In conversation with .. 6!

In conversation with Cakes Da Killa, Lous and the Yakuza , cozcon, Wayne Snow, James Indigo and many more ...

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FREDPERRY.COM 

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Meet The Team 

@marcel_schlutt @naikee_simoneau @nicphilf 

@nico_sutor_ 

@slaterkarl 

Editor-in-Chief 

Fashion Editor 

Art Director 

Art Editor 

Music Editor 

Fashion Editors 

Marcel Schlutt 

mschlutt@kaltblut-magazine.com 

Naikee Simoneau 

nsimoneau@kaltblut-magazine.com 

Nicola Phillips 

nphillips@kaltblut-magazine.com 

Nico Sutor 

nsutor@kaltblut-magazine.com 

Karl Slater 

kslater@kaltblut-magazine.com 

We live in a scary world today. It’s 

different than before, no more hugs and 

kissing. Our happiness gone away like 

never before. The fear of the unknown 

has arrived. 2020 what a year. Looking 

back on the months gone by, as a new 

year starts and an old one ends, we 

contemplate what brought us joy. 

Thanks to our artists and readers for 

being one of the reasons we’ll have a 

Happy New Year! See you all in 2021! 

Your KALTBLUT Team 

Contributors 

Nolan Parker, Ebry Yildlz, Kennedy Silver, Laura Marie Cleplik, Johanna Urbancik, Magic Owen 

Proofreading by Amy Phillips, Nicola Phillips and Bénédicte Lelong 

On The Cover 

@K.r.l.i.n, @odiseorojo, @gabx_patacon, @caosdemar.ph, 

@roc_lilith & Maha photographed by Tomás Eyzaguirre 

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More page > p.36 

All Copyright at KALTBLUT www.kaltblut-magazine.com @kaltblut_magazine 

KALTBLUT MAGAZINE IS PUBLISHED BY MARCEL SCHLUTT AND NAIKEE SIMONEAU 

All of KALTBLUT´s contributors are responsible and retain the reproduction rights of their own words and images. 

Reproductions of any kind are prohibited without the permission of the magazine, editor and each contributor.

Cakes da Killa > p.6 cozcon > p.26 

Lous and the Yakuza > p.46 Wayne Snow > p.78 

MarcelDune > p.98 James Indigo > p.124 

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Let Them Eat Cakes: 

Spilling T With 

Cakes Da Killa 

Interview by Nolan Parker @saltcvlt 

Cakes da Killa, an artist I’ve had a full crush on since I heard his massive single “I Run This Club” in 2013, has been on 

the scene for coming up on a decade and has worked with some of the biggest names in New York’s Queer underground: 

Mykki Blanco, Rye Rye, Peaches, ANOHNI, Honey Dijon... the list is literally 69 miles long. Initially coming on the scene 

in 2011, Cakes was one of the hottest MCs of the Queer Hip-Hop explosion of the early 2010s; mixing street smarts, Queer 

slang, and his Black experience to come up with lyrics so intensely witty that 3 or 4 listens are required to catch even half 

the references and by that point, his tracks are fully stuck in your head for the next several weeks. Without question, Cakes 

Da Killa was baptized in the traditions of New York’s Ballroom scene. His razor sharpe wit and flow chizzled into 120 BPM 

tracks is what set him apart from other Black, Queer rappers and made his bops a favorite at Ballroom Competitions and 

kikis the world over. 

Cakes released a slew of banger singles in the early 2010s that set him apart and finally, in 2016, released his debut full 

length, Hedonism. And album so thoroughly Black, so thoroughly Queer that New York (and the world) couldn’t handle the 

energy coursing through this massive introduction. Dance floors from LA to Berlin struggled to keep up, begging DJs to 

keep pumping his beats. 

Since his debut album four years ago, Cakes has been sharing bits and pieces, dropping big singles to keep us wet for 

his unabashedly singular style but he’s finally ready to give us another, bigger taste. He’s back with an EP he’s calling 

Muvaland, and it’s a fresh-baked Cakes. He’s serving up a huge house music feel that sacrifices none of his signature 

wit or cutting flow but adds a production and musical depth that we haven’t heard from him before. “Don Dada”, the 

unfuckwithable first single from Muvaland is a sweaty floor filler that brings a big Brooklyn aggression that forces a boogie. 

A boogie that makes you forget that we’re stuck at home and chatting with that cutie on an app that you won’t be able to 

grind on for another year. The infectious beats and urgent sirens demand serotonin that you forgot your body is capable of. 

Cakes was sweet enough to carve out some time on Zoom to spill the T about Muvaland, “Don Dada”, and all the goodie 

goodies he’s been cookin. 

I feel like I have to ask: How is 

everything? How’s quarantine been for 

you? 

I’ve just been maintaining. I think the 

main thing that’s been affecting me is the 

fact that my travel has been limited and 

has affected my money flow a little bit. 

But I’ve just been staying optimistic and 

working. 

Nice. Where are you right now? I heard 

that you were in Atlanta for a second but 

that you’re now back in New York. 

Yeah, I was down in Atlanta for a minute 

but it was like a sabbatical. I’m back now. 

[laughs] 

[laughs] Cute. Also, happy birthday! What did you do to celebrate 

your new decade? 

Thank you! I had an intimate, socially distanced rooftop party with a 

couple of friends that came over. I turnt 30 so I had to do something… I 

mean, I haaad to. 

It’s a big deal and anything to get a little escape from everything 

that’s been going on! So with your new EP, Muvaland, you bring this 

big housy mood that we haven’t heard from you before. What’re the 

big influences on the EP and why the switch to a more house feel? 

Well me writing my music, a lot of the times I was not giving the full 

picture of artists and styles that were informing me. I was trying to 

make something that I thought would be more palatable to certain 

people where now, with Muvaland, I’m reverting back to my first 

mixtape where I don’t give a fuck anymore. So it’s not really tapping 

anything different, it’s just giving a more full picture of me as an artist. 

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Photos by Ebru Yildiz @ebruyildiz 

Clothes by Landeros New York @landerosnewyork 

Styling by Andre Landeros Michel @andrelanderosmichel 

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“... shade is only cute 

a place of intelligence 

when it’s rooted in 

So you’re still going to hear the same 

hip-hop lyricism and flow but sonically 

more of a Deee-Lite type sound and 

a different type of producers like 

Cashmere and The Basement Boys. 

Things that I listen to more on the dayto-day. 

To me, Muvaland is giving y’all 

my taste in a more full picture. 

Totally. But why make that switch 

now? 

I think after I filmed that reality show, 

[Netflix’s] Rhythm + Flow, I realized 

that, even though I’ve always been 

myself, there have been things in my 

career that I was putting through a filter 

for certain people. After the show, I 

realized that those certain people just 

aren’t going to like what I do. So why try 

and market it and make it something 

that people can consume? It’s best to 

just do what you want because that’s 

how I came in, just doing what I want. 

I just have to be true to myself, you 

know? 

We all really just need to be ourselves 

these days or mass media and 

consumer culture are going to swallow 

up true creativity. So what’s the idea 

behind Muvaland? 

