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Recovery Through Self-Portraiture

By Kiele Twarowksi. Read our interview with Kiele about the release of her new photo book, Longing, here.


Following the emotional ending of a relationship that was almost as tumultuous as my mental state during said relationship, I thought I was losing my mind. Intrusive thoughts of suicide led me to seek intensive therapy because Prozac and meeting with someone once a week for an hour wasn’t cutting it. I was severely depressed, heartbroken, and a complete anxious wreck. I began treatment at a partial hospitalization program, where I heard the word recovery used almost daily. For the past eight months or so since then, I have grappled with this word and idea.

When I went to residential treatment, an even higher level of therapeutic care than partial hospitalization, in October, I was told that I wouldn’t be able to have my trusty film camera with me due to HIPAA laws that are set in place to protect patients’ privacy. While I understood this, it didn’t change the fact that having my camera taken away from me was heart wrenching and earth shattering, especially when it was my main coping mechanism for so many months. Without a camera to document my feelings, I found solace in a pen and paper, talking and listening to others in group therapy, and using other media to express myself in art therapy. Still, nothing comforted me as much as holding a camera in my hands.

A few weeks ago I went to see a neuropsychologist to undergo psychological testing, which involved four separate sessions. These lengthy and emotionally exhausting sessions would help me learn more about myself and how my brain works, in order to understand what sort of treatment might be beneficial going forward in my recovery. During a series of questions, my neuropsychologist asked about my sense of identity. After giving arduous answers about everything that has impacted me emotionally throughout my life, I suddenly found myself at a loss for words. I told him that I wasn’t sure how much of me was comprised of my mental illnesses and how much of me was me. I have been dealing with depression and anxiety for as long as I can remember, not to mention several suggestions of diagnoses and some misdiagnoses throughout my course of treatment. This made it hard for me to have an understanding of what my “normal” is, seeing as my life through the lens of mental illness is all I know.

Had you told me just over eight months ago that I would have to withdraw from some of my last credits of my senior year of college, attend three different intensive mental health treatment programs, work with countless therapists, psychiatrists, try taking eight different psychotropic medications, and that I still wouldn’t feel better, I would have probably given up right then. At the time when I hit my rock bottom, I had no idea that recovery would mean months of ups and downs, endless trials and errors, constant breakdowns, hours and hours of therapy, and still no real answer or sense of normalcy to show for it.


I still struggle with this idea of recovery: the idea of returning to a “normal”. I don’t know what my “normal” is, and I’m not sure that I ever will because my mental illnesses have shaped so much of who I am. I believe that I might always be struggling to work with myself, with my illnesses. However, I have learned that there are tools to make the recovery process easier. For me, it was with cameras. Like I said, my sense of identity has been clouded by the fog of various mood and anxiety disorders. For this reason, self portraiture became an incredibly powerful tool. It helped me to see me for me. My photos have shown me visually what I could not otherwise understand. My photos spoke for me when I didn’t have the words to speak for myself. Cameras have not only been therapeutic, but an integral part of my treatment. Even if a return to a “normal” state isn’t attainable because of normal’s relativity, I still believe in the process of recovery, especially when I get to have my cameras by my side through it all.





Alexis Taylor- “Beautiful Thing” Album Review

Alexis Taylor, the British vocalist and keyboardist originally from the band, Hot Chip, just released his fourth solo album, Beautiful Thing.’ Produced by DFA’s, Tim Goldsworthy, Beautiful Thing’ combines glacial pop and electric dance rhythms in order to create a unique culmination of sounds. This is Taylor’s first time working with Goldsworthy and the stylist abilities of the two compliment each other in a way that is enticing, yet understated.

Leading in with a tribal drum beat and synth-pop whispers, ‘Dreaming Another Life’ is calm and collected. With lyrics, “I’m dreaming another life / It’s one I can’t hold inside”, you feel almost paralyzed from the tranquil vocals and are transported to another dimension. The simplistic lyrics combined with the hollow echoes and guitar strums juxtapose the electronic dance sound of the second track, ‘Beautiful Thing’.

