relationship between the art you make and the songs—–do the two bleed into each other?

Andrea: They bleed. Originally with Kimmi, I made a story—a short story. It changed a little bit for the lyrics, shortened the story even more. I just made up characters. And then we made it into a video, which is another version of Kimmi. But that original was a very innocent little…like an anime character.

Sarah: Can you talk a bit more about the child-like tropes? I feel like that’s a bit of a theme. In the video for “Bad Street,” there’s a piñata and chalk drawings—there’s a playfulness.

Andrea: Even me and my boyfriend—he’s the bass player [Gabel d’Amico]—we’re really childlike. We’re always talking in baby voices (laughs), being idiots. I think we’re just a bunch of dopey kids, so it just comes through. I love cartoons and toys and kids.

Sarah: What was your first concert?

Andrea: My dad surprised me. I came home from school one day when I was like…nine—eight or nine. I don’t know if you know the show Pete and Pete? It used to be on Nickelodeon II. They’re brothers and they’re both named Pete. And there was a band at the time that was kind of popular, Luscious Jackson…?

Sarah: Yeah! “Naked Eye!”

Andrea: So they were on an episode of Pete and Pete, and I started getting into the band. I came home one day, and my dad loved to surprise me so he just put me in the car and his friend came, and we saw Luscious Jackson. I was like the youngest kid there, and I still have this tank top that has Luscious Jackson written kind of graffiti-style on it. That was my first show.

Sarah: Do you ever try to channel anyone or use other front women as inspiration for being onstage?

Andrea: I don’t think about it too much. I do like Cyndi Lauper, but I’m not really like her ’cause she’s kind of insane and she does really weird dance moves, stuff like that. I also like how Björk is onstage. She doesn’t talk very much. She just kind of dances silly, like I do, but not as weird as Cyndi Lauper.

Sarah: You have had all different types of hairstyles over the years. Even now, your hair is in this really pretty kind of crown braid. Is that part of your style in general, or is that part of your “I’m performing” style?

Andrea: Hair is like a hobby in my family. When I was in middle school or even younger, my mom let me dye my hair so I had blue hair and purple. Me and my sister would get into extensions and my brother would have to have a mohawk—we’ve always been into messing with our hair. Whenever I go home, my sister is always getting me to dye my hair.

Sarah: So do you have your eye on a next style?

Andrea: I have a tub of violet hair dye that I want to use but now I’m not so sure because this blonde, with the weather changing, is breaking. But I really want to dye it light, light lilac or violet. Sometimes I have sea foam hair and all of a sudden brown, normal; blonde. And I wear wigs. I mess around with all that stuff. I like looking different every day.

Sarah: Being from New York, does being a “New York band” mean anything to you?

Andrea: I mean, we just are a New York band. We all grew up in New York; we’re all from Long Island. We grew up going to the city as kids. We just are a New York band—it’s not like we moved there for college and met up with other kids from Arizona. My family’s in New York. It must feel different for other bands. They go there looking for whether they’re going to be a painter or model. They go there and they’re like, “Yes, I made it! I’ve been here for four or five years. I’m a New Yorker!” I’ve been going to shows since I was in high school in New York.

Sarah: But does being a New York band have a kind of connotation of creative locality? Do you feel part of a New York music community?

Andrea: I guess there are different pockets of people. My friends have always been New Yorkers because we’ve been going to shows there since we were kids. But then there are other people who go there because it’s a hip place to be and it’s this whole cool, hip scheme to play a certain bar in Williamsburg or whatever. We just play wherever. We like Silent Barn. I don’t know; it’s weird when I talk about Brooklyn… There isn’t much going on on Long Island so you just go and travel to Williamsburg. It’s more popular than it ever was. Now it’s like overload, but it’s cool. Especially from touring around the US, there are a lot of special people that need a special place to go that their hometown can’t give them.

Sarah: You made all these extra mp3s available online: demos, different versions of songs that didn’t make it on the album… It’s quite generous to share all of that. Musicians are usually very careful about what songs they release to the public. Why did you decide to put all these songs in varied stages of completion out there?