The EP started as a one-off I was going 

to drop with Proper Villains. I decided 

to put out an entire body of work since 

what we did sounded so good. The 

pandemic was just starting and I wanted 

to put out something that documented 

what I was dealing with at the time in 

my own way. That was months ago and a 

lot has transpired since then. I still love 

the music! I believe releasing it now is 

even more essential considering how 

chaotic the times have become. We all 

need a little escapism. 

Fully agreed! You’ve mentioned Funeral Parade of Roses as being 

an influence on past work. What were the major influences for the 

“Don Dada” video? What’s the concept/message? How was it filming 

during the pandemic? 

Some of the major influences were a few different films like Mahogany 

starring Diana Ross, blaxploitation films like Cleopatra Jones and 

Catwalk, a documentary starring Christy Turlington and other 90s 

supermodels. The song as a track was more about me reestablishing 

myself and my confidence as a lyricist. Hyping myself up as I 

reintroduce myself to the music scene. With the visual, I wanted to 

expand that to include all black people, specifically dark skin black 

women who face a lot of negative drama based on colorism. Filming 

was very simple considering I have a roof. It was really, really hot! The 

hottest day of the summer it felt like. 

Well you looked great in that tennis skirt. I’ve also really been feeling 

your homemade “Don Dada” videos on IG. What’s the story behind 

those? Are you just giving your fans what they want or are you 

trying to say something more? Are you trying to emulate your live 

performances? 

I’m just trying to give the gays exactly what they want. It’s all about the 

content. 

Do you feel that you’ve lyrically changed with Muvaland? Did you 

spice it up or spice it down? 

I don’t think so. I think as a writer I’ve evolved because I’m not the 

same person I was when I was 21. Granted, I still rap about blowjobs, 

it’s just in a more sophisticated way. And I think with me developing as 

an artist I’ve experienced more things so I have more to write about. 

I also feel that I get better with time. It’s not anything I’m trying to do 

strategically, you know? This is where I’m at very genuinely. 

Speaking of you as a writer, you’ve got a volume of short stories 

coming out? 

Right! I’ve fucking working on this shit since I was like 16! I wanted to 

have 100 pages done by my 30th birthday and I completely missed that 

deadline. But I’m still staying optimistic about it because all the gays 

are putting out all their books and I think it’s great. When I was 

coming up there wasn’t a ton of Queer, Black reads. Especially 

if you wanted a more modern voice. People would always 

reference older generations, which I still think you need, 

but I think we need that modern take on the Gay and 

Queer expierence. So stay tuned, my shit is coming 

out too. 

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when it comes from 

or wit. It’s never cute 

insecurity.” 

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What would you say to the Queer kids 

coming up right now in the Queer hiphop 

scene that might have it a bit easier 

than you did growing up without the 

(deserved) exposure of Queer hip-hop 

and Queer culture in general? 

Firstly, the new Queer kids coming up 

need to have a better appreciation and 

understanding of Queer history. I had to 

literally dig through books at the library 

and stumble on old docs to get a clearer 

picture of myself. You have it so easy, 

it’s right at your fingertips and you’re 

clueless and think you’re so innovative. 

Do your research. I don’t get that. Also, 

shade is only cute when it comes from a 

place of intelligence or wit. It’s never cute 

when it’s rooted in insecurity. Lastly, stop 

fighting at every function I’m trying to 

enjoy a cocktail while I still can. 

What’re you gonna do the second you 

can unquarantine? 

I’m definitely quitting my 

job and getting on a 

plane to Berlin. Like I 

can’t, it’s too much. I 

will be on an EasyJet 

flight to Berlin, 

period. 

Check out 

Cakes’ new EP, 

Muvaland, out 

now on Classic 

Music Company. 

Instagram 

@cakesdakilla 

cakesdakilla.com 

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Gender 

is just a 

Label 

Creative Direction + Photography Karl Slater @slaterkarl 

Styling Kennedy Silver 

Model Kyle Nathan @_kyle.nathan 

Clothing has always been synonymous with gender, weather 

it be a light weigh fabric or a heavy tweed we almost 

instinctively know what gender is attached to that fabric and 

or garment… or is that what we have been lead to believe. 

Fashion is a human construct and humans placed a gender 

to the items we wear. Once pink was a colour for boys and 

though 80s advertising it became connected to girls though 

mass market toys sales, Barbie and Disney princesses. 

Growing a generation thinking that pink is only for girls. As 

we look into the past that thinking set can be seen for gender 

too.. It’s time to re-define gender for the future, because in the 

end gender is just a label. Slater explores using women wear 

attempting to redefine what masculinity and femininity are 

within the realms of editorial fashion. 

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Maxi Dress & Necklace- ASOS DESIGN 

Earrings- Topshop 

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Maxi Dress & Necklace - ASOS DESIGN 

Statement Earring - Sacred Hawk

Bodysuit & Necklace - ASOS DESIGN 

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Maxi Dress & Necklace- ASOS DESIGN 

Earrings- Topshop


Statement Earring - Sacred Hawk 

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Sequin Cami - Miss Selfridge 


Bodysuit & Necklace - ASOS DESIGN 

Sunglasses - Jeepers Peepers 

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Maxi Skirt - Lace & Beads 


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Jumpsuit - ASOS DESIGN 

Necklace - Pieces 

Sunglasses - Vero Moda 

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Jumpsuit - ASOS DESIGN 

Necklace - Pieces

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Loud and Proud: 

cozcon’s artwork 

is eye-opening 

Interview by Naikee Simoneau @naikee_simoneau 

Cozcon’s work is pro-femme, pro-black, pro-brown, pro-fat, pro-hoe, pro-queer, pro-trans, 

pro-sex workers, and we’re so here for it. Every time one of their artworks pops up in my 

timeline, it gives me power and strength. With an overt sense of fashion, cozcon’characters 

are always ultra stylish. Not only is their art pretty, it also has something to say. And in these 

difficult times what better weapons than some pencils and a piece of paper?! 

Tell us about your creative background 

– when did you first start illustrating/ 

what really pushed you to do so? 

I’ve been drawing since I was little; like 

probably around 5 years old. Like a lot of 

kids, I got the crayons and the coloring 

books but once I got started I never 

stopped. 

What medium/tools do you feel most 

comfortable with when creating your 

work? 

Pen and paper all day, everyday. When 

I’m working in pen, the baseline is 

control with the option to bring in 

chaos. I love that. Crisp. Bold. Sure. 

All the things I want to be. 

Your sketchbooks look incredible. On 

your Insta you encourage people to get 

a notebook and draw everyday for at 

least a few minutes. What comes first 

in your case, words or shapes? 

I think the warmups that work the 

best for me are things like doing detail 

work which basically entails adding 

things like patterns to illustrations. I’ve 

always liked the idea of writing out the 

alphabet as a warmup, too. In a way, 

drawing just means writing out letters 

in strange ways. Almost like when you 

say a word enough times that starts 

to sounds like nonsense. Drawing is 

creative nonsense. 

