Angus Morton / The Speed Project CYC

The last time Angus Morton and I caught up, he’d just dropped off his dog Terry prior to a trip overseas. We spoke for a little over an hour and the entire time he was driving his truck from one end of LA to the other. Almost two years to the day since that previous conversation, as our video call connects Gus is once again behind the wheel. But this time only for a couple of intersections before he reaches up to press the remote gate button and pulls into the parking lot of his office building.


Taking the phone off its cradle, our call continues as Gus reaches across to the passenger seat and picks up a pristine white stetson that he places squarely on his head—his Instagram bio leads with All hat, no cattle—with the camera following as he walks through an echoing series of empty corridors. And it’s during this brief interlude that I learn he no longer has Terry.

“He lives just outside of Fresno. My partner and I moved in together—we’re actually engaged—and she has a German Shepherd. And both being big dogs, they used to fight all the time and it got a little hectic. But Terry’s good; I call in to see him whenever I’m driving up to Lachy’s* place. He’s actually hit the jackpot living with a family on this huge ranch where he gets to stretch his legs.”

*Gus’ younger brother Lachlan Morton

So it’s clear that domestic arrangements have changed somewhat—including a move of a few miles from Echo Park to Highland Park—with the remainder of Gus’ news centering around being busy. Very busy.

“There’s been some pretty big projects that I’ve been working on: Crit Dreams, The Divide, Great Southern Country. Add in some shorter content and all that means—until very recently—that I’ve not been riding my bike as much as I’d like.”

A response that is perhaps slightly ironic. Because it’s the bike and bike riding that prompted me to reach out after I spotted Gus, snapped standing at the roadside, wearing his familiar white stetson, in a photograph taken at last year’s TSP* race from Los Angeles to Las Vegas. But rather than the usual running relay where teams of three cross vast, often inhospitable distances; for the very first time TSP was being raced on bikes. But trying to dig a little deeper—researching the event prior to our call connecting—proved surprisingly challenging. Or perhaps intentional, going by the TSP tagline No spectators?

*The Speed Project

“That actually references the philosophy of TSP founder Nils Arend,” explains Gus. “Going back 13 or so years to when they ran it for the first time. This idea of No spectators meaning that everyone’s a participant. Whether you’re watching from the roadside, crewing a team, or taking a pull in the relay; everyone is helping out in some way or other. And I love that as a concept because what it’s basically saying is that we’re all part of it. In the sense that you take Lachy’s ride around Australia which we filmed. Yes, he rode the bike, but without the support of the crew, there’s no way he would have set the record.”


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As it turns out, Gus’ involvement in TSP originated through a good friend of his, the director and photographer Emily Maye. Working on a project that featured TSP back when Gus had first moved to LA, when they caught up a little while later, Emily started talking about this crazy relay race covering vast distances where people switch on the fly.

“It just sounded so wild,” Gus remembers, “and straight away it got me thinking about what it would look like as a bike race. And then we’re a couple of days from finishing up filming The Divide and I get this text message from a number my phone doesn’t recognise. Turns out it was Nils who’d got my contact details from Emily. He was asking whether I wanted to shoot TSP in Chile where the teams would run across the Atacama Desert. So long story short, we head out to Chile where Nils and I very quickly become fast friends—similar personalities and outlook on life—and he was also wondering what a bike version would look like.”

So the idea obviously had legs, I suggest?

“Straight away, in typical Nils fashion, he said let’s do it. And he was dead serious which is why, three months later, we did fucking do it. I’d never organised anything like that before but basically you figure out where you want to start and where you want to finish and off you go.”

Without a fixed route for everyone to follow, the teams were given a series of checkpoints and then had to decide for themselves how to reach them.

“The checkpoint locations were only released ten hours before the race got underway, so the whole event had an element of make-it-up-as-you-go. Which also meant that each team could turn the event into whatever they wanted it to be. Which, in turn, plays into the No rules tagline. They got to set their own boundaries, be creative in the space they were given, which allowed so many different people, from so many different backgrounds, to not only get something out of the race but also be a part of this bigger community. In a sense, everyone had enough freedom to create their very own version of TSP.”


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That’s assuming, I can’t help wondering, whether anyone even knew there was a race happening?

“The way that it works—for both the running and cycling events—is by word of mouth. So that might involve asking someone who’s already done the event and they’ll point you in the right direction. Which is kind of funny because last year it was the first time we’d done a cycling version of TSP. But someone hears a rumour and they tell someone else and they’re interested and it kind of goes from there. And that’s one hundred percent intentional because we want this experience to evolve through the participants themselves. So as organisers—if that specific term even applies—we want to be as hands-off as possible in that regard and ensure that we don’t force our own point of view on what it should look like. We feel it’s important to allow the space to develop however people want it to.”

