Mar 2015 31

Carving out its own niche in the world of indie electro/rock music, Julien-K may be one of the year’s most notable success stories with the band’s fan-funded third album. Vocalist Ryan Shuck speaks with ReGen about the band’s relationship with the fans and what the future holds for Julien-K.
Credit: Amir Derakh


An InterView with Ryan Shuck of Julien-K

By Ilker Yücel (Ilker81x)

It’s no small feat to establish a name for oneself after taking part in another group’s widespread success, but the team of Ryan Shuck and Amir Derakh has managed to do just that – together with Anthony “Fu” Valcic, the Los Angeles electro/rock band known as Julien-K has garnered an exceptional following throughout the world. After first appearing in the dark electro/industrial scene with the gritty and glamorous 2009 Metropolis Records release Death to Analog and appearing on numerous movie and video game soundtracks, the band set its sights on Europe with the smoother, lusher follow-up album, We’re Here with You in 2012. Now in 2015, Julien-K is delivering the third album, the first part of a larger concept album with a sound that the band can truly call its own – California Noir. Embracing all elements of their dark electro roots mixed with a heavy dose of sensual melody and introspective atmospheres, Chapter One: Analog Beaches & Digital Cities is the product of the band’s highly successful IndieGoGo campaign, having achieved 100% of its goal within the first 10 hours. Ryan Shuck speaks with ReGen Magazine about the reciprocal relationship between the band and the audience, offering some insights into the nature of the music business and how Julien-K has survived and plans to continue pleasing the fans for a long time to come, all the while carving out its own particular niche and creating a new type of electrified goth music… California Noir!


What are your thoughts on how Julien-K’s sound has developed over the course of three albums, and in what ways do you feel that California Noir defines the current sound of the band?

Shuck: I think that the previous two are really different. Death to Analog was sort of us graduating from Orgy and finding our sound without that band, so it’s an album where we journey out of a certain sound and define what we think Julien-K is going to be. A lot of it was unintentional; we just tried to create something that was really cool and scratch the itch that was not being scratched because we weren’t doing Orgy. We’re Here with You was us trying to make sure that we weren’t going to be pigeonholed into this ‘dark industrial’ genre. It was more of us trying to open up and grow the tent a little bit and try to create an album that signified our desire to travel the world, which we did on that album; we toured the world four times. All the stuff we had learned from being in Dead by Sunrise and touring all over the planet came back with We’re Here with You, and that was the meaning of the name – we’re with all of our fans all over the world. We had that mind when we made the record, and what can sort of flesh out what Julien-K is. With California Noir, we brought it back home. We wanted to build a bridge from We’re Here with You, which was about being all over the world and having this new color and style to our music that we didn’t do before. California Noir was re-identifying with our roots and that we’re unusual types, sort of ‘gothic’ guys. The one thing that’s never changed in the way we are is that we are dark guys; we’re into fashion, we have a full vibe of style and design, and we can’t fucking do anything about it. We just do. We live by the beach, which is just the weirdest thing, and we’re all pretty active and, of course, we party and have fun. I think California Noir is really about coming home and redefining this new evolution of goth and interpreting our lifestyle and putting on the lenses of being in this post-apocalyptic dystopian future ‘California-X’ world and all of this imagery I come up with when we made the record.



That’s interesting because when most people think of goth, they most likely think of drearier imagery along the lines of Birmingham, UK – i.e. very cold and darkly lit, while California seems to be more associated with sunlight and surf.