Your illustrations refers to politics, genders, 

race.. do you think that as an 

artist it’s a duty to be engaged? 

I think this year definitely made me feel a 

duty to spell out what previously was always 

up for interpretation. I think being Black in 

this country means that anything you do is 

a political act in one way or another. Being 

a Black artist is an *incredibly* political act. 

But in general, before this year, I’ve always 

been focused on the multidimensionality of 

women and femmes. It’s been at the heart of 

everything I do, even when I was a kid. 

I wish more people were like you 

empowering women and femmes especially 

in our community. How come this fight was 

always so close to your heart? 

It matters to me because femmes built my 

world. Femininity has always been what I’ve 

modeled my inspirations from. Women in film 

and cartoons and female musicians, women 

and femmes in my life-- they’ve informed my 

posture and language. It’s all I know. When I 

create work that upholds women and femmes, 

it’s basically upholding my heroes and role 

models. 

Fashion is also really strong in your work - 

where did your references come from? 

Fashion is *everything* to me. It’s my grand 

obsession. Simply put: it’s a cross section of all 

that has ever been synthesized to speak on all 

that can be. What is more inspiring than that? 

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“When I create work 

that upholds women and 

femmes, it’s basically 

upholding my heroes 

and role models.” 

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You’re based in the US, and sadly I really 

think that your situation as a 

QTIBIPOC is way harder there than here 

in Europe (even tho its far from being 

perfect). How are you right now? 

I’m here. 

Do you feel any way to hope - changes 

possible? 

I don’t know if hope is the right word. I 

think younger generations, including mine, 

are seeing just how deep the gaslighting 

and intricate nature of antiblackness truly 

goes. Our aches and pains are more 

validated than ever. We’re laying down 

because we’re allowing ourselves to be 

tired. We’re crying because we’re allowing 

ourselves to be wounded. We’re screaming 

because we’re allowing ourselves to feel 

wronged. I hope we can find new ways 

to heal ourselves within the 

community. If I have hope, 

it’s a verb. 

Where can we buy your amazing work? 

First of all, thank you! You can purchase my work by heading over to etsy 

or messaging me directly on Instagram. 

What is the message you want to get across to viewers of your work? 

Women and femmes make the world go ‘round! 

Have you found any other work/artists to be really inspiring currently? 

1. the paintings of Brittney Leeanne Williams 

2. the song “Along The Coast” by Azealia Banks (it’s not new but it’s not 

getting old) 

3. the Spring/Summer 2017 Céline collection 

4. Pedro Almodóvar movies. 

What is your ultimate goal? 

To make work that makes me happy and makes people feel good... and a 

beautiful apartment with high ceilings with lots of plants and sunlight. 

Instagram 

@cozcon 

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The Rise of the 

Aphrodites 

The Queerdos Calendar 2021 - behind the scenes 

Text by Naikee Simoneau @naikee_simoneau 

Same but different. After last year’s success of our charity calendar project, we decided to do it again this year. And 

we will probably do it next year too. Raising money for an organisation that is in need is the goal of the project. 

After our first edition collecting funds for GALDT e.V, this year we are choosing to raise awareness and money for 

Trans*Sexworks. The calendar was made in the Creative Berlin Space, who let us use their photo studio for the 

charity project. All the benefits of the calendar will be donated to Trans*Sexworks. 

Trans*Sexworks is a network and community support project run by trans sex workers for trans sex workers. The 

focus is the support of our migrant, street-based colleagues working on the Frobenstraße in Berlin. They aren’t social 

workers, working within a hierarchical structure with a clear set of rules, but more like a friends circle helping 

wherever help is needed and support can be given. They hand out condoms at night, bring food and drinks, help 

people buy groceries and hygiene products, lend money, translate documents, help people find shelter, acompany to 

appointments (doctors, Police, counseling...) and support our trans siblings in many other ways. Not only do they 

offer practical support, but they also raise their voices together to fight stigma and to help improve the working 

conditions of trans sex workers. This project is volunteer-run and only receives minimal funding from the city. To 

go into some more details about the work Trans*Sexworks is doing, we asked Caspar Tate, who is a member of the 

group, a few questions. 

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When did Trans*Sexworks 

start and why? 

The Project was started 6 Years 

ago by EmyFem and KAy Garnellen, 

because there was no 

Organisation or Project focused 

on helping trans sex workers or 

even giving them a safe space. 

Could you tell us about the 

Frobenstraße history ? 

Street-based sex work has been 

taking place around the Bülow- 

Kiez since 1885. The Frobenstraße 

is where trans women 

work and sadly there is not a 

lot of recorded history on that 

street and the trans women that 

used to work there, unlike the 

area where the cis women work. 

We do know though that the 

street used to be divided in Preand 

Post-OP haha But now the 

trans Women that have had genital 

surgery often go work on the 

street where the cis women are. 

In the last four years, less and 

less clients have been coming to 

this area and even before corona 

business was bad. Five, ten 

years ago women could make 

hundreds of Euros a night. Since 

the 90s its been mostly migrant 

women from eastern european 

countries working the streets. 

On the Frobenstraße in the last 

few years mostly türkish-bulgarian 

women have been working 

there. 

sex work and sex work organisations aren’t talking about the disproportionate 

number of trans colleagues. Trans sex workers are subject to transphobia/ 

transmisogyny and whorephobia. 

What are the best ways to help? 

Keep reminding people of the issues that trans sex workers face. Donate your 

time and money to projects like ours. 

How did Covid-19 affect your work as volunteers and the work of the streetbased 

sex workers? 

In our project we can no longer use the rooms from an other organisation that 

we used to use for the “Trans Dinner” and now we have to do everything outside 

on the street. 

For street-based sex workers the financial impact of covid-19 is extremely devastating. 

Many are unhoused and in debt. 

Is the state / city helping in any way? 

For trans sex workers not so much. Our project is funded a little bit by the Anti-discrimination 

Office (LADS) but we have no paid staff, no office and we are 

not allowed to buy food or drinks with the funds. There is some support for cis 

women and cis men but it’s not enough. 

Instagram @caspar_tate 

transsexworks.com 

@transsexworks 

Order your copy on kaltblut-magazine.com 

What do you do there? 

We hand out food, drinks, condoms, 

lube and masks now 

during corona. Isabelle and I are 

like community organisers and 

friends. People come to us when 

they have an issue or a crisis. We 

help people access emergency 

housing and doctors’ visits. 

I often help navigate the counseling 

sector and help make 

appointments, remind people 

of these and even accompany 

them if they wish. We also do a 

lot of work with the press, other 

organisations and politicians to 

try and get help to come. 

Why is such an organisation so 

important? 

No one seems to care about 

trans sex workers. Trans organisations 

aren’t talking about 

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The Rise of the Aphrodites - The Queerdos 

Calendar 2021 is a non-profit project. All of the 

benefits made will be donated to Trans*Sexworks. 