‘Beautiful Thing’ wakes you up and you can’t help but nod your head to the beat. The quiet moans entwined throughout the song are reminiscent of Guns N’ Rose’s, ‘Rocket Queen’ and add a mesmerizing quirkiness to the track.

‘Deep Cut’ transfers back into the serene tone that was held throughout ‘Dreaming Another Life’. The soothing vocals as Taylor sings, “Don’t get caught up in what’s not real”, are ethereal and you can’t help but picture yourself drifting away on a cloud of loneliness. ‘Suspicious of Me’ has a cheery atmosphere and the lyrics, “I’ve given up and I feel so much better”, depict the feeling of having a weight lifted off of your chest after realizing there is no point in caring about things you have no control over.

If the 80s taught us nothing, it’s that every good album needs a ballad, and ‘A Hit Song’ is just that for Beautiful Thing. The lyrics ,“I need a hit song / Straight to your heart song”, are the epitome of the track as a whole, and Taylor’s vocals and lyrics delve deep into your soul. The lone piano and a voice are all Taylor needs to mesmerize you and make you nostalgic for experiences you have never had.

‘Oh Baby’ combines Tetris video game beeps with a constant keyboard beat to create a sound that is somewhere between, The Beatles, ‘I Wanna Hold Your Hand’ and Alt-J’s, ‘In Cold Blood’. The lighthearted lyrics, “Oh baby when you hold my hand / You make me feel like a living man”, are a sweet and wholesome change in pace compared to the rest of the album.

Closing off the album with, ‘Out of Time’, Taylor brings you into a dreamlike state with euphoric flute and wind sounds. With a vibe similar to that of Céline Dion’s, ‘My Heart Will Go On’, you can picture yourself drifting away in the ocean with nothing but the stars and sky for miles. The serene sounds burrow into your mind and you are left wanting to leave the track on repeat so the album won’t come to an end.

The whole Beautiful Thing album is an eclectic concoction of beats and lyrics, and an amazing fourth solo album for Alexis Taylor. Beautiful Thing is available on iTunes, Spotify, and other streaming sites!

Review by Emily Brower

The Stress of Buying Concert Tickets

Article by Ella Jones

sideways bobo

by Beau

Have you ever tried to purchase a concert ticket for a popular band, well aware you might have to fight on the web-server for? That you have to be on the ticketing website pressing refresh the moment it strikes sale-time? This was me at exactly 9 am, buying tickets to see the Arctic Monkeys on their UK tour. Let me tell you – it was one of the most stressful buying experiences I’ve ever had.

To provide some back story, the Arctic Monkeys have been on a 6 year hiatus, no tours, no music, nothing for 6 whole years. You would have thought that for any other band, their hype would have died down a bit, that most of the fans would have moved on. Not for the Arctic Monkeys. Though admittedly I was a little late on the band-wagon for the Arctic Monkeys (Ironically, I discovered them just after their AM tour in 2012), they’re the sort of band that don’t just have a one-hit wonder.

Alex Turner, the lead singer, has been relatively active on the music scene, releasing his second album with Miles Kane as The Last Shadow Puppets just 2 years ago. Of course, they did their tour, and of course, I was unable to get tickets (back to that later). So, the hype for the Arctic Monkeys has been kept running truly because of their talent and the pure classics that their albums are filled with. The fans remained strong, despite the band being well and truly M.I.A.

This was until they released a Europe, U.S and UK tour. It all sounds fine and dandy until you realise the complex struggle that is buying tickets for these concerts at a reasonable price, or even getting a ticket at all.

If there is any advice I’d give to you before you try to buy tickets for a band, SIGN UP TO THEIR PRE-SALE! Also, make sure you check your emails the week the tickets are being released because, stupidly, I didn’t check my emails and missed the pre-sale (silly me) for the UK tour. We ALL know how difficult it is to ge tickets in the general sale, so give yourself two chances. Anyway, onto why I have a major issues with the way tickets are distributed.