Andrea: Originally, we used to show ideas to our friends, because we weren’t a band yet. We just didn’t care. Some of them would jump on that idea and think it was really cool. Then it turned into strangers listening to it. I like some of the earlier ideas, unfinished recordings. People are evolving with music because no one really buys music anymore. It’s also cool because you put it on the website and it’s free and [people] like it. It’s better than them getting it from some rip on YouTube. It’s just nice to see early versions of finished songs too.

Sarah: What about the videos? How much do you get involved in those?

Andrea: Oh, I get in there. I’m bad at letting go. I was a visual artist before being a musician, which became more dominant. [The videos] are my way of getting visual with music, which is so fun. I did the art direction for the music videos that we have so far: “All Around,” “Bad Street” and then “Kimmi in a Ricefield.” “Kimmi in a Ricefield” was a big, nice studio. We got to work with a big, nice open space and a team. That one was a step up. It came out cool. It was a 22-hour day, and I got minor hypothermia from that video. I did the art directing but then I also had to do the acting. Luckily, I had a friend to help me with the art direction while I was acting. I sat in cold water in wet clothes on my knees all day, but it was so much fun. Music videos are so old school—when you’re little, you watch music television. It’s my favorite part. It’s like, “Oh, I can’t wait ‘til the music video comes out!” It’s really important to me.

Sarah: ”All Around and Away We Go” is a really funny video—it doesn’t visually match the sound at all.

Andrea: We were supposed to have a studio space…the guy was supposed to pick up the key, but we got locked out. We ended up going to this house on Long Island that we were living in and using it as a practice space, and we had to shoot it in the house. We didn’t have enough room to pull the camera out far enough, [so] we had to cut a lot of it. Dance scenes don’t look good unless it’s the whole body. We had to do from the knee up, which doesn’t register as much. And then we did a lot of stop-animation. It was really fun.

Sarah: The contrast of the kitschy feel with the ethereal sound is quite unexpected.

Andrea: What inspired us for that video was Teen Dream, this little pop trio. They had a one-hit wonder sort of thing. Their video is really scary, because they have a stop-motion animation of a guy coming in and he has a paper body and his head is an actual photograph and it’s moving and then he falls apart and then he comes back together—and there are clouds going by behind him and weird three-dimensional shapes. Then it goes to three girls dancing with a projection on them… The song is “Let’s Get Busy”, it’s from the ’80s.

Sarah: There’s one line I really like: “Feel the power of my many destinies.” Does it feel like you have many destinies?

Andrea: Already, when I go home I want to work on sculptures. I’m really into food, too. I don’t think music is the only thing for me. I’m a Gemini; I want to do many things. So yeah, there are many destinies for me. There’s a lot of time, so I hope to do more—maybe work on other music videos with other people, like friends who are in bands. Oberhofer, they’re also a Brooklyn band; I’d like to make their music video. They don’t have a music video yet. I’d be a lot of fun. There’s no money in that either (laughs).

Sarah: Right, well, why start now?

Andrea: (Laughs) Yeah, why? I’m going to live with my parents forever!

Image by Shawn Brackbill

Tony Cederteg is undeniably all things creative. A publisher, editor, designer, art director, musician and a friend, to name a few. In the beginning of December he surfaced as Jony and released a 7-inch vinyl entitled Fartygets Fingrar in an edition of 100 white transparent copies. In keeping with the “more than meets the eye” spirit the first 50 copies came with two CD-R records (Sibirien Series Vol. 1 & Vol. 2) and 23 new additional songs recorded on a cell phone and computer, along with a small booklet of lyrics. No, he’s not a Transformer. Yes, he does enjoy a good bottle of water and a bag of chips. Click “Read More” to enjoy his music and to watch the projects two music videos, directed, respectively, by Todd Jordan and Adam Saletti.

A welcome departure from the standard holiday festivities, The Grand Street Bakery marks the debut of The Cilo at The Bakery with tonight’s opening party. Situated in the back room of the bakery, which used to house a flour cilo, The Cilo expands The Bakery’s inspired mix of new and vintage clothing, homewares and trinkets by focusing on vintage electronic accessories, including vintage turntables, speakers, receivers and Danish Modern record buffets circa the ’60s. I was lucky enough to have a little sneak preview last week, and they’re truly beautiful. Among the “new” offerings are candles in the shape of Morrissey’s head, each hand carved by Derrick Cruz of Black Sheep & Prodigal Sons. Additionally, vinyls will be available from local bands, including the Wild Yaks, the Minks and Miles Benjamin Anthony Robinson, who will be performing tonight at the opening along with Anyways It’s Monday.