Trans*Sexworks is a network and community 

support project ran by trans* sex workers for 

trans* sex workers. 

kaltblutmag.bigcartel.com 

Photography Tomás Eyzaguirre tomeyzaguirre.com @tomeyza 

Styled Esteban Pomar estebanpomar.com @esteban_pomar 

Production & Graphic Desing Naikee Simoneau @naikee_simoneau 

Photography assistant Fiona Castiñeira @viking_a 

Styling assisstant Nane Meyer @nanemeyerr 

Set Design Alin Bosnoyan @alinbosnoyan 

Hair & Make -up 

Sarah Hartgens @sarahhartgens using @fentybeauty 

Felix Stößer @felixstoesser @basicsberlin using @fentybeauty 

@bumbleandbumble 

With loving and helping hands @j.f.k.cut.color.curls 

Models @purrja, @kalil_dance, @steve_katona, @isshehungry, 

@sele.minga, @esteban_pomar, @yourhypebitch, @cuadrado97, 

@leon.ution, @lanegrot, @thebishopblack3000, @K.r.l.i.n, 

@odiseorojo, @gabx_patacon, @caosdemar.ph, @roc_lilith 

& Maha 

Special thanks to Creative Berlin Space, 

Rolf Scheider and Kai Sistemich 

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Lous 

and the 

Yakuza 

Interview by Marcel Schlutt @marcel_schlutt 

Photography by Laura Marie Cieplik @lauramariecieplik 

The songwriter, singer, and rapper Lous and the Yakuza has fled 

one war and lived through the aftermath of another. Now, bridging 

continents, she tells an autobiographical story with her outstanding 

debut album. The genre-fluid artist blends sultry hip-hop with 

harsh trap beats to create tracks that are both a declaration of her 

resilience and an exploration of Generation Z concerns, including 

race, loneliness and despair. 

What is behind your mysterious stage name - and who are the 

Yakuza? 

Lous is an anagram for soul, I’ve inverted the L and the S to make 

it Lous. This is a direct reference to my strong attachment to 

spirituality. The Yakuza are the beautiful people that are part of 

my team, because I’m not alone in this project, we’re all Yakuza, 

all part of the team. Yakuza actually means ‘loser’ in Japanese, but 

in a positive way, like ‘being out of the box’. I believe the people 

surrounding me are all very special in their own way. 

What elements from your culture can we hear on your debut 

album? And how important is your origin for your current 

sound? 

I think it’s the percussion, some ad-libs, the way I sing actually 

because I’m African so whatever I do is always gonna sound African. 

It could be neo-African, like very new wave, new vibe. Because the 

fact that I’m African makes everything Africanized. In songs like 

“Amigo” or “Solo”, I think the percussion is very Africanized. 

Your debut album is entitled “Gore”. What do you want to tell 

your listeners with the title? 

I named my album “Gore” because ”Gore” is a genre of horror 

movies. It is one of the subgenres. It says that, that kind of way to 

film is so violent, brutal and bloody that it becomes absurd and 

funny. I think at some point my personal life was so hardcore and 

very difficult that it became absurd. Absurdity can have a funny 

aspect. When I see my life I’m like it’s better to laugh than cry 

about it. Because there is always hope. My whole experience has 

been very hard for a couple years but at the same time I had a laugh 

about myself. In a nice way, not to mock myself or to be negative. 

I had a laugh at seeing the better side of it. To be joyful instead of 

crying and being desperate. That’s why I chose the word “Gore”. 

Life can be very dark sometimes and this album is very much a 

testimony of my strength. That’s why I said there is always hope. 

47

“If we wanna 

have a change 

we need to 

change what’s 

happening in 

actual real life 

so we don’t 

have to sing 

about racism 

anymore.” 

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In your songs you sing about topics like everyday racism, homophobia, misogyny 

and the fight for an open, tolerant society. How important is it to attach political 

messages in your work? 

Even though it is not the only goal of my album, my music is political and carries a 

political message. I really want to fight for a lot of different causes, and music allows me 

to do that. In this album, there are songs about rape, prostitution, poverty, differences 

… It allows me to highlight some themes that aren’t displayed otherwise to all kinds of 

audiences. 

As a natural multilinguist, is there a reason why you picked French as the exclusive 

language used on “Gore”? 

“Gore” is an autobiographical album, it’s been my life for the past few years. French 

being my mother tongue, it seemed to me to be the only language I could tell my story 

in all honesty and authenticity. 

What does the creative process look like when you produce new songs? 

I write my own songs. Everything in the album comes from my personal experience, 

which is how I create. As for the more technical part, the album was produced by El 

Guincho who helped me with putting an order in my thoughts. With discipline and 

regularity, we managed to go where we wanted and create the sound that corresponds 

to my vision. 

What was it like for you to suddenly be a kind of figurehead in the BLM-movement? 

And why is it important for you to use your platform as a voice for Black womanhood? 

I want to use my platform as a voice for Black womanhood because I’m one myself. 

I think I have a responsibility for my little sisters, for strangers, for everyone really. 

I think we are all responsible for something, You can be responsible for anything. I 

feel responsible for others and not only Black people and Black females, but mostly 

people. I wanna be a good example of everything. I’m a human, I make tons of mistakes 

and I hope people would forgive me like I would forgive them. But in the meantime, 

I have this responsibility to give a good representation because we are lacking in 

representation. We don’t have no Black female singers in Europe. We have maybe 3 or 5 

that we can name but the rest have no visibility. There are tons of super talented Back 

women but we don’t see them because they never get a chance or anything. 

It’s very hard to get to the place I am today. And I think that’s why I wanna talk about it. 

People suffer and I’m either not sensitive to it and I don’t say anything or I’m sensitive 

and I talk about it. Because talking about Black people it’s really about talking about 

myself, my sister’s experience, my brother’s experiences. In a nutshell, I am giving 

a voice to a problem that is not well received yet in Europe. I think the conversation 

is very open in the US because they have been talking about it, they have been vocal 

about it. I think in Europe we are very much at the beginning and I think as an artist 

it’s important to talk about things that happen outside. And as I always say, the reason 

why I talk about it in my music is because it happens in real life. 

If we wanna have a change we need to change what’s happening in actual real life so 

we don’t have to sing about racism anymore. We all wish we didn’t have to talk about it 

because as I always say being Black is only to have more melanin. So it’s very stupid to 

just talk about melanin. But the problem is that the same beautiful melanin has gotten 

us into a lot of issues that we have no control on and created this system that I wish 

never existed. Because it does not allow people to be free. 

All I want is for people to be free and be whoever you are, whatever your skin colour is. 

I just want you to be free and do what you wanna do, mind your business and be happy. 

In addition to music, you also use fashion as a form of expression and have just been 

seen in campaigns for Louis Vuitton and Chloé. How important is fashion to you in 

your videos? 

In my everyday life, I dress according to my state of mind of the day. Sometimes I feel 

like a warrior and I’ll dress in a “hip-hop” and a “masculine” way, other days I’ll feel 

very confident and I’ll dress like a diva! I like to play with my look, it expresses different 

faces of my personality. 