I’m sitting at my laptop, waiting for the sale-time of the Arctic Monkey’s tickets. I refresh the website a few times, just to make sure it’s fully loaded. I’ve even already signed up for the ticketing website to make my life easier. It hits 9am, I refresh the page, and it doesn’t load. I’m assuming that for every single person on that website at 9 am, the same feeling has hit. Suddenly, it feels like you’re going to fail at buying tickets all because of a web-server. The page is saying the website is busy, it refreshes itself, the same page shows up.

I let it sit for a few moments before I give it up, stressfully locate the band’s website and try that link for tickets. It works (just about), and luckily they’ve added more dates to the tour. Unfortunately, I couldn’t get standing tickets (like I initially wanted) but being under stress, and just wanting to see my favourite band, I bought seats. You might say, “you got tickets – why are you complaining?”, but I’m not always so lucky. For The Last Shadow Puppets I was unsuccessful, and likewise with The 1975.

Since that moment, I’ve been contemplating how on earth we can make buying tickets fair for the fans. I scrolled through twitter to find that hundreds of people were unable to get tickets, instead sitting in website queues waiting for it to crash. You’d have thought  the ticketing companies would have realised the demand these tickets had, and increased the web-server capacity. But it’s complicated business. You can’t identify who’s an actual fan, and who’s buying the ticket just to sell it on for £400 (or £1000 in some cases for these Arctic Monkeys tickets.)

Could ticketing companies potentially spread out their sales by the hour, and hold back tickets to be distributed at different times, so that the website isn’t jammed with traffic at the one time? Should the tickets for each venue be distributed on different days? Perhaps the tickets should go back to being distributed from the box-office of the venue, or is that out-dated in the online commerce world? Would a physical queue be more fair than an invisible queue which might or might not place people in equal places? Maybe tickets should be sold when people buy the merchandise/music, so that only the real fans have access to the tickets?

In conclusion, if ticketing companies start to get their act sorted out, do let me know, because for the last few years they have only let to my disappointment, and the disappointment of 1000’s of others on multiple occasions. Why hasn’t this been sorted out yet?

Riverdale Needs to Rethink How it Depicts Mental Health


Putting aside Season Two (and the fantastically bewildering downhill slide in plot, script and acting), I was obsessed with Season One of Riverdale. For good reason, too – the characters are engaging, the plot tight and fast paced, and the mystery intense. The 13 episodes commanded a viewership of 2 million, and if you’re like me, you binge watched it all in two days, desperate to get to the next twist & revelation.

So, you might’ve missed a few things. And with a three week wait until the next episode, I was back to flicking through episodes from season one. After revisiting the first season, with more attention to detail, I have a couple of issues with the show. Mostly their complete disregard for and glamorization of suicide and mental illness.

cheryl crying

Screenshot from Riverdale, Season One, Episode One

Though there’s been progress in the representation of mental health in recent Netflix originals, Riverdale – like so, so many others – falls back on comfortable American teen stereotypes, and wraps them up in stylized mental illness. We’re not going to even talk about the unrealistic standards set by actors in their mid-20s portraying 16 year olds – insead, I want to discuss the romanticized depictions of death, grief, depression, anxiety, PTSD and suicide.

Jason Blossom’s murder, though the catalyst and mystery of the entire season, seems to have little emotional effect on any of his peers or friends. Honestly – no one seems to have any emotional reactions, (except for Cheryl) despite him being one of the most popular boys in school.

But Cheryl’s grief is depicted as erratic and unbelievable. 80 percent of the time, she’s immersed in cheerleading, boys and parties. The other 20 percent, she’s suffering from traumatic nightmares, anxiety attacks, hallucinations and breakdowns – all seemingly symptoms of PTSD or severe depression, yet made out to be isolated incidents with no effect on her life or mental health. It’s a ridiculous portrayal of grief and how to handle it.

However, my biggest issue lies within the last few episodes. Cheryl’s spiral begins in episode 11, as she reaches out to Polly in her desperation for friendship. She ends up attending the school dance alone, and we see her standing alone in the cheering crowd, before running out in tears without a single person noticing, setting up her extreme isolation.