The Cilo at The Bakery is located at 602 Grand Street, Brooklyn, NYC. Its opening party is tonight, December 16, from 7pm-11pm.

These are questions I feel like these people might ask me, but instead I ask myself, just in their voice, because it’s a good exercise in processing an experience you recently had. Here is my intro for myself: I take pictures of many things. Recently it has been notorious genre-busting musician Hank Williams III aka “Hank 3.”

Pretend I’m comedian Jerry Seinfeld: “What’s the DEAL with your recent photos of Hank Williams III?”

Tara Israel: Hank 3 is a musician I adore, who navigates a number of seemingly unrelated genres of music with great success. I contacted him earlier this year because I wanted to do a photo essay that both looked at the stage clothes of country music legends and also explored at what I feel makes Hank 3 so special. I contacted him with an email only he would be crazy enough to respond to: “I have this great idea. I don’t know exactly what I want to do or even what I’m going to do with it but its going to be great. I’ll show up and you just change your clothes a few times. Easy breezy. Where do you live?” Two weeks later I was in Nashville knocking on the door to the Haunted Ranch (his home.) At the time I had no idea what Hank had access to but he took the time to collect what I styled into nine different looks. He pulled suits that had been made for his grandfather (Hank Williams Sr) and father (Hank Williams Jr), as well as one made for him in his youth, in addition to assorted stage looks he has worn, ranging from heavy metal inspired leather to his everyday look of a workshirt and boots. I admire Hank’s ability to pay homage to his family lineage yet not be limited by it.

Pretend I’m photographer Joel Sternfeld during a crit when you were his photo student: “What is a good photograph? Why are any of these good photographs?”

Tara Israel: What I try to achieve with my photos is to challenge my understanding of intimacy. Its not about hiding behind gimmicks like sexuality or relying on complicated production to create a false connection between the camera and the subject. The pictures are very simple, sometimes awkward or creepy, but always honest. Its about connecting with another person, which is often terrifying, and having fun with someone new. Its basically living in that electric moment before a first kiss or telling someone you love them for the first time, but because there are no words or kisses, it just becomes limitless potential. No fear of unrequited love, or bad kisses or the dreadful “now what?” when it starts to get stale.

Pretend I’m the I CAN HAZ A CHEEZBURGER cat: “Wut lessuns haz you lernd from this prossis? Do you evur feer that what matterz to you 2day will knot bee kulturally relevint toomaro?”

Tara Israel: I reject the need to create a linear path between the past and present, and I feel that Hank does the same. These images illustrate how he is able to simultaneously occupy all of these identities with ease, showing that he does not have to be one or the other, that one should not be restricted to genre titles or convention. Purist fans of country music need to accept that he is honoring the genre and his grandfather the best way he can- he just sometimes does it while wearing crazy costumes on stage and with a lot of headbanging. He is a living library of music references and anecdotes, allowing it to organically manifest throughout his art. I went to Nashville to shoot these portraits in June, on a particularly hot and oppressively humid week. One afternoon we planned on walking the trails behind his house to shoot him wearing his own suit made by Manuel. I suggested we wait until later that afternoon because I felt it was too muggy for him to go outside in a wool suit and hat. He looked at me and said, “My grandfather would tour in the back of a Cadillac wearing wool suits in the summer without air conditioning and perform on stage every night. I can handle standing around for an hour in my backyard.”

Pretend I’m your dentist at the exact moment he starts drilling a cavity: “So what else have you been up to lately?”

Tara Israel: I recently returned from a stint on the road with Hank 3, photographing his shows and behind the scenes. Despite his lineage, Hank is very much a DIY success story- from how he interacts with his fans to the recent release of three albums on his own label. He lives and breathes his music, from loading the gear onto the tour bus to signing autographs for every fan after he performs 3+ hour shows. I had never shot a concert before or even been on a tour bus, so it was learning how to accomplish what I wanted while staying out of the way of the 13 other people on the bus (and how to hold a camera still when you are balancing on a moving bus/ vibrating speaker/ using a taller person as a tripod).

Pretend I’m your mother Bonnie Schnitta: “Why am I so proud of you even though you never remember take out the garbage/ empty the dishwasher when you come to visit?”