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As for the videos, the artistic director 

and myself really think a lot about 

it for all the looks to be coherent 

and mean something Whether it 

is a reference to a painting or a 

metaphor for a concept. 

Which artists in 2020 inspire you 

the most? 

On the international scene James 

Blake is definitely one of the most 

influential artists to me. Towards the 

French-speaking rap scene, Damso, 

who is also a friend, is someone I can 

relate to on a professional, personal 

and musical level. 

What’s the biggest lesson you’ve 

learned on your journey so far? 

The biggest lesson is… I can never 

be perfect, I will make mistakes, 

and I will have to forgive myself to 

move forward. I always wanted 

to be perfect and beat my 

imperfections, which was a 

big problem because you 

can never be perfect. I 

will never be perfect and 

I had to learn that along 

the way and understand 

that I had to forgive myself 

to move forward. ‘Cos if I hate 

myself I can’t do shit. So I think 

forgiving myself has been one of 

the greatest gifts I gave myself. 

Instagram @lousandtheyakuza 

lousandtheyakuza.store 

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Wanna be in our gang? 

www.grrlgangberlin.com 

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AND ... 

Photographer Ashish Chawla 

@ashishchawlaphotography 

Photography Assistants Nishant Gautam 

@nishantt.01 

Neelakshi 

@neelakshi_yadav 

Stylist Gaurav Bhatia 

@gauravbhatiaaa 

Talent Bidhuri 

@divyambidhuri 

Raj Dobriyal 

@raj_dobriyal 

Talent Agency Inega, India 

@inega.in 

Hair & Makeup Ank Chikara 

@ankchikara.artistry 

Retouching Arun Keswal 

@arunkeswal 

Wardrobe Partner QUOD, New York 

@quodnewyork 

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HELP SEX WORKERS IN LATIN AMERICA 

The COVID-19 pandemic has meant a rise in precarization for many people, among 

them, the situation of sex workers (both trans* and cis) in Latin America has been 

particularly perjudicial. Many cannot work and are persecuted by the police; the 

absence of an income source has left many sex workers without a home and without 

basic resourcers for their survival or deprived of incarcerated. 

As a group of sex workers and allies who live in Berlin we are fully conscious of 

this situation adn we want to help our siblings and colleagues from Latin America. 

We are in contact with collectives from Chile and Argentina which assist a 

great number of sex workers in in each country. 

We need your support to help them through this emergency situation and these 

times of scarcity, uncertainty and difficulty, in which sex workers are one of the 

most affected sectors. 

With your donation you’ll be helping the following collectives and a lot people 

with them: 

- Catxs & Las amigas de Sandra (Argentina) 

- Amanda Jofré (Chile) 

- Haciendo Calle (Mexico) 

Donate here 

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Searching for 

balance in our 

chaotic world: 

In conversation 

with Wayne 

Snow 

Interview by Johanna Urbancik @johannaurbancik 

Photographer Antonio Pedro @topedros 

Art Direction & Styling Megan Courtis @meganjcourtis 

Wardrobe Nina Zimmermann @am.i.pinky 

Nigerian born, Berlin-based artist, Wayne Snow, draws inspiration from curiosity and 

emotional rawness. Together with French producer, Darius, the duo has yet again released two 

dream-like tracks that have Darius signature sharp beats graced with Wayne’s angelic, soothing 

voice and thought-provoking lyrics. ‘Equilibrium’, a colourful, groovy track was the 

duo’s first single followed by ‘Apology’, which was Wayne’s response to 

this year’s Black Lives Matter protests. 

We (virtually) caught up with Wayne to discuss his 

need for challenging himself, his collaborations 

with Darius and his diverse influences. 

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How are you doing? 

I’m good. I’m good. 

What’s the weather like in Berlin? I’ve heard it’s very, very cold now. 

Cold, yes. I went boxing this morning. It was very grey and bleak. Sad, 

you know, it’s very sad weather. (laughs) 

Moving on to happier things, can you tell me a little bit about your 

latest single? 

So ‘Apology’, what should I say? Let’s say, it’s the other phase of 

‘Equilibrium’. ‘Equilibrium’ is shiny and sunny while ‘Apology’ is 

slightly darker. Not in the sense that it’s evil, it is just a bit more grey 

and the tone is more serious. 

The idea behind it was to have this conversation about mostly race. 

Because you had the Black Lives Matter movement, and I thought it 

would be a good way to express this concern. That’s why we added 

it to ‘Equilibrium’. And so the idea in ‘Apology’ was a way to amend, 

a way to try to find some kind of a conversation, a positive, calm 

conversation, and to move along. It’s to recognise that these things we 

all deal with and carry with us are not solved yet, and we have to talk 

about them, and then move forward. 

I’ve read that the track was written and pretty much produced in 

one studio session. How does the collaboration or process work, 

especially when it’s done in only one session? 

This generally happens with most tracks that I do. When you hit the 

right key, everything just comes out as something logical that just 

makes sense. When working with Darius, however, we sometimes have 

some difficulties trying to find the right thing to do to a track. That’s 

why we now just put it aside and continue at a later time. 

And so when this track [‘Apology’] came, it just came like something 

logical. I usually start with the general vibe as well as general universal 

emotion in a track and then I try to find the underlying theme, such 

as politics, or something like that. And I’ve always believed that as a 

singer, you’re supposed to say something meaningful about the music, 

which is completely abstract, you know? Darius is always trying to 

find the right topic for me and that’s how we work together. Once we 

have the topic or the general vibe, a session could be around an hour, 

or two, until we finish a track. 

That’s cool. And how would you say your creative process has 

changed from your first releases to now? 

I think my problem is that I will never find the same thing and that’s 

why I don’t consider myself as a producer. I don’t have my own home 

studio section, where I do everything. And the reason behind that is 

just that I constantly need to be challenged, to be challenged when 

I’m in the studio, and there is music going on, and I feel that I have to 

deliver immediately. When I go to someone’s place, the fact that I’m 

somewhere else means that I’m there to deliver so we have to work 

and get something done. I constantly move and shift from one place 

to another. I think you can tell by the way I sound in most of my tracks 

that the emotion is always different. I get this feeling and I try to just 

do what I feel at that moment. 

I would say I never did the same thing twice. Whenever I release a 

track, and then another one and another one, that just means that 

there’s something wrong inside of me that I am dealing with. 

You mentioned before that you always challenge yourself. Is the way 

you challenge yourself that you go to different places, or do you have 

many different ways of challenging yourself? 

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“I tried to express this 

notion of Yin and Yang at 

this moment where you 

wake up, look at the world 

and it’s in total chaos” 

Well, one of the ways of challenging myself 

is to go into someone’s house. House in the 

sense of a studio, or creative space. And of 

course, knowing this person very little, but 

for this person to then share a fragile part 

of themselves with me is how I challenge 

myself. I generally feel like each track is 

just trying to capture this very private, 

intimate moment of myself and the people 

I’m working with. 

I watched the video to ‘Equilibrium’ and 

it’s very powerful and colourful. Do you 

get involved with the direction on where 

the video goes? 