Shuck: It’s funny… I own some restaurants; I have a handful of them, and it’s a decent size business. I had a meeting with my staff and I had eyeliner on from the night before, and I had some tighter fitting pants, and I brought my surfboard inside the restaurant for the meeting because I didn’t want to leave out on my car. I pick it up and I’m walking out the door with my surfboard, looking like a full-on Yoji Yamamoto Tokyo ninja goth roughneck. I put on my backpack and I’m like, ‘Okay, so we’re done here,’ and everyone is looking at me and they’re laughing. I say, ‘What?’ They go, ‘What is this thing you have going on? What’s your style? You’re definitely something, but we don’t know what it is. Are you in Bauhaus or are you a surfer? What are you doing?’ I go, ‘California Noir.’ They all start laughing, but I was like, ‘Oh my god, that’s fucking exactly what we’re doing! It’s California Noir!’ The name instantly jumped out of that meeting and me defining… making a sort of joke out of my look and what I do, but it was very much what we are. We are this modern, different breed of goth. I think it’s funny that of the first three songs we put out, ‘California Noir’ is a little more forlorn, but it’s a little more commercial. And then we have ‘She’s the Pretender,’ which is definitely a little bit more of an emotional type of song, and it is more electro. And then we put in ‘No You Can’t,’ which is definitely more of another direction that we’re going; it was more in-your-face, it was darker, and it had that monotone vocal that I do really well, the kind of vocal that I like in Sisters of Mercy and that kind of stuff. The band is actually heading more in that direction, so it’s a funny thing now that we were able to build a bridge from We’re Here with You into more of who we really are with this modern evolution of goth. It kind of helped us define where we want to go now, and it’s also helping us to reshape Chapter Two of the record. It’s actually going to be darker and we’re experimenting more. It’s so fucking cool and it’s pretty dark and pretty ’80s, and it’s actually bringing back some of the industrial and some of the stuff we did on Death to Analog. California Noir has really helped us to wrap up and focus on what the band is going to start doing. I don’t know if you want to call California Noir one album, or if you’d call it Chapter One and Chapter Two, or if it’s two albums… I think it’s two albums. The funny thing is we’re already planning album five! It’s so fucking crazy, but I think it’ll be cool for fans because we have a lot of music to put out, and I think some of our core fans are going to like it because we’re going to bring back some of the dark in a pretty rad way, and in a very decisive way.

When you released Death to Analog, you toured with Combichrist and were by association perceived as part of that electro/industrial style. With We’re Here with You, you went in a different direction working with more varied styles of electronic music like Bryan Black and Battle Tapes. Having now taken things in the direction you have with California Noir, along with the way the musical landscape seems to be developing, where do you feel Julien-K fits in with that?

Shuck: The one thing that we’ve figured out is that we definitely don’t know where we fit in with music and how it’s developing. I definitely think that music is getting a lot more unpredictable in a lot of ways. There are a lot of these splintered, fractured genres and bands that get these little followings and are able to go out and do something. I don’t know if any of them are making any money or anything like that, and the only reason I mention that is that you have to eat. That gets us into the IndieGoGo side of things; it has to be a little bit of a business so that you can do it. That’s the trick. I think music is really developing in a weird ‘wild west’ way on the indie side. On the major label side, it’s almost turned back to radio and label support for touring – it’s like old school. It’s so weird that it’s gone totally fucking old school again. You kind of need radio to get a really great fan base or you have to decide to completely live miserably and go tour in a van on your own, and just do it. I don’t know. It’s really unpredictable and really tricky. I would say that that’s one of the biggest questions that we ask ourselves everyday right now – How do we feel like we’re going to carve our own path? That’s the big question in this band.

Now that the band is three albums in and has developed its own sound, what is the working dynamic like among the band members for this album?

Shuck: The dynamic a lot of times lately is that we’re starting out a lot more songs in the room together with instruments in our hands, a microphone in front of me, with all of the keyboards on. Many times, we’ll take a loop… like Amir will have a loop or a beat that he’s been playing with; something electronic. We’ll just start out with that and let it go, and we’ll get a vibe and start writing, and I’ll literally start singing and doing it. We’ve been writing really, really quickly like that. And then after we kind of get the idea down and we can say, ‘We’re digging what this is,’ it can sit in a file for a long time until someone gets the full feeling of it, which is what happened with ‘Photo Voltaire.’ It actually sounded very different from what it is now, except that we had the chorus, and that chorus was pretty cool. I didn’t know what I was going to vocally yet, but we had the melody and the choruses, but the whole verse, which is one of the best verses that we’ve ever written… ever, was totally different. It just sat in the vault for a while, while we wrote other songs and did stuff. I came up with ‘Photo Voltaire’ seeing the sun come up over the water while getting ready to surf in the morning, and the whole song came back together to me. I surfed a little and then I came home and said, ‘We’ve got to fucking get into that song right now!’ We pulled it right out and rearranged it and had a whole vibe on it, and once it had that chorus in there, the whole song came alive and changed direction; we completely rewrote the song. It’s a weird ‘anything goes,’ no one’s feelings can be hurt, brutal process. You come up with one thing and you think that’s going to be cool and it sounds interesting. We put it in the file for a bit while everybody marinates on it. We come back and we rip it to fucking shreds and completely change it! Amir will go in there and cut up an entire fucking whole day’s worth of work I did and just throw it in the trash like it’s absolutely nobody’s fucking business. It’s absolute ruthlessness, but no one gets mad. I think that’s the change in the process. It’s very emotional and we definitely fight and do that kind of crap like bands do, but we are ruthless. Amir was a lot gentler with me before vocally, and now I’ll work my butt off on a part, and he’ll listen to it and say, ‘You can do better than that. It’s not good enough.’ I kind of have to walk out of the room, shake my head, and say, ‘Okay. It’s not good enough, so who cares? I’ve got to do it again and do something different.’ That’s it. But we’ve come up with some really, really cool stuff because of that, especially on this record.