By the next episode, the revelation that her father killed Jason proves to be her undoing. Cheryl carefully plans her suicide through the entire episode without anyone noticing; giving away her prized brooch, making amends, and quitting her beloved cheerleading. She attempts to reach out to her friends, who don’t notice, and her mother, who shuts her down harshly. Cheryl finally attempts to commit suicide in the frozen river.

An hour later, Veronica and her mum leave Cheryl alone in their house to attend a party. Alone. An hour after her suicide attempt. That night, her friends are in a booth at the local diner, laughing over milkshakes. No mention is ever made of Cheryl’s suicide attempt again – the next day, all is forgotten. But the worst bit is there’s not a single reference to the many signs Cheryl exhibited leading up to her suicide, so carefully written into the script. This could have been a perfect moment to make a point about understanding the signals that point to suicide, yet the show glosses over it without so much as a backward glance.

The majority of Riverdale’s audience is teenagers, streaming the show from schools, lecture halls and bedrooms. The show – as engaging and binge-worthy as it is – glamorizes death, grief, mental illness and suicide. And it does so unconsciously, in the last leg of your multi-hour Netflix session. It normalizes and desensitize issues that need to be brought to the forefront of media, not slipped into a high school drama as a barely developed subplot that’s dropped by the next episode.

Because honestly, it feels like more time was devoted to dying half the cast’s hair red than considering how to portray any of this carefully to a very young viewership. I suppose the takeaway here is – remain just cynical enough to identify the stereotypes perpetuated by Riverdale and similar shows, and don’t get sucked into their unrealisatic portrayal of the teenage experience.


Riverdale Cast Photo, via Cole Sprouse.

“Get Back to The Basics” – An Interview with The Mowgli’s

After a short hiatus, The Mowgli’s have returned, and they are more optimistic than ever. They are currently on a nationwide headlining tour to “get back to the basics” and reconnect with their fans. Katie Earl and Andy Warren took the time to answer a couple questions about their return and how they’re feeling about the future.


This is your first headlining tour in 18 months, what would you say is different from the last time you headlined your own tour?

ANDY: I think after taking a little hiatus, we are feeling more reinvigorated than ever. Going back into smaller rooms and getting back in touch with our fan base in an intimate setting has been awesome, and reminded us why we love doing this for a living.

You claimed that this tour was a chance to get back to the basics, what made you realize you needed to do that?

KATIE: It was less about needing to and more about wanting to. We have spent a year off of the road, re-settling into our lives at home, and we missed playing music for our fans!


You recently announced that you’re extending your partnership with The International Rescue Committee, why is this organization so important to this band?

ANDY: In this day and age, certain causes can trend and be forgotten about in a week. We think it’s important to not forget that these issues just don’t disappear overnight. The refugee crisis is still very real, and we wanted to honor our long standing partnership with them.

KATIE: We have worked with IRC a number of times in the past. They help people all over the globe who have been displaced by conflict resettle into peaceful lives. They will never stop needing help, unfortunately, so whenever we sit down to think about what charity we want to support, they always come up, and it’s always a pretty easy choice.


Sticking with this positive note, despite a plethora of negativity going on in the world, how do you manage to keep up such a loving theme in your music?

ANDY: It’s just important to always keep a positive attitude even when it seems like the world is going to hell. That’s one of the best things about our job. We get to remind people that there’s still a lot of good out there.

KATIE: It feels good to write and sing about happiness in these dark times, so it isn’t really a challenge. We just made the conscious decisions to inject some positivity into a world that can be deeply negative.

Do you have any advice for someone who is struggling to accept this type of positivity that you share?

ANDY: Just keep your chin up and weather the storm. Find solace in things like music and art and friendship. There’s a lot worth living for even in dark times.


How have the reactions been for your latest single, “Real Good Life?”

KATIE: Playing that song every night has been amazing and it has been mind blowing to see how many people sing along with us! Every night, RGL is a high point in our set.

Changing gears a little, which city is your favorite tour spot?

