Toro Y Moi is 23 year old American Chaz Bundick, whose chilled out, down tempo beats and ethereal lyrics are gaining attention worldwide.

Article interviewed him on the theme of copying, for Issue 0

For this issue we are looking at copying as a creative process, perhaps because being original, reactive, and subversive is not always appropriate or possible. Do you find copying is a helpful place to start with music?

I think it’s a very helpful way to start. And because things happen in cycles or phases, I think that you, as a songwriter, will eventually move on and create something of your own. for me a lot of my earlier recordings were very similar to artist like Ellliot Smith, Animal Collective, and Broken Social Scene. I was and still am a big fan of the most recent recording sounds and styles.

Chill-wave is frequently used to describe the sound that you share with a few other American musicians (Washed Out, Neon Indian, Best coast etc.) Do you find being in a newly christened genre that you guys copy and influence one-another?

I think we all have similar influences and sounds but I wouldn’t say we influence each other’s sound. But I would say that we push each other to make something new and a step up.

Musicians often list their ‘influences’. Do you think there is a difference between being influenced and copying?

Of course, copying would be when you try to make a template of some sort and then go by it to create something. But influence is when you take in certain elements of that artist.

Who has influenced you?

Some of my influences are J Dilla, My Bloody Valentine, and Daft Punk.

If there was anything that you could copy, what would it be?

I would copy trey songz. and if I could rap, I’d copy drake and lil weezy.

Have you been copied? How does it feel?

I’ve heard bands that say they’ve been influenced by this wave of new music and its obvious. But i wouldnt say it’s copying me because when I listen to it, it doesn’t sound exactly like me.

Toro Y Moi plays at The Harley, Sheffield for Drowned In Sound, July 28.

Curated by Krek, the show featured the works of artists from around UK (Mers, Onek, Nm, Song Oskir Derek & Skotch) who have some relation to the graffiti scene. Featuring photographs of trains, walls and underpasses, paintings, graphics on wood and careful watercolours, this show is well worth a visit.

Watch this space for a interview with Krek and Mers in the upcoming weeks.

More from the man behind these two creative forums in the next issue of Article, the copy issue.

Modart

One of the best street art magazines of the past years, who now have a frequently updated on-line blog and a “best-of” book series. If you are planning a trip to Western Europe and want some cool galleries to go to, this is the place to find out about them! They also post book reviews, photographs of new street productions and reviews of past and current exhibitions and under-the-radar art events.
“Creative action = active creation”

No New Enemies

“A non-profit network, aimed to support independent artists and create public art interventions.” If you want to find some new artists, read about new art projects, artist’s interviews or find out about future exhibitions and get “daily fix” of sweet colourful pics and videos, make this your home page!

In this issue, we are thinking about the use of copying in a creative process - perhaps because being original, reactive, subversive is not appropriate. Do you find copying useful as a way of finding a solution in design?

I don’t think as a designer copying alone is ever a good solution to a brief. Systems of how to work are something you can copy and learn from but creativity needs real inspiration as a starting point. A designer doesn’t want to be told to simply copy something. The reference sample or picture you start off with is only the beginning of the process, intangible things like wisdom, vision, vigour and craft need to be applied before you have a finished product.

Given that there’s a historical awareness to your designs, is there a difference to you in the types of influences you have? How does the researched, historical piece of clothing compare to the continuous stream of images you might see on a daily basis?

The best advice I can give is not to go on the net for too much research. Look outside in your own environment and find something more personal you can get passionate about.

Our brand Norsea came out of our move back to the Yorkshire coast. It was not something we planned but after a while the surroundings and influences came together and a clear direction and aesthetic appeared. Our references are rooted in the everyday all around us, fishing boats, yacht rigging or debris left on the shoreline. You could never get the same feeling of immersion by hitting your keyboard a couple of hours a day while sitting at your desk in an office somewhere.

There’s an idea that the clearer a clothing company’s influences, the more successful it will be. There’s definitely a trend for this now, as seen in workwear and heritage, historical brands. Do you find this need important, either commercially or artistically?

Whether your brand is workwear or sportswear the clearer your message the better. Like people brands have identities, consumers get to know them over time. You align yourself with the brands you feel speak to you. If a brand suddenly changes direction the consumer can end up confused and alienated.

Could you pinpoint one piece of work that you’ve deliberately done as a copy?

I’ve tried to recreate the old Teddyboy jackets that the local fishermen used to wear in places like Hull 1950’s. My Dad has still got one of the originals, it’s hand tailored and fits like a glove.

Is there something you would like to copy / anything that absolutely shouldn’t be copied?

I’d like to copy the longevity of someone like Oscar Niemeyer the Brazilian architect and still be enjoying my work when I’m ninety nine.

Have you been copied?

I get to see inside the design rooms of quite a few leading brands when I do the odd bit of consultancy. I have noticed quite a few Norsea images appearing on mood boards. It’s great that another designer has found inspiration in what we are doing. But in the end their copy of our one of our pieces only ends up further away from the original concept, like a photo-copy, much of the detail is lost.

Dead Ends

Opening Friday 4th of June, 14-18th of June @ The Orchard Centre

You may have seen our post about the book, now here is the exhibition. If you missed it: For eight months photographer Theo Simpson collected discarded dole slips from gutters around Sheffield. He then took them home and lovingly documented them, photographing each one on blank dark background. The Dead Ends Exhibition will show the photos and also launch the accompanying zine, which has been written by Tom Common and designed by Ben McLaughlin.

Child’s Play

Opens Sunday 6th of June, Continues through July, The Forum

Curated by Sheffield’s omnipresent illustrating talent Geo Law, Child’s Play has seen the commission of several drawings and prints by a collection of Sheffield Illustrators including Nick Deakin, Lord Bunn and Jonny Wan.

Too Many Parties

Opening Thursday 10th of June, continues till July @ The Archipelago Works

Illustrator Robin Beck shares an office with Article magazine. He has also made all of the posters that already adorn so many party goer’s walls in Sheffield, having drawn flyers and posters for various nights, including Club Pony, for years.  This exhibition at the Archipelago work, sees limited edition Screen and Digital Prints made onto much nicer paper of some of the best of Robin’s designs