The band lineup has also seen several people come and go. Fu was not a live member until We’re Here with You, though he was involved heavily from the start, and Brandon Belsky was a prominent member during Death to Analog. The drummer position being filled by… is it Eli (James) or Frank (Zummo) now?

Shuck: It’s Eli and Frank, basically. Frank is going to be playing with us on a couple of shows coming up, and Eli is going to be playing with us on a couple of shows coming up. Unfortunately, with the economics of being in a band now, we can’t keep people on a salary. We really need multiple options because everybody’s got to work and do gigs and do stuff to make money, and those guys are professional musicians, so they have to play. They’re very good and accomplished, and we brought them both into our family, and they both know each other; they’re friends. It’s actually kind of a cool thing. It’s been working out really well. They’re both great drummers, and they bring different things. It’s a funny thing how things come around. We left things very open with Brandon, and he’s always been our friend. We just wrote a couple of new songs with him. We’re definitely going to do some disruptive shit and we’re going to double down on who we are. That kind of goes back to when you asked me where we feel we fit in. I don’t know that we do fit in or that we’re going to find some label or solution that helps us to… say, tour America like the way that we want to. It was easier to tour Europe because Europe’s smaller and we’re savvy enough with our points that we can fly over there for free a lot of times because we know how to manipulate our credit cards and do all the kinds of things you need to do when you’re a hustler.

That brings up an interesting point about touring, which does seem to be the way a lot of small bands are claiming to be able to make money, and yet it seems more difficult now than ever, yet you said touring Europe was easier than touring America. Why is that?

Shuck: Touring America is more expensive and harder for us, and for a lot of bands, because if you’re a small band and you’re in a van… it can be kind of dangerous actually. This was like 10 years ago when we were still doing Orgy, and our manager Jeff Kwatinetz said, ‘I’m not going to allow you to tour in a van, because of the band that I managed before.’ And they had a really promising career, and I don’t remember who it was now, but they died. They were driving themselves and playing every day, because that’s what you do, and a lot of bands would say, ‘Duh!’ The problem is that sometimes people do fall asleep and get into wrecks and have their equipment ripped off, and that shit happens all the time. It’s also insanely long to drive from Albuquerque to McAllen, and then from there to somewhere in Louisiana, and I know this because I’ve toured America at least 15 or 20 times. It’s just really daunting to figure out how to pull it off. In Europe, if you can figure out getting over there, which because we own other businesses and because we run every expense through our credit cards, we can accumulate points and we know how to sign up for the right kind of frequent flyer programs – we are really tricky with how we do things. I’m telling you, we could teach a course in this. But there are websites that are all about this. If you’re going to spend a dollar, make sure you get some kind of benefit for it. That’s what we do and we’ve been able to use our own money, and we pay for this all on our own, and once you get the band over there, it’s a lot cheaper to tour because everything’s much closer. A lot of the venues will make you meals and stuff. It’s much easier to stay in hostels, and if you’re really doing it in an indie style, you can do it cheaper. It’s like touring Texas and Louisiana. Doing a West Coast tour is not that hard. We can do that and we have done that. We could do it right now. The problem is when you try to get across the country and if you’re small, you don’t really have a lot of shows in between that can pay you enough to make it. If you’re getting $500 a night and you only have so many cities you can even play and you only play to 20 people, you’re never going back to that venue. You know what I mean? So you have to be very careful. And in Europe, it’s no different; you have to be careful there too. We were working with a manager there who, quite frankly, did a horrible job. But we wanted to go exploring, and so we don’t regret that, but I think that we even in some instances overplayed there. We should’ve figured out a way to tour We’re Here with You in America, but at that point, we felt that we had more ability and backing in Europe; we didn’t have anyone here to work with. That’s just the reality of what it’s like to try to figure out how to do these things, and sometimes these opportunities fall into your lap. Playing a show in Russia cost us $30,000 – to get everyone over there, to do all the shit, stay in hotels, get our visas approved, it was fucking insane. That was for one show, but we did it because we actually had support and some backing in Russia. It’s really hard. On the IndieGoGo campaign, everyone was saying, ‘Come play here, come play here.’ But people have to realize that you have to get some support. Playing this New York show is going to cost like $4,000 – for everyone to fly over and to get a hotel, rent equipment… it’s very expensive. We’re going to lose money on that, and that’s okay because we want to play, but it’s a tricky situation.