Not that much anymore. Alice Kong, who 

directed the video, is an acquaintance of a 

friend, and she understood our initial idea 

for the video. We were looking for someone 

who would be able to express this idea of 

different people coming together, as well 

as adding this surreal madness, crazy 

touch. That’s another way I enjoy working 

with people by giving them a tiny general 

hint and then see what they come up with. 

And Alice felt the music and did her own 

little thing with the video. The only thing 

I would’ve loved to add were Darius and I 

showing how much we’re into the music 

because I felt like we just gave you guys like 

just this tiny moment in the end that then 

quickly disappeared. 

When you have the singer, the person, 

the voice and you see people just vibing 

listening to your song, it makes you feel a 

little bit like Michael Jackson. 

And from what I understood from both 

the track, your other recent releases and 

the video, your work seems to be a big 

collaboration process. How does that 

process work? Is it the same input by 

everyone, or do you have a general mood 

board of what you want it to look like, and 

then everyone just pitches in? 

The way I work with people is so strange. That was, and is, something 

where I’m still trying to improve myself. I tend to set the tone without 

being bossy and commanding people to do as I say, but because I know 

the music and the set way of expression. 

And the other thing I have with Darius is that we talk a lot. I always try to 

express the underlying poetical themes, just like in the track ‘Lost In The 

Moment’. I always try to explain what the theme really means to me. Same 

happened with ‘Equilibrium’, where I tried to express this notion of Yin 

and Yang at this moment where you wake up, look at the world and it’s in 

total chaos. All those horrible things you see in the news at the moment, 

such as Corona, and it puts you in this kind-of serene, super calm state. 

There’s so much beauty in that state and that sort of balance is what 

‘Equilibrium’ means to me. 

You’ve already briefly mentioned the pandemic. How does not being 

able to play affect your creativity, and has it somehow changed your 

approach to music? 

It makes me moody. I have bumping emotions, ups and downs because 

I feel like I’m not able to release this fixed gridded dish that is inside 

and needs to speak out and exist. And that’s been a bit difficult at times. 

I mean I went boxing today with friends just ‘cause we’re trying to get 

through this together. (laughs) 

I mean, for some artists this crisis has had a big financial impact and I 

think if you’ve been doing what you’re doing for ages and now you just 

can’t. There’s a lot to say about the current situation. It’s awkward and 

we’re trying to deal with it because that’s what life is. 

And how do you think the music industry is gonna look like in a year? 

Let’s say the vaccine is here and everything is slowly starting to reopen. 

Do you think we’re going to go straight back to what we’ve been like, 

2019? Or do you think there’ll be a completely new music scene/industry? 

The streaming and distribution part of the industry is doing pretty 

well. Even before the second lockdown in Berlin, I heard that loads of 

Vinyls have been sold. People see quality music because maybe they’re 

starting to understand how shitty some sounds are and they would like 

to invest into more quality. It has also pressed the pause button for some 

businesses, so when things will become normal, many organisations will 

stay closed, such as so many festivals and clubs. 

One other thing is those good musicians, genuinely talented people will 

be a lot more visible after this pandemic. 

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“I am from Nigeria, 

and what I carry as a 

Nigerian is this capacity 

to just explore and 

check out things, I’m 

curious about everything. 

And that huge curiosity 

is that African 

gift I have, not giving 

a shit as long as it’s 

groovy, you feel your 

head banging and 

there’s emotion there.” 

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Why? 

Because now we’re being forced to take a break. Before 

we didn’t really care about the person playing next to us, 

because there was so much noise. But now, as soon as 

things get back to normal when you see someone on stage, 

you want to see some people who hit the right key. 

And my impression in Berlin is that I’ve been connected 

to some very talented musicians, who have this jazzbackground. 

Whereas before the pandemic, it was more 

about producers who weren’t musicians, but music lovers. 

When it comes to your own influences or inspirations, 

what artists would you describe as your main influences 

that have shaped your sound? 

I have so many. So yesterday, I was listening to Voodoo 

by D’Angelo and I won’t lie, it’s amazing how you can 

capture something from the time back then that sounds 

still relevant. Then, of course, Marvin Gaye’s nice oldschool 

coolness. And then, even though I rarely mention 

it, I listen to a lot of 70s, like Paul Rodgers, Jim Morrison 

and sometimes even crazier stuff like King Crimson. I 

don’t really mention those influences, though, ‘cause I feel 

they’re quite obvious. 

I am from Nigeria, and what I carry as a Nigerian is this 

capacity to just explore and check out things, I’m curious 

about everything. And that huge curiosity is that African 

gift I have, not giving a shit as long as it’s groovy, you feel 

your head banging and there’s emotion there. 

@waynesnowmusic 

www.wayne-snow.com 

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Chiasm 

Photography Nata Mitereva @natamiterev 

Model Yura Puscasu @yutamir_ DT MODEL Management 

Styling Anjelica Vlasova @ajelishka 

Brands Haskel, Anjelica Vlasova & Natalia Sergacova 

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From jazz 

to hard 

techno - 

Meet the 

Greek 

producer 

MarcelDune 

Interview by Johanna Urbancik @johannaurbancik 

Photographer Florian Herzing @helly_shoots 

Designer Pernilla Weinholz @yourbestpennycillin 

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Her music is a colourful fusion of hypnotic 

nostalgia, fast-paced beats and colourful 

patterns that sparks a big influence of 

urban underground culture. MarcelDune 

grew up in Greece and has just recently 

moved from Athens to London, where she’s 

exploring the city’s diverse and raw street 

style culture. Drawing inspiration not only 

from her surroundings, she also avidly 

combines modular synthesizers with analog 

and digital sounds in addition to field 

recordings, which are heavily influenced by 

jazz studies and opera singing. Her latest 

EP ‘Preternatural’, which was released on 

23rd October via REPITCH, is a collection of 

seven fast-paced techno tracks. 

KALTBLUT caught up with MarcelDune 

to talk about ‘Preternatural’, her recent 

relocation to London and her creative process. 

How would you describe your music in 

three words? 

Euphoric, hard, melodic 

Walk me through how you produce your 

music. What’s your creative progress and 

how did you find your own sound? 

Lately I have changed my creative process 

a lot, I made it more convenient and easy. 

Meaning that I sold a lot of my gear and 

began focusing more on software and 

sampling. 

For me, producing a track or making music 

in general is a way to escape from these 

difficult times that we are all facing, and 

the pandemic is not the only problem that 

we have to solve as humanity. Racism, 

sexism and the patriarchy are also ways 

of oppression that we have to fight for 

example! So, I decided to make my workflow 

more convenient in order to spend more 

and more time lost in the sounds. I can sit 

for more than twelve hours just listening to 

samples or trying to figure out the right kick 

or the right sound effect. I am not sure if I 

have found my sound because I really want 

to experiment and improvise constantly, 

creating new ways of expression. 

Your latest EP Preternatural is a collection 

of euphoric, hard bangers. How has this 

EP evolved since you first began making 

music? 