Tara Israel: I just don’t know, Mom. I just don’t know. Sometimes you want to know you can count on people… Unfortunately you can only count on me forgetting these things. I’m consistent. You can count on that.

Pretend I’m your high school math teacher: “Please show your work”

Some of Tara Israel’s photos of Hank Williams III will be on view December 8 – January 3 at Keyes Art Projects, 551 W 21st St, 4th Floor, NYC.

In the midst of this year’s CMJ festivities, WDRKMR (Alexander Iezzi and Jordan Robin), caught up with Los Angeles-based musician Chelsea Wolfe. They  found her at stylist Jenni Hensler’s Williamsburg loft for a rainy afternoon of dress-up and conversation.

WDRKMR: Photographing you was especially fantastic because of your visible transformation when you get into wardrobe and in front of the camera. Can you tell us about how style and performance affect you as an artist/musician?

Chelsea Wolfe: I really liked working with you guys too. I found traces of flowers scattered down the stairs later. I’m one of those wear-on-the-outside-what-you-feel-on-the-inside sort of people, so getting dressed or dressed up has a lot to do with what’s on my mind or heart any given day. Lately I’ve been really inspired by layers, furs, leather, and jewelry that doubles as a weapon or armor. I don’t consider myself a visual artist at all, so trying to bring together clothing that suits the music is a good challenge for me..

WDRKMR: You started with theater, didn’t you? Were you playing music all the while or did you transition from one to the other?

Chelsea: I didn’t start with theater, actually… I mean, I’ve been indirectly involved with things of that sort my whole life, but it took me a really long time to feel comfortable as a performer and not just someone who records and stays hidden. I’m naturally a pretty hermitic person.

WDRKMR: Either way, there is a very theatrical quality to your music not only because of styling and performance, but there is also a sonic drama that matches the mood of your look. Which would you say comes first? Does the music develop from the mood, or does the mood develop from the music?

Chelsea: They work together. I’m always trying to create an atmosphere and a film screen within each song. I want something bigger than sound.

WDRKMR: Can you identify a moment when your interest in fashion came to be? How would you explain the role of fashion in your work?

Chelsea: I’ve always been interested in fashion, and of course being able to follow collections from afar on the internet helps create constant inspiration. I didn’t understand what sort of silhouettes I wanted or needed for a long time, I would just wear layers of black. But now I’m experimenting more and trying to find the right shapes for me and clothing that brings together form and function. I need to be able to move around and breathe and know that what I’m wearing isn’t going to come apart. I like straps and laces and clasps. I can’t stand wearing something that feels like it’s going to fall off if I move an inch. I like things that look medical or strangely oversized or out of date. Margiela, Ann Demeulemeester, Alexander McQueen, Mordekai, Iris van Herpen…

WDRKMR: What draws you to the dark and often occult objects that you use in styling? For example the detailed headpieces, oversized spikes, horns, etc. We noticed Jenni had a lot of symbolic accessories for you.

Chelsea: I think it’s an affinity for toughness, warriors, nordic folk and white trash… and something elegant mixed in. Kind of black metal in a less blatant way. Yes, Jenni does an amazing job of understanding my all-over-the-place influences and bringing them together in a cohesive way.

WDRKMR: How do you identify yourself and your work? Would you say that Chelsea Wolfe is a musician, an artist, or something other?

Chelsea: I think musician and artist are the same thing for me. I approach music in a way that has privacy and integrity and is influenced more by film, visual art, books, than by other music.

WDRKMR: Would you say you have a different persona onstage or on camera than off? What are the similarities and differences between Chelsea Wolfe onstage and Chelsea Wolfe offstage?

Chelsea: No, pretty much the same. A combination of shy and rage. I am pretty moody, not a jerk, but my mood ranges in extremes within a day, show, hour.

WDRKMR: We have been interviewing a number of people working in different creative fields, we’ve found that while disciplines and process change, there are two constants in the creative world: wandering and dreams. Would you say that these things are part of your process? Also, do you remember your dreams? Can you tell us about a dream you’ve had?