ANDY: We really love Chicago. Always a great time. On this tour, Boston was wildly fun. The entire place was pulsing with energy. Every single person was singing and dancing with us.

KATIE: Too tough to answer! We have made so many amazing memories in too many great cities. There are literally dozens of awesome cities in this country and we have been really lucky to have the chance to play all of them.


Which band has been your favorite to tour with?

ANDY: Oh man, so many good ones. We love Walk The Moon, Dreamers, Family of The Year. Mainland are currently our BFFs.


Do you have any plans following this tour?

ANDY: More writing, shows and hopefully some much deserved time off with our loved ones.

KATIE: Hopefully finding a better balance between home life and touring. We have to tour to get our music and our message out there, but writing and working from home, honoring our mental health and happiness, is just as important to our product. I look forward to finding that balance.

Huge thank you to The Mowgli’s for taking the time to talk with us, can’t wait to see what come next for them. Keep reading to see some photos of Mainland, the band that accompanied The Mowgli’s at their San Diego date.


Article by Joey Reams

Photography by Dilly Halstead

You & I

By Emma Childs

Everyone used to talk about how remarkable it was that we never fought. We didn’t need to, we were best friends and we existed in our world. In our world, there were midnight tea parties and fairy houses and cherry jello for breakfast.

In our world, we had our own language. We operated with glittery winks, eye rolls, and giggles to send our messages from across the dinner table. It drove Dad crazy. We existed together and never worried too much because that’s how it was, us against the world. It was always gonna be you and I.

you & i

But then we grew up and the imagination games became childish and the inside jokes forgotten about. You entered middle school, and I, the little sister, staggered behind. You’d have your friends over and I’d sit in the corner watching you guys play video games. I never joined in but I liked my corner. It meant I was included and wasn’t falling too far behind. You eventually outgrew the videogames and instead, would go upstairs into you room, with the door shut.

There was no way I could sit in the corner up there so I’d stay downstairs. It wasn’t a bad thing, we were growing up, and I knew it was okay because eventually, the friend would leave and you’d open the door and I could come in. We’d lay on the floor and scream angsty pop lyrics to each other. We’d paint our nails and laugh ourselves into ab
workouts. We were still there, together, communicating side by side.

But then you got into high school, and eventually, a few years later, so did I. We outgrew our angsty pop phase and I learned about eyeliner. You tried every activity possible and I stuck to the one that fit. We fought a lot, usually about who could use the bathroom first in the morning, but that was normal, we were teenage girls. We were busy and had
our own schedules, but every morning we’d drive to school together at 7am. During that groggy, 15 minute ride, we were together again. We played along to the radio station trivia contests and made fun of our teachers. Once we got to school, we’d part ways, off to first period, and start our separate days.

But then those rides stopped. You graduated and went off to college in Pennsylvania and I stayed behind on our peninsula. You got a boyfriend and I did too so then they entered our worlds. You’d come home on holidays and on some nights, when I wasn’t with him, you and I would sit by side on the couch and watch Will Ferrell movies. We’d laugh into the darkness and eat way too much toffee popcorn. Something was still there between us, between you and I.

But then one summer you came home and something was off. I don’t think either of us knew what happened but we both knew something had. One night you suggested we go to dinner, just the two of us, to that Italian place that we both love. On the car ride there, I racked my brain for conversation topics that would seem natural; the recent
celebrity meltdown, our parents, that show we both watched last year which we agreed was decent.

We got to the restaurant and let the silence fill the clammy air while we looked over the menus. I mentioned how I might get the gnocchi, you said you were craving seafood. I was examining the marina stain on the tablecloth when you said my
name. I looked up at you. I stared at your moving lips while the words “I feel like I don’t know you anymore” fell out of them. There we were, across the dinner table from each other, just like we had been countless times before, but this time was different. Our giggles had been replaced with frowns and absolutely nothing was glittering. You were
speaking in a dead language that I was no longer fluent in. We’d never had that problem before: a language barrier.

I stared out the window the whole drive home and watched the moon tag along behind us.