So it’s a race with teams competing over a set distance but on routes they figure out for themselves and without a podium to celebrate placings? That’s some kind of a crazy mash-up, I suggest.

“We don’t award any prizes but human beings are hardwired—and I’m speaking in extreme generalities—to be competitive to some degree. A character trait that I don’t see a problem in acknowledging unless it involves a win-at-all-cost attitude whereby you lose sight of why you initially embarked on this or that experience. So my own buy-in to this event was that it’s fine to be competitive but I don’t want people to feel they have to be. Which then plays into not wanting a prize to be the motivation for lining up at the start.”

Considering it’s very difficult to spot who placed where in the finish line photographs—seemingly everyone is smiling and hugging each other—this offers a marked contrast to World Tour racing where the winning rider crosses the line with arms held aloft and second place is commonly pictured slamming their bars in frustration at wasting all that effort.

“In my mind,” responds Gus, “I imagine how cool an event would be where first and second race each other as hard as they can but when they get to the end, they’re excited to learn about each other’s race and how it all went down. As opposed to winning and it’s hell yeah, that’s what I came for, see ya later.”

Because sharing stories is the prize?

“Exactly. The prize is what you make of it. Because Nils and the team behind TSP have built this insane sense of community. Which means that you might have teams lining up in Santa Monica with wildly differing aims and objectives. And you know what? It’s infectious and it’s cool and that’s coming from someone who generally likes to keep to himself and do his own thing.”


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Pictured as he was on the roadside during last year’s running of the event, I’m curious as to exactly what role Gus played?

“I guess you could say I was bringing my knowledge of bikes and cycling to whoever needed it.”

You were an available resource?

“Yeah, that’s about the size of it. Just helping out.”

And as for taking part if there’s a follow-up event?

“I would love to and that’s saying something in itself. Because when last year’s TSP CYC took place, I hadn’t properly ridden a bike for years and was the least physically healthy I’d been in a long time. But over the past six months I’ve really been riding a lot. At least in frequency if not in distance. And I guess I need to take part to truly understand what everyone is talking about.”

Including the afterparty, I prompt. Which going by the running editions, are known to be rather legendary?

“For our event last year, the afterparty was probably best summed up as a lot of conversations, a lot of new friends, a lot of quick bonds formed by having barriers that were previously in place being removed due to the nature of the event. Everyone connecting over how crazy it was to ride your bike for hundreds of miles, non-stop, across pretty gruelling terrain and figuring out this weird journey on the fly.”

There’s an excited edge to Gus’ voice as he paints this picture of a disparate group of people all sharing their own, individual stories from the road. Stories that—going by TSPNo rules tagline—might reference some rule breaking?

“There were no rules so I guess not,” fires back Gus with a laugh.

But it’s all so achingly cool, I tease. And possibly there’s a perception that TSP is akin to a private member’s club where you post images and videos tagged with IYKYK?

“I do get that. Because it’s not like there’s a website where you click a link, pay a fee and you’re registered. But like I said before, maybe it’s as simple as just reaching out to someone who’s done it and asking how they ended up taking part. And at least that’s now a little bit easier because there has actually been one. So yes, there’s a step to participating but maybe that step isn’t as big a hurdle as people think it is.”

And hurdles can be a good thing, I counter. Because in life most things that take some effort, some investment, usually give back the most?


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“I’m not going to tell you that this is categorically the best way to put on an event. In my mind—or at least the way I see things at the moment—there is no better, only different. And that’s also what I love about TSP. Because it’s not for everybody and nor should it be.”

Gus pauses here for a second as he pulls together his train of thoughts before continuing.

“Before it came along, there wasn’t really anything like it. So maybe it does cater for a certain type of person but you could argue how they didn’t have anything before and it’s filling another little piece in the puzzle of human expression and it is what it is. In the same way that I’m not mad at whoever puts on Unbound; an event I have zero compulsion to race. I’m not, fuck those guys for putting on that fucking event. I don’t give a shit. As long as you’re not hurting anybody, do whatever you want.”

As to whether they’ll be another TSP CYC later this year, Gus is—in this particular instance—without an answer.

“We don’t have any dates yet. But I think it will happen.”

So watch this space?

“I don’t drive the ship or anything. I’m just a fan and possible future participant.”