It does seem like it should be common knowledge, but perhaps a lot of people are unaware or underestimate the financial strains involved, and how much of that affects how bands are able to function on their own or just what necessities the record label entities fulfill.

Shuck: Oh yeah, because we don’t have a label, and a lot of these bands coming up are indie and are on an indie label and a lot of times, they’re receiving some kind of tour support or they have a booking agent or they have something going on, maybe a little bit of love on the radio. We are really, really indie – it’s only me, Amir, and Fu. We’re doing everything! We did that whole IndieGoGo campaign ourselves, we recorded this entire record ourselves, we mixed it… we did everything! In most situations, that’s like six or seven people’s full-time jobs. A lot of bands hire highly paid professionals to do all of this. We do all of this and we also own and operate our own businesses and jobs. It’s just such a colossal trick to figure out. Trust me, we were thinking about tackling Chicago on the way to New York. I thought, ‘Well, if we’re going to New York, why don’t we go to Chicago?’ And then I looked at the map and thought, ‘Well, if we’re in Chicago, why don’t we go to Cleveland?’ It’s very, very hard for me to hold back, but then I look at it, and fuck! We’re going to come back with a $10,000 bill, and we can’t afford that. And what if because we played New York and Chicago, it kills the draw in Cleveland and we ruin Cleveland? So you have to just be very careful. You don’t want to go into these venues and have people not show up and then end up fucking them over. Right now, we do really well in L.A. because we fucking sell out. We went down to San Diego, and we did really well. We didn’t know that we were going to do well, so we know we can play there, but you don’t want to overplay, so we don’t play there that often. So we keep our value up and you have to not fuck over the venue as well; they’re in the business to make money too. We can go on a tour on our own and spend our own money and maybe play in front of 20 people in 40% of the cities and a couple of cities do good, but we might cause more damage and hurt our chances of touring again on our own if we do that. The dirty secret about playing with a bigger band is that you usually have to pay the bigger band. (Laughter) You very seldom get paid, so it’s a very tricky situation, and that’s where the record label thing comes in. If you’re not on a label and you don’t have a relationship to leverage, then a lot of times, it’s really hard to get on with a bigger band.

The IndieGoGo campaign for California Noir was quite successful, having raised its 100% goal within 10 hours. What are your thoughts on how this particular model of crowdfunding is representative of the changes in the industry and how artists are utilizing such models? I ask because to even start such a campaign must be a huge decision, especially for an indie band.

