If you can believe it, it's already time for us to release another issue of amadeus. Issue 07 features some of the brightest and most talented artists in our creative orbit! Join us for the release of one of our finest issues to date at OGalleryLA in Hollywood.
Sussingham grew up on Long Island, used to the convergence of assorted cultures and people, all of which he captures in his photos. From city sidewalks to friends' living rooms, Sussingham makes the most of his surroundings, employing his cameras rather than effects to grab the attention of his audience via the attention of his subjects.
Gabriel Luis Perez used to perform as a circus clown. The New Mexico native moved to Texas to make music and DJ in the mid 90s, where he inadvertently fell into playing music for circus performers. In making music for these small time performers he started to take to the community and lifestyle, and started traveling with the circus, eventually becoming one of its comedic acts.
Luka Fisher is like an unofficial mayor of the Los Angeles underground. He's usually working on an innumerable list of projects and collaborations with the city's edgiest and most forward-thinking musicians and artists, and if need be, can act as the connective glue between you and just about anyone in LA's creative realm. We premiere his debut EP "Sleep Gallery" and talk about working in a range of media and eradicating double standards in art.
Portland-based illustrator Clark Jackson's friendly, yet gruesome cartoon illustrations exorcise some art demons from mid-century EC Comics to old Robert Crumb and 90s horror imagery. amadeus talks with Jackson about his first CD with a "Parental Advisory" sticker on it, watching Gremlins and Beetlejuice as a kid, and what he loves about having his worked printed on everything from a vinyl record to a t-shirt.
We chat with Lawrence Azzerad about Red Bull's month-long music festival, having the rare opportunity to speak to the city of Los Angeles at large through the festival's poster designs, and why there is something really crucial about having a proper visual representation for the music.
Living up to their name, Fuzz draws from heavy, caustic, fuzz pedal-worshiping and psychedelic acts of the past to heave forth an impressive 14-song double album made for headbanging and the cultivation of thick as cement darkness.
Sometimes Bryan Peterson will sit in the back room of his Los Angeles house for eight hours at a time. Streams of colorful, wavey, psychedelic glitches cascade an old boxy TV screen, while Peterson sits to the side of the monitor, usually tinkering and twisting nobs on a large mixer of some sort, and pushing the 'A' and 'B' buttons on a Gameboy color that he custom wired as a vessel to perpetuate his digital art.