With our time together drawing to a close, I can’t resist winding the clock back a few years to a conversation we had in Girona where we touched on Gus’ groundbreaking partnership with Rapha and, in particular, his lead role in the brand’s promotional short Riding is the answer. Which, in itself, begs the question whether that statement still holds true?

“You know, I’ve not thought about all that for so long. Because what’s changed is that I don’t need to race anymore, I don’t need to go on anyone else’s adventure. I don’t need to be posted on anyone’s fucking Instagram. I’ve become more private which means that now my riding is just for me. But, within that definition, I guess you could say it’s still the answer.”

There’s a hesitancy in Gus’ voice that suggests he’s not quite finished.

“Maybe it’s the question that is different. Because previously cycling was the hurly-burly, the shark bait that I used to attract the characters that interested me. So you could argue it stopped being the question in 2017 when I got done with Outskirts. And maybe it’s now become an altogether different thing.”

Angus Morton / thatisgus.com / Thereabouts / The Speed Project

Rachel Peck / The two of us together

Lachlan Morton, former World Tour professional and now ultra-distance racing legend, is sitting in a brightly-coloured, plastic paddling pool filled with ice water. His wife, Rachel Peck, after helping him take off his shoes and socks, runs her fingers through his hair before fetching him something to eat.

“You look a little zooted,” she says with a gentle laugh; a hollow-eyed Lachlan raising a smile before responding, “I’m fucked, mate.”

This particularly poignant scene—towards the middle of his record breaking circumnavigation of Australia by bike—is just one of many in the recently released film The Great Southern Country that underscore Rachel’s supporting role in helping her husband cover 14,210 km in just shy of 31 days. A fascinating balancing act of managing the logistics of a record attempt with the perfectly understandable concern of seeing a loved one push themselves to the very limit of their endurance.

“What’s funny is you can’t put your arms round them and complain how what they’re doing is so fucking hard. Because they’ve got to do exactly the same thing the next day. So there is this requirement to hold things together.”

And holding things together appears to be Rachel’s forte; her film persona suggesting she is just the right kind of personality—calm, quick to laugh and always ready with a smile—that you would be happy to spend a month with, on the road, cooped up in an RV. The nice girl, I suggest, that’s referenced in her Instagram bio?

“People that know me well,” Rachel explains with a laugh, “know that I can be, not a bitch, but pretty goofy and not exactly normal. So I just thought describing myself as nice would be funny.”

Recently returned home after her Antipodean odyssey but with another flight to catch in the morning for a trip to Mexico, I’m guessing there’s not really such a thing as a typical day?

“Things kind of happen in blocks. We’ll be in one place for three months or so, and then we’ll be somewhere else. But when we are back in the States, a typical day involves me working from home as a graphic designer. But that’s all mixed up with some hiking, Pilates, or a run as a way of getting out and about. And I love to spend time with Lach when he’s at home. We love to cook together and just hang out. Home is our downtime because when we’re away on a trip, there’s usually a lot happening.”


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With this mention of her graphic design career, Rachel is quick to acknowledge her father as encouraging all her childhood creative endeavours.

“As well as a passion for music, he had a huge collection of graphic design and cartoon books. Things like Robert Crumb—which I guess was pretty inappropriate for my age back then—but I loved all that stuff.”

Growing up in Sydney, the urban environment meant Rachel never developed a particularly strong connection with nature. And it was the move to Port Macquarie as a teenager—coincidently where Lachlan grew up—that proved to be her first introduction to a more rural setting.

“It was quite a shift from city living where the sound of passing cars would lull me to sleep. The nearest thing we got to a traffic jam in Port Macquarie was cows crossing the road.”

High school proved problematic; worries over not being able to get into university not helped by Rachel skipping class. Begging her parents to put her into a private school—with the sole purpose of getting good marks—as she attended her first classes, Rachel noticed this quiet, retiring young man.

“That’s where I first met Lach but we never actually hung out or spoke much. Just the occasional passing encounter until, on my friend’s birthday, she insisted I go out to celebrate. I said I couldn’t because I had to revise for an exam but she’d stolen another girl’s ID and was insisting I agree after all the effort she’d gone to. So we went out and I bumped into Lach and that’s when we finally started to talk and get to know one another.”

Spending all their holidays hanging out together, things came to a head when Lachlan had to leave for the States to join his racing development team.

“I found that a bit of a shock,” Rachel reminisces, “and I think he was nervous about telling me. Because I only found out two weeks before he was due to leave. And my initial thought was maybe he didn’t think what we had was that serious. But he was emailing me constantly from the team camp and we’d talk over Skype so it was clear our relationship was important.”