We moved on from that dinner and got to a place that was comfortable, a point to where we could exist simultaneously. There’s no animosity between us, I know that, but sometimes that hurts more. It’s the absence of anything at all that stabs me awake in the middle of the night. I had a dream a few weeks ago where you and I were young, back at the old house. We were playing tag outside and yelping with joy in front of the old cherry tree. I awoke and stared at the moonbean on the wall next to my bed, feeling chills spread on my skin. Those girls were so far away, the goofy ones who had fun together.

We live in our own worlds now and it’s been weeks since I’ve last heard
your voice. I wonder if we’ll ever get back to how it once was. Back to the world of fairy houses and nail polish and trivia and toffee popcorn. Back to the world of us. Back to when we thought it was always gonna be you and I.

“Exists in a Live Forum” – Photographer Tricia Stansberry

Local concert photographer, Tricia Stansberry, has shared with us some of her favorite photos she’s taken since the beginning. If you have a liking for local music, small intimate venues, and listen to some of our current rising bands, chances are you’ve seen Tricia’s work numerous times. With camera in hand, and ambitions to capture the night’s energy – raw and on film – she brings to light the moments that faces in the crowd will never forget. From the back-bends of Sunflower Bean, to the bra-clasping boys of Twin PeaksTricia somehow manages to perfectly depict local shows at their memorable moments, without breaking a lens.

Keep reading to find out a little more about why she loves this art so much, and to see a little gallery of some of her favorite moments. (Make sure to check out her Instagram to see more of her work,

“I fell in love with music photography last year at this time, when I first started taking disposable cameras to shows. Gradually I’ve started getting more into film photography and I’ve really found a passion for capturing that raw energy that exists in a live forum. It’s just so full of fun and surprises, and while it can be challenging trying to shoot from the pit, especially at super active shows like Twin Peaks, White Reaper, and The Frights, getting my film back and getting to relive those fun moments makes it worth it time and time again.”

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Walking Out Isn’t Enough

By Sarah Kadous, age 15. First published by the MC Sun.

On Feb. 14, 17 students were murdered in a mass shooting at a Florida high school. On March 14, one month later,  tens of thousands of students across the country walked out of school for 17 minutes to honor the victims’ lives. On March 24, over one million people nationwide marched in protest of gun violence demanding policy reform from the U.S. government.

In just the matter of a month, the youth of America have managed to instigate a movement against the spilling of innocent blood, aptly titled “March for Our Lives”. Generation Z has earned its rightful place in the political atmosphere and it is time this country recognizes that. Nonetheless, every movement needs fuel, and changing your twitter avatars into a colored ribbon, captioning #ENOUGHISENOUGH and carrying a couple of cardboard signs will not cut it.

The fight for gun control is the fight for student lives, and that means all student lives. Acknowledging the issue of gun violence is not complete without acknowledging the issue of violence and brutality towards people of color. We cannot ignore the brown lives that don’t get nationwide media coverage or press infested vigils. As we remember the name Scott Beigel we must also remind ourselves with the names that aren’t as repeated on the news like Hadiya Pendleton and Courtin Arrington and Taiyania Thompson.

Our generation has redrawn lines of acceptance and erased those of stigma, and so therefore this movement must be one of intersectionality. And while the lives lost in Parkland will always matter, many overlook the atrocities that befall PoC and have befallen PoC for decades. Students across the nation should harness the momentum building from Parkland, with the goal of creating positives in all areas infiltrated with violence, in and out of the classroom. This means developing a safe classroom while simultaneously fighting for a solid framework of safety for inner and outer city neighborhoods.

When looking at the history of America’s activist movements, we must take into account their paths in order to learn from them. The Women’s March paralleled the March For Our Lives in its numbers and momentum. What paved the way for the #METOO campaign was not just the pink pussy hats and promises of patriarchal defeat, it was human beings all coming together with a common goal, and then dedicating their lives to it.

no denying

The Women’s March was followed by policy proposals, Hollywood’s Times Up calling for an end to sexual harassment and inequality in the workplace, registered voting ballots followed by votes contributing to the movement, talk shows, magazines, books, congressional discussions, town halls and so much more. The compilation of this commitment  contributed to a new beginning of the construction of a safe and egalitarian society for women.