Chelsea: Well, last night I dreamed that Rei Kawukabo brought me some Comme des Garçons dresses in different shades of red. Usually my dreams are very elaborate, like little movies, with lots of colors and shapes. When I was younger I had night terrors, I would scream in my sleep, but really I was just having these repetitive, maddening dreams about one singular object growing large and small over and over. I think it helped shape my perspective of size and distance, which is really kind of off. If you didn’t mean literal dreams, I’ll say I also find dreams as in goals very important. It wasn’t until I started admitting that I wanted to succeed as a musician that I found a single ounce of success. And I still have a very long way to go!

WDRKMR: Can you describe what your process is like?

Chelsea: Creative process? It depends. Sometimes inspiration hits me out of nowhere, like a crush, you know? And I just become obsessed with something without really knowing much about it, or him, or her, and I follow that inspiration wherever it leads. But sometimes I’ll do research on a subject and fill my head with words and pictures pertaining to something that intrigues me and write songs and work on things that way.

WDRKMR:  Are you originally from Los Angeles? I am. Lately I’ve been thinking a lot about the unique creative energy I find in LA and how it differs from New York, or another city where there is a bit more of a street culture and a more confined space to walk through the streets. I spend a lot of time walking with my headphones and thinking of ideas, but in LA there is a different way of using the place to find inspiration because of car culture and the way the city is set up. Is there somewhere you go or a location you find inspiring? Do you use the city in your creative process?

Chelsea: I’m from Northern California, on the outskirts of the capital city. I think the place I grew up influenced me a lot. A big, old, overgrown house across the street from the train tracks and next-door to a railroad museum. Something about forward-motion and nature mixing with humanity. I’ve lived in LA for a year and it has new inspiration. This glittering darkness, the constant sun and smog, dirty and sparkling. I love it. I’m constantly surprised by new areas of LA and the different feel each place has. I don’t mind car culture because I’m not really one to be out in the open a lot. Walking around with a lot of other people makes me paranoid. But I do love New York and I think in a setting like that I’m able to actually forget that anyone is around me and just pretend I’m alone. If I ever get nervous onstage I use that same trick.

Photographs by WDRKMR (Alexander Iezzi & Jordan Robin)
Styling by Jenni Hensler

Top image: neck piece made of broken mirror shards, made by stylist; gloves, Dolce & Gabbana; dress, Gemma Kahng; headpiece, Bevel

Second image: chain headpiece, Mordekai; neckpiece, Gris Gris; dress, Mandy Coon

Third image: fur arms, Logan Neitzel; tunic, Gemma Kahng; skirt, Mandy Coon; belt and wrist cuff, Mordekai; headpiece, Bevel

Fourth image: neck piece made of broken mirror shards, made by stylist; gloves, Dolce & Gabbana; dress, Gemma Kahng; headpiece, Bevel

Fifth image: fur arms, Logan Neitzel; tunic, Gemma Kahng; skirt, Mandy Coon; belt, rings and wrist cuff, Mordekai

Sixth image: metal halo, Mordekai; leather top, Gris Gris; vintage lace top, Christian Lacroix; skirt, Timothy K;
gloves, Dolce & Gabbana; ring, Bevel

Seventh image: fur arms, Logan Neitzel; tunic, Gemma Kahng; skirt, Mandy Coon; belt and wrist cuff, Mordekai; headpiece, Bevel; belt, wrist cuff and rings, Mordekai

Come by Mercury Lounge tonight, November 15, and check out the band The Daylights, in from Los Angeles. Part of the growing indie rock scene in LA, this band is fronted by twin brothers Ran and Ricky (yup) and backed by drummer Svend. Twins and a Svend! I mean, really – what more could you want? If you want more, you can read about thier new album and all that other stuff on their website. Randomly enough, they even open for Katy Perry sometimes- who happens to be in town. Their website says special guests may abound. Do they mean special guests in latex Smurf dresses?

The Daylights will be playing at Mercury Lounge, 217 E. Houston, NYC on November 15. Doors open at at 6:30pm, show starts at 8:00pm. Get tickets here.

Our friends at Family Bookstore are having an opening reception and book launch signing for the LA-based Rap group OFWGKA. Golf Wang features captured moments these friends have spent together and features work from Odd Future, Vyron Turner, Wolf Haley, Brick Stowell, Taco Bennett, Lucas Vercetti, Julian Berman and Sagan Lockhart. I imagine it should be an interesting evening. Here is some music to take you out. Click “Read More” for specifics. Onehundred.