Shuck: Yeah! It was a very big decision; we didn’t really want to do it. We didn’t like the way a lot of them worked, looked, and felt. We didn’t want to do some funny schtick. And we didn’t want to beg. There was a lot of stuff that we really didn’t want to do. We shot one and kind of got ready to do one, and I canned it right in the middle of the whole thing. I said, ‘No, we’ve got to go do something different. We’ve got to figure out a different way to do the campaign.’ And I think that was just another example of us and how we do things on our own without anyone interfering. When we stick to our guns, I think we end up doing the right thing. That’s how the industry’s changed for us. We’ve always relied on other people to help us, and you do need other people. You need a booking agent, and a manager could do us a lot of good. A label could help. But we’ve stopped imagining that any of them want to help or are going to help. There isn’t an upfront payday for them, so finding someone that’s going to want to help and work with us is highly unlikely. When you realize that, that you’ve just got to kind of figure this out and work with what you have, and what you have is the fans, it starts making things a little simpler and you know exactly what you need to do. We knew that this could be a useful platform, but we didn’t want to do it the way that any other band had done it. Amir then immediately went out and started filming some of the visual concepts behind California Noir, like downtown L.A. and the ocean. He knows I love the ocean and just the way it looks; there’s something dark about it to me. There’s something powerful and almost primal about the ocean and that imagery, and the desert and we’re both into architecture and downtown L.A. – we like where we’re from; we think it’s cool. He just went around and started shooting it on his own, and he’s like, ‘We’re going to make our own thing.’ I saw the collection of stuff that he did and thought, ‘This is fucking great!’ We started writing and I just boiled it down to what do we need and what do we want to accomplish with this? Let’s just throw all of the bullshit out of the way. We’re not going to act like court jesters and do all these funny tricks and all this kind of shit. Let’s just try to get the fans exactly what they want and tell them the truth about what we need, talk to them humbly and with grateful hearts, and try to get this done. We asked Bobby (Hewitt) from Orgy to edit it, and he’s a great editor. He’s got great timing and a great eye. He sent it back to us and I said, ‘Holy fuck! I’m buying this. This is great!’ Once I saw that, I knew we were doing the right thing and I had a feeling that we were going to do a lot better than we thought we would. We know we’re a really small band and we know that it’s a big deal to even get a few hundred people to contribute even a little bit. But to raise $10,000 in 10 hours is in-fucking-sane! We had no idea! It ended up being so much more than we anticipated, but it really showed us that if we stick to our guns and do what’s true to us and handle everything ourselves, then at least we know it’s going to get done with some real cred, it’s going to be quality, it’s going to be cool, and our fans are going to identify with it. They spoke loudly. But strangely, no managers are knocking on our door saying, ‘Oh wow, you guys have something here.’



It begs the question, what’s it take to impress these people?

Shuck: Oh, I’ll tell you what it takes – it takes a $500,000 publishing advance that they can take 15% of, and we’re not in a position that we are getting those offers, nor are we in a position that we’d necessarily want to sell off our publishing. We own everything right now. I don’t know. If someone came to us with a million bucks, we’d be dumb to turn that down, but short of that, it doesn’t pencil out to be the right move. Unfortunately, a lot of people aren’t going to get in with you unless they hear a single that they can get on the radio and then there’s a label that’s going to pay for radio promotion… so there’s a whole string of shit that has to happen. If a whole bunch of our fans sent ‘Photo Voltaire’ to XM or something en masse and fucking bombarded them, like e-mailed them personally with our songs, then maybe it could get on XM; that could help. But frankly, it’s hard to get on the radio without a radio promotion staff and without a label paying for it. It’s super unfortunate. I think XM and some others have a little more leeway to throw something on if they’re getting a lot of heat for it or if they notice it. But there’s a program director there. I have the dude’s e-mail. I sent them some of our music. I got no response. Do you know why? Because I’m not a radio promotions guy that takes him to dinner, so I get it. I get what’s going on. That’s sort of how it works.

It’s really disheartening because there is a sort of romanticized view of the past – especially the ’70s – about labels and managers supporting artists and actually willing to take the chance on those acts and actually help them to grow. It just doesn’t seem to happen anymore.