Bandwagoning approaches come along with most movements, most notably because it is simply simpler. There is no denying that carpooling downtown for a rally is easier than researching and contact your representatives, flooding their inboxes and constantly calling their offices,  but the easy way out never saved lives. Voting is a privilege but it is also a weapon. If our representatives cannot support their constituents, then we must vote them out or become the leaders we hope to see. Start local organizations, talk to your schools, advocate through social media, keep yourself in tune with the world around you, open up your ears for people that share a different opinion than you, start discussions, research bills, support bills, support candidates that support those bills, hold town hall meetings, canvas, phonebank. None of those options include silence.

Walking out on March 14 was a promise we made to this country. We do not get to complain about the threatened  status of safety we currently face if we seldom educated about how it got there and the processes of working with the system to change it.

Complaining doesn’t start revolutions, but ballots do. Giving yourself a pat on the back and expecting change is not enough. Sometimes, ‘enough’ isn’t enough.

Re-Launch Annoucement


If you’re an old Sea Foaming follower, you’re probably wondering what the hell’s going on. If you’re a pre-existing Pure Nowhere follower, you’re probably thinking the same thing. (Unless you follow us on Instagram and are already in the loop!)

Sea Foaming was an art/culture/soul/surf publication run out of Melbourne, Australia, by me (Abby). Pure Nowhere was a music/culture publication based in San Diego, CA, run by Kyla. Several months back, Kyla and I officially partnered our magazines, describing it as an off-beat, constantly evolving collaboration between two teenage girls, determined to combine their platforms and basically change the world of youth media.

Here’s what came of that: 

  • We were both, independently, able to bring our dream print issues to life (both of which are halfway through production!)
  • We were inspired to found Peach Pit Collectivean initiative that begins May 1! (Read more here).
  • Perhaps most importantly, our friendship developed, and we realized we had shockingly similar dreams.

Approximately three weeks ago, I sent Kyla a long-winded email detailing an idea I’d had, and all the reasons it was both a terrible and completely awesome idea. Luckily, Kyla’s very good at putting up with my badly explained plans, and suddenly everything was in motion.

Why don’t we combine our publications??
[ that was pretty much the gist ]

So began a two-and-a-bit-week whirlwind as we tried to figure out the logistics, the possibilities & the problems. Despite my confident assurance that it would take a day or two max, we ended up speaking to nearly a dozen WordPress support people (shout-out to the beautiful Mahanhu, our favourite) and spending hours upon hours on FaceTime, mostly in silence as we worked on the site.

So – what’s changed?

  • Nothing, really.

We’re still publishing just as much music content, and just as much culture content, as originally present on both blogs. Now, it’s just in the same place.

Well – what’s better?

  • We’ll be publishing a new post every day. 10am, AEST, 5pm, GMT-7.
  • Plus, new mixtapes & recommended short films every week.
  • AND, a Pure Nowhere podcast? Coming at you soon?
  • Two print issues, by the end of the year.
  • TONS more collaborations.
  • Plus shows, meetups, tours and more, planned across the world.
  • (you guys aren’t even ready ;) was a hugely important phase in my life. The old Pure Nowhere was equally important to Kyla. The original forms of our publications shaped our dreams, and orchestrated our chance meeting. We’re eternally grateful to our original communities, and excited to see them combine and expand.

Actually, excited doesn’t even begin to cut it. We are exploding. 

Let’s start a revolution, yeah?

– Abby (& Kyla) xo






Spirit Ghost – “Don’t Know Anyone”

Spirit Ghost, the pop-garage-surf project initially based outside of Providence, Rhode Island recently relocated to Austin, Texas and have released their newest single “Don’t Know Anyone”. Started in 2012, Alex Whitelaw writes and records all of the music for Spirit Ghost on his own, but performs shows with a live band. With a sound somewhere between Mumford and Sons and The Avett Brothers, Spirit Ghost combines modern folk rock with bedroom pop in order to create his own distinctly unique sound.