“We had a couple of years with huge stretches without seeing each other,” Rachel continues. “Sometimes up to six months when we were balancing his race schedule with my university studies. Which is really funny because now, if he’s away for two weeks, we’ll be complaining it’s too long.”

Maintaining their relationship at the opposite ends of numerous time zones, Lachlan had now moved to Girona, Spain, where Rachel joined him for a holiday.

“It was obvious when I arrived that he wasn’t doing very well. It seemed to me that he was struggling to find a deeper purpose than just race results—feeling quite isolated from the other World Tour professionals—and questioning whether he really wanted to keep racing. So I was really feeling for him and asked what would make it better. And he came right out and suggested I be there with him. Figuring that I could still work remotely, I said okay, I’ll do it.”

A leap of faith, as Rachel now describes it, but one that immediately prompted Lachlan to call his brother Gus to tell him the news.

“What was I thinking?” Rachel quips with a laugh. “It was a case of, oh wow, I guess we’re actually doing this. But when I got back to Australia at the end of my holiday and told my family and friends, I don’t think people really believed I would go through with it until I started selling my furniture.”

Marrying when they were both 22—Rachel playfully refers to herself as a child bride—life soon settled down to a mix of freelance projects and race-day spectating from the finish line. An ever-so-slightly arm’s length connection with Lachlan’s professional career that was turned on its head when the Australia record attempt was first mooted.


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“The project kind of grew organically. Partly because Lach is given a lot of freedom and encouragement by his team EF Education-Oatly with regard to choosing his calendar and the things that he does. And Lach being Lach, he likes to do something quite epic at least once a year. So we had all these ideas floating around until we finally landed on Australia. And then I said that I’d like to join him on the record attempt in a support role. Because when would I ever get to see Australia like that otherwise?”

Because of the time involved in circumnavigating a whole country, Lachlan was keen to build a team he would feel super comfortable with; the first person on his list being his brother, filmmaker Angus Morton.

“I knew that if Gus agreed to film it,” confirms Rachel, “Lach would definitely be up for giving it a go.”

Watching the resultant feature-length film—cleverly balancing shots of Lachlan on the road with his support team’s daily duties—it very quickly becomes apparent that plans had to be constantly adapted on the fly. And that Rachel’s own routines—and especially her sleeping—gradually shifted to match Lachlan’s ride schedule.

“What was funny—because everyone else had these very defined roles—was that at the beginning of the trip I really thought I’d just keep myself busy helping out wherever I could. Tom Hopper was the mechanic and also drove the RV, Graham Sears was the coach and kept on top of all the numbers, Gus and his crew were filming, Karter Machen was taking photographs, Athalee Brown was on physio and massage. But then almost from the off, I became responsible for booking each night’s accommodation, figuring out where Lach was at any given moment, what the wind patterns were and how that would help or hinder his progress. So there I was, acting as the logistics manager, until the final week when I added Lach’s PR manager to my list of things to do. By that point—and I think you can see it in the film—he was super sleep deprived but I was telling him he had to talk to this or that journalist. And all that meant I had to research which towns we would pass through that would have cell reception.”

Referencing the inevitable tiredness that accrues from riding an average of 450 km a day—and acknowledging the inherent risk involved in racing bikes—I’m wondering if Rachel found these emotions difficult to manage or whether she was simply able to trust and believe in Lachlan’s abilities to be okay?

“I totally trust Lach’s decision making. But that only carries you so far and there were so many other factors beyond his control. And towards the end I was starting to feel really nervous about the trucks and the traffic. To such an extent that, in the final few days, I couldn’t shake this feeling of nervousness and I was sleeping less than Lach.”


Not that there weren’t plenty of laughs along the way; Rachel posting a series of very entertaining Instagram reels that suggested some of the stopovers were a little rough and ready.

“By the end of the first day we were in a different state. So that blew my mind because we were moving at warp speed. And then as soon as we got north into Queensland, most of the camping sites were unpowered and the facilities were limited to say the least. I was convinced that I would get bed bugs and did question whether a prison cell would be more comfortable. Some of the places where we stayed didn’t have windows, others did have an air-conditioning unit but it was dripping onto the bed.”

All part and parcel of life on the road, I suggest, and soon forgotten when Lachlan did finally roll to a stop with the accompanying sense of elation that the challenge was done and dusted?