Shuck: I know! It fucking blows me out of the water. But the thing that I’ve found out is that no, none of them take a chance. They will only go for it if they are absolutely confident that there’s a single they can put onto KROQ, and when they go to KROQ or whatever station, that they’re absolutely going to agree with them and that there’s absolutely zero chance that they won’t like it. That’s it! It blows me away and it’s so fucking crazy. The strange thing is that Julien-K manages to make some money, but unfortunately, the way we’re doing it right now, it’s not enough for us to live on. It’s enough to kind of keep the thing going; every now and then, we do make enough to say, ‘Wow, we made some money,’ but it’s not enough to pay for a manager. Someone would have to get involved and utilize their relationships to help us leverage and get new opportunities. I don’t know how that’ll happen at this point. I think that we’re working right now with the only resource and the most important resource that we have, and that is our fans. Taking down those walls between ourselves and our fans and using our social networks and IndieGoGo and flat out talking to our fans every single day and treating them like the precious resource that they are… I mean, they are gold! I don’t mean that in the money way. Honestly, we were discussing if Julien-K should even be a band anymore, because if we have to work as hard as we’re working in addition to working our other jobs and owning businesses… I worked from 6:00am to 12:00am with no break and not one minute was spent on music, and I worked two days in a row like that. And of course, I work all day almost every day, and then to fit in music at night or in between all of that, and to work that much, and also pile on a full recording and releasing the record and being your own label on top of it… you know, we are shipping hundreds of products from our houses right now, and it’s really good shit! It’s like shit that a record label or a merchandise company would be doing. We produced this neon sign, and I fucking dare another band to come up with some merch like that. Fucking do your best! It’s crazy shit! That’s the kind of shit we would get offered in Orgy when we were on Warner Bros. when we actually had $100,000 to spend to figure shit out. We’re offering crazy stuff. We designed a guitar, like what the fuck?! People know that we mean business, and they knew that we weren’t fucking around. We learned a lot, and we don’t know that we can do this over and over again… or maybe we can? Maybe I’m crazy. Maybe this is the way we do our records. Maybe we do this for Chapter Two, and we do another IndieGoGo campaign… maybe we don’t raise $30,000, but maybe we raise at least $10,000 and at least get enough to pay for a lot of the expenses of the album. Maybe that’s a way we can do it; I have no idea. Maybe we actually learned even more about what we’re doing by doing the campaign. We got even more in touch with our fans that maybe we’ll do just as good again by making the perks better and delivering what people want better in a way that will still make us some money that we can put back into the music. That’s a big trick – it is business, but it is business with the people. What really worked for us was dropping the walls and making sure that we personally were out there working and talking and interfacing with our fans who I am happy to say have become our friends and our colleagues and our allies. They’re not just nameless faces to me; they’re important people, and that was a huge thing that I think we did differently. We didn’t do gimmicky tricks to make people laugh, which almost every band does… or bands act like they’re the biggest fucking thing on Earth. We’re just going to get down and be honest as fuck and be humble and do the work that people don’t really see, and really acknowledge and treat our fans like the important resource that they are, and man… it worked. The funny things is that we had managers contact us and ask us how we did what we did… but none of them asked if they could manage us. (Laughter) You have to learn how people see things and how people find out things are happening, and utilizing social media is not a fire-and-forget missile. You don’t just make a post and then expect to be a big rock star and have people fucking throw money at you. We worked before the campaign, completely through, and we are going to deliver that shit! The campaign’s done and within a month, the band is shipping all the goods. That’s real business, and I think that this is a super fucking good record, and if people like it as much as I think they will and we deliver it in a really professional manner and surprise people with the quality of it, maybe we’ll be able to do it again.

So, what’s the next step now that California Noir is seeing its release?

Shuck: I think that people that liked Death to Analog should be excited, because with California Noir, we’re moving in the direction of combining our dark electro roots with the expanded sonic capacity of We’re Here with You and pushing it forward in a way that I think will be really amazing for our core fans. We want to please our core fans. Especially through Chapter Two, we’re going to start focusing on what we think truly defines Julien-K. We just keep going back to the fans. What do our fans really like and what do we do really well, and what do we truly like? This whole thing has been a journey and it’s not just been to serve ourselves. What’s the only thing we know for sure? Well, we know of a good handful of fans that really like our music. So how can we push them and challenge them and be disruptive and keep them on edge? How can we push the envelope and not just do the same things over and over again, but also how can we deliver what they love and what we do great in an even more fucking reckless and disruptive way? That is what we think about on a daily basis – that’s our strategy. We don’t care about ‘mass appeal’ – we care about the fans we have now. If we serve them and honor them, they will return the love tenfold and promote us themselves. Everyone bomb Alt Nation on XM!!! ‘Photo Voltaire’???

Is there anything you’d like to say to close out?

Shuck: I want to thank everyone and I want to thank you, and I want to humbly ask everyone to please try to keep the fire. It’s something I tell myself all the time, something I tell the band all the time, something I tell my employees all the time, and it’s something that I try to do with my music – keep the fire and promote among ourselves and get our friends into the music and share it. Getting people to become new fans is so important and having the fans evangelize and show up at shows and support us is really the only way that we’re going to be able to keep doing this. So I want to humbly ask everyone to share the music and get it out there.


California Noir IndieGoGo Campaign
Julien-K Website
Julien-K Facebook
Julien-K Twitter
Julien-K SoundCloud


Photography by Amir Derakh and Marisa Tayui, courtesy of Julien-K

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