When I first began producing music 

my sound was more into experimental 

electronic sound with many elements 

borrowed from Jazz, which I then translated 

into my own world of understanding. Back 

then I studied Jazz so I was really into this 

particular sound and aesthetic. Jazz gives 

you the opportunity to freely improvise and 

create your own path under a very certain 

form of track. As a result my sound has 

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“Jazz gives you the 

opportunity to freely 

improvise and create your 

own path under a very 

certain form of track.” 

evolved a lot throughout the years but again all 

of my tracks have this little conversation from 

hard-hitting improvised parts to solo euphoric 

voices and back to the original form. 

Who and what have been the main influences 

that helped you shape your sound? 

Like I’ve mentioned in the past, my main 

inspiration that has shaped my sound is life 

in the city, the raw street and underground 

culture as well as how people face oppression 

of any form in their day to day lives. 

What’s it like to release an EP into a 

pandemic? 

Releasing an EP during a global pandemic 

is not an easy process because it is very sad 

that you lose many opportunities for gigs and 

communicating with other people around or 

receiving feedback for your work. You don’t 

really get the chance to see the impact your 

music might have on a crowd which is quite 

the misfortune, but I try to keep a positive 

perspective. 

You’ve recently said that your music is 

inspired by life in the city. Could you tell me 

what you meant by that and how it reflects in 

your music? 

I like observing life in the city as a third 

person, it interests me how people act in 

certain circumstances and how each person 

is actually different from the other however 

similar they may seem, and the way they 

struggle with their problems is so powerful 

and unique that I try to output this experience 

through my music. Hard stomping kicks can 

represent the roughness of the city concrete, 

and trancey melodic leads can represent the 

euphoric escapism of individuals. 

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You’ve relocated from Athens to London. How has the city impacted your creativity? 

I am new in London so I have no idea yet but I believe that I will find my way, since 

expressing myself through art is vital for me. Also a new environment always gives you a 

lot of information to take in and this is what I am currently looking for. 

What are the biggest differences between Athens’ and London’s underground 

nightlife scenes? 

I haven’t really had the chance to explore London’s underground nightlife but I’m 

sure there will be similarities as well as differences. Athens’ underground nightlife 

is currently going through a revival with many illegal raves and parties going on. The 

electronic music scene in Athens is small compared to other cities such as London, but 

at the same time has a unique approach to it. The scene is very DIY-centric since there 

is no form of support from the government or any external organisations etc. So the 

musicians, DJ’s and artists in general are left by themselves without any form of support. 

This has built a strong community and a DIY mindset. I’m sure I will find something 

similar in the London underground scene as well and I can’t wait to dive deep into it. 

@marceldune 

marceldune.bandcamp.com 

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FALOCHRON 

Photography Maximilian Mouson 

maximilianmouson.com 

@maximilianmouson 

Hair and Make up Patricia Hoos using Davines, 

Fenty Beauty and Charlotte Tilbury 

patricia-hoos.com 

@patricia_hoos 

Styling by Nico Sutor 

nicosutor.com 

@nicosutorfashion 

Assistent Marco Herse Foti 

@marcohersefoti 

Models are Jennifer Farwer 

@jennifer.farwer 

and Katharina D. 

@katha_rina_d 

by M4 Models 

m4models.de 

@m4models 

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Jennifer 

Coat - Charlotte Strindberg 

Skirt - Tim Ryan Knit 

Shoes - Premiata 

Katharina 

Blazer - Arkadiusz Swieton 

Top - Kristine Boström 

Chain - Nico Sutor 


Shoes - Suicoke 

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Jennifer 




Katharina 






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Jennifer 




Katharina 






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Jennifer 

Dress - Lærke Dramshøj 

Turtleneck - Nico Sutor 

Belt - Perlensau 

Tights - Falke 

Shoes - United Nude 

Chain - Denis Goec 

Hair Clipper - Jasmin Erb 

Katharina 



Shirt - Hugo Boss 




Gloves - Charlotte Strindberg 

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Jennifer 






Chain - Denis Goec 

Hair Clipper - Jasmin Erb 

Katharina 



Shirt - Hugo Boss 




Gloves - Charlotte Strindberg 

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Jennifer 

Shirt - Phillip Lim 

Dress and Top - Kristine Boström 


Chain - Arkadiusz Swieton 

Katharina 

Shirt - Charlotte Strindberg 

Sleeves - Lotte Schönfeld 

Top - Elin Meijer 

Earrings and Pants - Lea Maria Kahl 


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Blazer and Gloves - Nastassia Volkus 

Shirt - Lærke Dramshøj 

Pants - Charlotte Strindberg 

Bag - Lotte Schönfeld 

Chains - Denis Goec 

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Jennifer 

Trench and Overall - Lea Maria Kahl 

Dress and Shoes - Elin Meijer 

Katharina 

Trench - Elin Arvidsson 

Top and Gloves - Anastasia Bull 

Blouse and Pants - Lea Maria Kahl 


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Jennifer: 

Body and Shoes - Charlotte Strindberg 

Blouse - Jasmin Erb 

Skirt - Rebecca Pohl 

Katharina: 

Overall - Charlotte Strindberg 

Blazer and Gloves - Rebecca Pohl 

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Blouse - Charlotte Strindberg 

Dress - Alice Grunvander 

Shoes - Doc Martnes 

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From latex to 

loving yourself- 

Meet James Indigo, 

the queer rap artist 

starting a rap 

revolution. 

Interview by Lewis RobertCameron @lrcfashionstylist 

Pictures by Sam Jordannes @samjordannephotography 

Digital artwork by David Oldenburg @oldenburgdavid 

KALTBLUT chats exclusively to Birmingham-born rap artist, and rising future queer icon, James 

Indigo on his inspiring debut EP Married To The Game, giving rap a refreshingly queer 

makeover spitting lyrical gems, serving sex, swag and cleverly infectious hiphop 

bops. Also, he loves latex, Kylie made him gay and he enjoys dancing 

in his underwear. Total husband material, (*Googles human cloning 

methods.) 

Hi James, it’s an absolute pleasure to chat to 

you. How’s 2020 been treating you? 

Thank you for interviewing me. 2020 has 

been a roller-coaster of emotions. Overall I 

would say it has been a real eye-opener and 

I have been really content and productive. I 

take each day as it comes. 

Congrats on your debut EP Married 

to the Game, how are you feeling now 

you’ve released it for the world to hear? 

I feel ecstatic! I have been working on 

this project for a while now. I feel like I 

have just given birth and I’m watching 

my baby grow. 

You certainly came to slay. I feel 

like I’m in the ballroom version of 

a rap battle complete with sequin 

mic drops mixed with death drops in 

abundance. How did you find your 

sound and when did you know this 

was the direction you wanted to go in 

musically? 

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Thanks, that’s a great description. I want to go 

to a ballroom now haha. I have always loved 

different genres of music. I can go from one 

extreme to another. One day I’m listening to 

hyper pop and the next I’m listening to classical 

music. 