“You know what’s funny? There wasn’t any sense of surprise because I always knew he’d break the record. I never doubted that for a second. But there was a little hint of sadness because, whenever he finishes these types of endurance rides, it can feel quite anticlimactic. Not in a this sucks way, but unlike other sporting events where there’s a podium and a big party, Lach just wants to go to sleep.”

As to the question of what next, Rachel does mention in the film that this might be her last big adventure before starting a family.

“Going on this record breaking journey together, it brought home to both of us how great Australia is. It’s always been in the back of our minds that we’ll move back there at some point. But after finishing the trip, maybe that will happen a little sooner than we thought?”


Not that Lachlan doesn’t have other, non-cycling talents, I suggest with tongue firmly in cheek, referencing a potential future in comedy with his CEO sketches. Wearing a shirt, tie and an oversized suit, the spoof promotional video he presents for the Pretty Great Instant coffee company he fronts, sees Lachlan deadpan a bleeped-out Big Fucking Sale before Rachel’s off-camera correction—that’s Black Friday Sale—can be heard.

“The operation is me, him and the big suit,” she qualifies with a broad smile. “So Lach is my victim for all that. There’s a lot of me begging him to put on the big suit before bossing him around for a few hours.”

This explanation of Rachel’s creative control over Lachlan’s CEO alter-ego is momentarily interrupted by what sounds like construction work in the next room. Which makes sense as Rachel had previously asked to bring our call an hour earlier and prompting me to ask about her concept of home. Born and raised in Australia before spending time living in Europe and now resident in California, is it people, places or belongings that anchor her to one particular location?

“It’s definitely not belongings,” she answers immediately with an upward glance to take in the room. “The way we move around makes me so indifferent to owning a lot of stuff. To such an extent that we’ve lived in this house for over a year and it’s shocking how little furniture we have. And Lach is like me but even more of a minimalist. But to answer your question, Lach feels like home. And for me, that’s enough.”

Which brings us nicely to their recent 10 year wedding anniversary. And whether, after all the adventures, travels and relocations, they’re still the same two people that met and fell in love?

“I think so for sure. Because the more time we spend together, just the two of us, the more we develop this very small gang mentality that reflects the freaks that we are. And that only keeps on getting deeper and deeper. The way we talk and are with each other when we’re alone almost has its own language. So I guess you could say that we’re pretty codependent.”

Rachel Peck / steel ponies.co

All photography by Karter Machen / kartermachen.com

Angus Morton / Work in progress

Back in 2019 I sat down to chat with Angus ‘Gus’ Morton on a warm, sunny day in Girona. Maybe it was the forced period of inactivity – his US visa had temporarily been revoked – but an interview ostensibly focusing on his hugely influential Thereabouts and Outskirts films somehow drifted into a lengthy conversation that explored the bike as a tool for journeying, new directions in professional cycling and living a life of simple pleasures.

Fast forward a few years and Gus continues to make inspirational films that offer a unique vision for sport. But his own journey has seen him confront a decade long battle with addiction and a desire to step away from playing the leading man.

Catching up with Gus over a transatlantic call, talk of life in LA and city riding habits grounds our conversation in the new life he is piecing together: Gus offering a searingly honest account of his decision to quit drinking and how his search for sobriety is opening up a whole new perspective on health and happiness. 

Gus
G’day mate. Sorry for the slight delay but I was just dropping my dog off.

cyclespeak
How’s that going?

Gus
Yeah, it’s good. I’ve got this big Dobermann and it’s pretty full on. He’s bloody huge and needs a good amount of exercise. So he goes out to a friend’s ranch when I’m away on work trips.

cyclespeak
You’re living in LA?

Gus
I’m in Echo Park. Sort of north and east from Downtown.

cyclespeak
I guess everyone drives everywhere?

Gus
I mostly ride my motorcycle to get around. But with having the dog and shooting so much in the backcountry, I’ve also got a truck.

cyclespeak
Which I’m guessing is stereotypically big?

Gus
It’s fucking enormous. But only considered a small truck here. If you saw it you’d think I was taking the piss because it’s lifted and has these giant tyres. Totally over the top. 

cyclespeak
Is LA a workplace choice or somewhere you just feel at home?

Gus
That’s a good question. I’ve actually lived in LA before but this time around it was initially a work choice. A lot of the film production companies are based out here but right now it does feel increasingly like home.

cyclespeak
I was wondering what professional hat you’re wearing at the moment? Writer, director, producer?

Gus
I guess I’m a director from a skill set point of view. But working primarily in documentary filmmaking means that often I’m also producing, filming and doing the edit. And I’m quite particular so I do have this tendency to get involved in every aspect [laughs].


cyclespeak
Does that mean there’s no such thing as a typical day?