With a vibe similar to that of “Ophelia” by The Lumineers, “Don’t Know Anyone” leads in with a lighthearted tone and folk rock undertones. The lyrics, “Been wasting so much time / Thinking my heart was fine”, are relatable and make you reminisce on all the times in your life when you squandered your thoughts and emotions on the wrong person. The steady drum beat entwined throughout the melody ties together the track and leaves you grasping for more as the final notes fizzle out.

“Don’t Know Anyone” is the perfect single to complement Spirit Ghost’s album, Skeleton Surf Rider, which is being released on May 11th, 2018 and is a strong continuation to Whitelaw’s career. “Don’t Know Anyone” is available on SoundCloud, Bandcamp, and other music streaming sites.

Review by Emily Brower



On March 31st, 2018 at SOMA San Diego, a crowd of teenagers lined up and anxiously awaited the arrival of the Bay Area punk rock band, Mt. Eddy. When the doors finally opened at 6:30 pm, people trickled in and huddled as close to the side stage as possible. The audience grew as the night went on, and as the anticipation rose, we knew that we were in for one hell of a ride.

Kicking off the night was the King Lizard tribute band, Big Fig Wasps, who played a solid 35 minute set with no room for rest. With ethereal howls and screams, the mosh pit started up early and even knocked a few unsuspecting victims on their feet, but they were quick to get back up and into the action.

Taking the stage soon after, were the Los Angeles based psychedelic surf rock band, The Bash Dogs. The group consisting of members, Jeremy Barrett, Nate Barrett, and Nathan Schmok were missing keyboardist, Cole Riddle due to a trip to Bali, but the trio still kept the crowd locked in and hyped up for the third band of the night, GROVE.

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By the time GROVE started their set, there were about a hundred people crammed together and you could smell the sweat and heat in the air. As they played songs, “Way Back Home” and “Killer Whale”, the collective of bodies jumping together was like watching a giant wave. The excitement continued to increase as singer-guitarist, Pat Collins invited the other four bands of the night to join them on stage to sing, The Beatles’ “With a Little Help from My Friends”. There wasn’t a dull moment during GROVE’s set and the disappointment was evident as the band exited the stage.

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The fourth band of the night, Sitting on Stacy, picked up right where GROVE left off and got the crowed up and moshing again. Starting their set with “Fuck Nature” as an intro to “Mailman,” the crowd couldn’t stop moving as the electric riffs enveloped the room. The energy was insane and singer-guitarist, Hoyt Yeatman was so consumed in the music that he broke a string, but still managed close out a clean track. Luckily, Enzo Malaspina of Mt. Eddy offered up his guitar until they could restring Yeatman’s for the rest of the set. The cheers from the audience were overwhelming and the room cleared up quite a bit as the last note rang out.

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Mt. Eddy finally took the stage at 9:45 pm, and those who had left the room rushed back in to get a glance at the up and coming Northern Californian punk band. Singer-guitarist Jakob Armstrong, bassist Kevin Judd, guitarist Enzo Malaspina, and drummer Chris Malaspina filed onto the stage and the screams were loud enough to leave your ears ringing for days. Playing fan favorites, “Wilshambe” and “Metaphor”, the crowd couldn’t help but sing along (much to Jakob’s surprise) and scream the chorus to “Song and Fury”. As well as playing songs from their 2017 album, ‘Chroma,’ they played songs from their newly released EP. The energy and passion that rang through every note played was intoxicating and the heat from the bodies cramming together in a desperate attempt to get closer to the stage as they closed of the night with “Lovely” was suffocating.

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The whole night was a wild ride and one of the best local shows I’ve ever been to. Every band that played killed it and threw every once of emotion they had into the art they were creating that’s all you can really ask for when going to a live show. The feeling of being connected to the strangers around you all because of a mutual love of music is a life changing experience that I will continue to cherish.

Article & Film by Emily Brower