I wanted to make a project that embodied all my 

favourite sounds. So the direction and creative 

process was pretty easy. 

Tell me about the idea behind the cover art. 

Your head is separated from your body. What 

does it all mean and how’s your head? 

When I sat down to create my EP I was 

thinking about my journey thus far and 

how far I’ve come as a person. When I was 

younger I always felt like I didn’t belong. 

I felt like a broken doll. I was never the 

popular kid and I was bullied. But the 

love I have for music helped me. I’m 

married to my art. So straight away I 

had this idea of being a broken doll 

with a veil over my head. I stuck with 

it as the overall theme. And I haven’t 

had any complaints ;) 

I’m obsessed with Latex. Such a 

bop. How do you come with these 

lyrical moments? 

Thank you, I love Latex. I wanted 

to make a song called Latex for a 

while because I’m obsessed with 

latex and the way it makes me 

feel. This lyric came to my mind “ 

Latex, I like a late text” So I booked 

in studio time with my producer, 

and I started to write to the beat. I 

remember wanting to talk freaky 

but also talk about me being 

proud. I say “I’m the black sheep 

and I’m fucking proud to be” 

Where do you find yourself the 

most inspired when it comes to 

writing and creating? 

It can be really random. I have 

woken up in the middle of the 

night before with a hook in my 

head or I randomly get a lyric 

in my head and I’m rushing 

to type it into my notes. 

When I wrote Dick Print I 

was dancing in my room 

with my briefs on and it 

just came to me. When I 

sit down to write it’s 

always pretty early. 

So I would say 

morning/midday 

after a coffee. 

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Thank you for that awesome visual, we now know you are a briefs guy. 

Lol ;p. As a queer person of colour, authenticity is obviously a huge part 

to who you are as an artist, what helps you stay true to yourself when 

making music? 

Coming into the industry I didn’t want to act “cool” or be something 

I’m not. I’m happy with the person I have become. I wake up every day 

blessed and I count my blessings. So staying humble and true to myself is 

pretty easy. 

I love that your music is extremely honest and raw but with a playful, 

humorous undertone. How important is it for you to enjoy doing what 

you do when it comes to your music? 

Extremely important. I eat, breathe, and sleep music. I listen to music 

every day and I write almost every day. It’s Cathartic. I’m also a really fun, 

happy guy and I don’t take myself and life too seriously. Life is short. I 

want to spend every day loving it. I love putting that energy into my art. 

You are definitely a rarity in the UK music industry. How has it been for 

you being openly gay as a rapper and starting your career? 

It’s been amazing. The love and support I have received overwhelms me. 

I get a lot of messages from people saying they’ve never seen a gay rapper 

before or that I inspire them to live their truth. You do get the odd person 

saying shit but I don’t pay any notice. 

Haters gonna hate. It’s refreshing to see, and more importantly hear, 

you do you so unapologetically. What made you decide to be open with 

your sexuality and include it so expressively in your music? 

When I was writing my first single Cxntour I knew I didn’t want to hold 

back. It’s all or nothing. Being open and showing the world who you are 

isn’t a bad thing. I wanted to come into the game 100 percent me and 100 

percent unapologetic. All guns blazing. 

Pow pow. Your previous singles have always touched on elements of 

diversity and breaking down stereotypes within society and the queer 

community, whats the main message of MTTG? 

The main message from this project is an overall message. I am black. 

I’m an openly gay man, I’m in the music industry, I grew up with nothing, 

I own who I am and I am proud. This EP 

embodies sexuality, confidence, and oozes 

excitement. The message is showing that 

you can come from any background or 

sexuality and win. Hard work pays off. This 

EP is a reflection of all of that. 

Your songs are also pretty damn sexy. 

Daddy’s Coming Home made me a little 

bit pregnant. How has being comfortable 

with your sexuality allowed you to be/feel 

liberated sexually? 

That’s my job done then haha. When you 

don’t give a fuck about the opinions of 

others and you follow your heart and learn 

to love yourself, Everything falls into place. 

Writing music is the way I express myself. So 

openly talking about my sexuality empowers 

me. 

You are also very experimental when it 

comes to playing with queer references 

in your videos. What inspires you when it 

comes to your visuals and the lewks you 

bring to the table? 

Ji; It’s many different things. When I write, I 

99 percent envision the visual. I see fabrics, 

colours, and lights in my head. My mind 

is pretty crazy. I then forward all my crazy 

ideas to my team. Then we go back and forth 

with ideas and themes to fine tune them. 

In your honest opinion, do you think 

rap and hip hop is changing its view on 

sexuality at all? 

I would say it’s 50/50 we have definitely 

come a long way. We have big artists killing it 

like Tyler The Creator and Lil Nas. However, 

we still live in a homophobic world and a 

lot of people are stuck in their ways. We still 

have a lot of work to do. 

What advice would you give to other young 

rappers who may struggle to open up about 

their sexuality in the future? 

I would start by saying that remember you 

are not alone. It’s easy to feel isolated and 

feeling like you don’t belong. There’s plenty 

of us out there and there’s plenty of people 

who love and accept you for who you are. 

Don’t be scared to speak your truth. Your 

future is bright. 

Finally, what can we expect from James 

Indigo in 2021? 

You can expect loads of visuals, you can 

expect great performances, and loads more 

dark, heavy music. 

Conclusion, ten, ten, tens across the board. 

James Indigo’s debut EP, Married To The 

Game, is available to stream now. 

Instagram @jamesindigo 

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The 

Cell 

Photography, 

Art Direction & Styling 

Magic Owen 

www.magicowen.co.uk 

@magicowenphotography 

Model and Make-Up 

Amy at Oxygen Models 

Location Gloucester Prison 

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Neck Piece - Patrick Ian Hartley 

Vinyl Bodysuit - Pretty Little Suit 

Black Vinyl Long Gloves - Gucci 

Thigh High boots - Pleaser 

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Red Bodysuit - House Of Namaste 

Black Hood - Sweet’n’Twisted Studio 


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Neck Piece - Patrick Ian Hartley 

Vinyl Bodysuit - Pretty Little Suit 

Black Vinyl Long Gloves - Gucci 


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Sheer Vinyl Coat - Boohoo 


Medical Headpiece & Silicone Bra - House Of Namaste 

Clear lace up Neck collar - Syban 

Black Corset Belt - Anita Nemkyova 

Black Vinyl Gloves - Gucci 

Clear Perspex Tie Leg Heels - ASOS 

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Medical Headdress - Syban 

White PVC Dress - Boohoo 

Medical Corset and arm brace - Syban 


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White Faux Leather Dress - Zara 

Crystal Boobs - House Of Namaste 



Shield - Vikullsi 

Black Vinyl Gloves - Gucci 

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Blue Rings Jacket - House Of Namaste 

Latex Corset and underwear - Dark Virtue Designs 

Black Rays Gloves - T Label 



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NATURAL VEGAN SOAP + LIMITED EDITION ART PRINTS. 

10% DISCOUNT CODE KALTBLUT WWW.JENBLACK.WORK.

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