Gus
I do like to be very structured and organised. So I don’t necessarily have a typical work day but I’m usually up and working by 7:30 am in the morning.

cyclespeak
I’ve mentioned before that your Outskirts films had a profound influence on the way I now ride. Do you ever revisit them?

Gus
That all seems like a lifetime ago [smiles]. And I don’t know that I’ve watched any of them since they were first released.

cyclespeak
Always looking to the next project?

Gus
I guess I’m not particularly sentimental about my work. But I do often think about the experience I had in making those films because it was so life changing. So I have fond memories of the people and the places and that mode of travel. And having since done more extreme adventures, those times on the road filming Outskirts are still the pinnacle of what, for me, is enjoyment on the bike.

cyclespeak
When we chatted back in 2019, you mentioned that when you initially tried using a post-production company to edit the first Outskirts film, the shit they cut out was what you wanted to stay in. Now that you’re working in LA, are people still missing the true edit?

Gus
That’s an interesting question [laughs]. And going back to what I said before, it wasn’t that they did it wrong. It was more how they took a different point of view. And that happens all the time which is why I now like to show my work early, in an effort to bring my clients along on the journey with me.

cyclespeak
Outskirts had this wonderful cast of random characters you met on the road. And I was wondering whether you’re still striking up conversations with total strangers?

Gus
Actually not that often. And I have to admit that I don’t see myself as a very outgoing person. I tend to keep to myself, I have a small group of friends and I don’t do a lot of social stuff. Which is maybe a contrast to what you see in Outskirts but that was a huge effort for me. Which, in part, is why I stopped making them. Because the amount of nervous energy that it took to be that character was just exhausting.

cyclespeak
When we chatted previously about Dirty Kanza – Unbound as it’s now known – you totally called it on the alternative calendar and the subsequent shift in focus from cycling brands and professional teams. But now that gravel is firmly established, we seem to be seeing more arguments over tactics and equipment. In your view just teething troubles or the inevitable consequence of more sponsorship money?

Gus
It’s probably an inevitable consequence of human nature? As a group grows larger, you have more voices, more personalities and more points of view. Some people will feel protective of it – they liked it how it was – and some might have a sense of ownership. Maybe it was easier to win before it began to attract such a strong field? So if you take all of this into consideration, then it’s not unsurprising that we now have differences in opinion.

cyclespeak
Differences that can be resolved?

Gus
The test for the gravel scene is how they mitigate these points of view and for the community to still exist in some level of harmony. So maybe the idea of some sort of federation is perhaps inevitable. Personally, I hope it will be user led rather than one of the existing organisations like the UCI. Because without the athletes, none of this works. But, quite honestly, who gives a fuck what I think?


cyclespeak
Let’s bring things a little more closer to home then and talk about what your riding now looks like?

Gus
I tend to ride up to Griffith Park where you’ve got the Hollywood sign and all that shit. Maybe once or twice a week over lunch or into the evening after work. And that’s fun to me.

cyclespeak
Have you still got your Thereabouts Crust bike?

Gus
I do [laughs] but I’ve not ridden it for a while. And I should because there’s a lot of good gravel riding in LA actually.

cyclespeak
Speaking of bikes, I was watching the short I Am Here reel that switches between Iceland and Mexico. Riding a fat bike through an Icelandic winter looked the real deal?

Gus
It was. But unlike Outskirts there was nobody out there and the goal was to get to the finish rather than the journey in itself. And I find that I like this cold weather stuff because you really have to pay attention to the weather and the environment. Working with the elements rather than just bludgeoning through regardless—although it felt like that at times. Understanding when to move and when you need to stay safe and shelter. Definitely Type 2 fun [laughs].

cyclespeak
The film addresses your struggle with alcoholism. Can I ask how that journey is going for you?

Gus
It’s going well. I’ve come to realise that each person’s struggle with addiction is very unique. And there are other ways that addicts are nothing if not predictable. As for me, I’m coming up on three years since I first quit drinking. I had a couple of slip-ups in the first year so it’s now two years since I’ve been fully sober.

cyclespeak
How have things changed over that time?

Gus
In some ways I thought the most critical part would be quitting drinking and dealing with the physiological fallout of that. I’d checked into a rehab programme and that really opened my eyes to what the disease is. Something I thought about every hour of the day. But interestingly, for my type of personality, that gave me a focus. Kind of ticking off each day as a win. But I’d not be sober today if I hadn’t taken that first step and reached out for help.

cyclespeak
And when you came out of rehab?

Gus
Initially I was very anti group therapy but gradually I discovered the power in sharing experiences and talking over all the shit that’s so annoying. So AA defined my second year of sobriety and then this last year I discovered that I’m not thinking about drinking every hour of the day. This third year is really all about me growing up.

cyclespeak
In what sense?

Gus
I had a problem with drinking for 10 years. Basically my entire twenties. And there was a lot of growing up that I didn’t do and one reason was because I was so focused on being a professional athlete from such a young age. So this past year has seen a lot of emotional growth which has been pretty tough. Understanding how I behaved in the past and feeling a little like, fuck, why didn’t I see this coming sooner?


cyclespeak
I also stopped drinking about eight years ago as a way of simplifying my life. Removing a whole series of decisions that I don’t have to make anymore.

Gus
Absolutely. I fully understand that.

cyclespeak
And it takes a while but eventually that becomes a part of who you are now.

Gus
I guess I’m in that transition from when I used alcohol to mask everything. I’m no longer protecting myself from the world which can be a feature of those first steps in quitting drinking. When you’re not allowing yourself to be around a certain type of person for fear of a relapse.

cyclespeak
So what’s next?

Gus
I have ambitions for my life that need me to be more open and vulnerable. The world can be a big scary place but I need to take some risks. It can be very overwhelming when you open yourself up to that.

cyclespeak
Again, back in 2019, you stated that the only time you truly felt happy was on location shooting. Does that statement still stand? 

Gus
No, not at all [laughs]. That time in Girona I was super late for our meeting because I was hungover. And that was my vibe back then. There were lots of things I just wasn’t dealing with emotionally at that time. So being on the road was a place I could hide from all that. Where I could justify my existence by trying to share a point of view and be around people that didn’t know me.

cyclespeak
And now?

Gus
That’s been one of the big lessons learnt this year. The realisation that back then I just wasn’t happy with who I was and drinking was a way of escaping that. Going on the road was a way of escaping that. So one of the biggest things I’ve had to do is to find happiness and a love for myself. Which I absolutely understand sounds like hocus pocus bullshit [laughs].

cyclespeak
So this is an alternative to always seeking escape?

Gus
In loving yourself I’m not saying as the main character in your life or any degree of narcissism but a satisfaction and contentment with who you are and where you’re headed. So often we’re caught up in chasing something but not always able to define what that actually is. So there’s this cycle of getting the thing you thought you wanted but immediately feeling dissatisfied.

cyclespeak
I’m sure a lot of people would recognise that feeling.

Gus
I sometimes wonder what it was that I was actually chasing? Was it an Oscar, a fucking house, a pat on the back? And all of this noise meant I never really considered whether I liked myself. And for a long while the honest answer would’ve been no. But over the past 12 months I’ve grown to kind of like who I am.

[pause]

Not kind of, I do [laughs].


cyclespeak
I ended our conservation in Girona by asking what’s the best thing about being Gus Morton. Can I ask you the same question now?

Gus
What did I say back then? Because this is the first interview I’ve done since getting sober that has really referenced me when I was drinking.

cyclespeak
I’ll just read back to you what you said in 2019…

It has its moments [laughs]. But, yeah, I have a great life. I’m very privileged to do what I love and to have the freedom to do that. It’s not easy in the sense that things don’t just fall on your lap. To have the life that I lead you have to chase it hard. And with the films; you want them to be aspirational. For people to engage and feel the need to go on their own journeys. In a sense, that’s the whole idea.

Gus
Damn. That’s pretty good.

cyclespeak
It certainly is.

Gus
I wouldn’t say it’s drifted too far. I do have a great life and feel very fortunate to have found sobriety. And everything else in that statement still stands. Maybe the only thing that I would add is that the films I was making back then, I was quite honestly making at the expense of everything else in my life.

cyclespeak
Were you aware of that?

Gus
I honestly thought it was okay. But what I didn’t recognise was how the people in my direct orbit really suffered as a result of that type of behaviour. To some degree I thought that if we did the films right, then more people would benefit than be hurt by it. And to be honest, that’s really a fucked up way of approaching your relationships with people.

cyclespeak
So what’s changed?

Gus
The aspirations have remained the same. To get people to ride and have positive experiences through life by participating in sport. But the lengths to which I’ll now go to achieve them have shortened and I don’t feel the need to be the main character anymore.

cyclespeak
Is that an easy thing to let go of?

Gus
Sure, I still have a fucking big ego and that’s something I’m really trying to work on. Probably a work in progress forever [laughs].

cyclespeak
I feel it’s important to just say that your filmmaking and the work you’ve done with Thereabouts has inspired countless people to get outside and engage in sport.

Gus
That’s kind of you to say and I do appreciate it. But the thing that I really struggled with was separating my identity from that body of work. I always felt that in the public’s eyes, they just wanted me to inhabit this certain role. And I think it’s maybe time to move on from all that.

cyclespeak
Without the need for you to step back into that character.

Gus
Yes. Exactly.

[Gus pauses as he gathers his thoughts]

It would be nice for my work to be enjoyed not because I once wore a t-shirt and cracked open a beer. If people want to ride not because they see me in my work but because they see better versions of themselves in it. That, in my mind, would be a good way forward.

Angus Morton / thatisgus.com / thereabouts.co

Images with kind permission of Angus Morton and Isaac Karsen

Sami Sauri / New adventures

Constantly on the move – camera in hand – from one project to the next, when photographer and filmmaker Sami Sauri decided to commit 100% to her own production company, little did she know what a whirlwind year she would enjoy.

Reflecting on this period of transition in her usual candid manner, Sami considers life’s simple pleasures, why storytelling underpins her way of working and how failure can be a mechanism for growth.


cyclespeak
You’re just back from shooting in Austria. It looked fantastic.

Sami
It was for next year’s Jack Wolfskin spring / summer range.

cyclespeak
But it was snowing.

Sami
I know [laughs]. They chose Austria for the location – which was very nice – but maybe next time we can go to the Canaries? Because the first day it just rained and nobody wanted to wear shorts [laughs].

cyclespeak
Did you expect to be above the snowline?

Sami
No. Not at all. I’d packed a rain jacket but I was wearing normal shoes. And the main story behind the women’s campaign was a hike to a hut at 2100 metres and then down the other side. We were going to spend the night at this altitude – the story was amazing – and the whole crew was female. I turned down two projects just so I could do this shoot.

cyclespeak
But the weather wasn’t helping?

Sami
We had a mountain guide with us and she advised us to postpone for a couple of days. But when we did finally start to climb, on the first ridge we had snow. But I wasn’t going to stop there—this story wouldn’t make sense if we hadn’t got to the hut [laughs].

cyclespeak
So it all worked out in the end?

Sami
For me, I had a wonderful experience—I love those kinds of adventures.


cyclespeak
The last time we caught up, you were listing all your various mishaps. Your foot had been in a plastic boot and you later tore some ligaments when you were out trail running. How’s the summer been in terms of staying in one piece?

Sami
I’ve probably done less this summer than for the last five years. Not because of my foot but I’ve had so much work that I couldn’t find the time for intense bike trips. But I have started running again and trying new sports like motocross.

cyclespeak
Your road to recovery after injuring your foot brought to mind the issues you had with knee pain during the Route 66 and Big Land films.

Sami
The knee pain comes from riding fixed gear. You can’t help falling and it always seems to be on the same side. And I find it interesting that you get used to sleeping in a position that’s comfortable for your hip and your knee—your body quickly adapts to what feels best.

cyclespeak
So it’s something that you can now manage?

Sami
I feel that everything comes for a reason and when I started physio, I discovered that I’d been riding all those years and not using my glutes. There was very little muscle and this was the main reason my knee was hurting. So I now realise that I need to exercise in different ways to help relieve the pain—using bands or a simple 20 minute yoga session every morning to activate my body.

cyclespeak
So that’s your morning routine sorted?

Sami
I’m somebody who finds it very difficult to have constant things in their life [laughs].

cyclespeak
That doesn’t fit well with your personality?

Sami
It’s more my lifestyle right now. So busy and always on the move.

cyclespeak
Is racing the fixed gear scene something you miss?

Sami
I definitely miss that sense of community. And I’ve realised that I’m quite competitive. Which is why I often ride alone because nobody is watching and I can go as fast or as slow as I like and really enjoy it. When I go out with friends, I find myself looking back and wondering where they are [laughs]. 


cyclespeak
I saw a recent post where you were riding near Girona and someone had a bloodied knee?

Sami
The mountain bike ride? When I put my friends through hell [laughs].

cyclespeak
That’s the one.

Sami
I felt so sorry for them. I convinced these two girls – one of them is my physio – that we should take out our mountain bikes and just do some easy, smooth trails. Well, oh my god, we had some proper gnarly downhill stuff [laughs].

cyclespeak
When you aren’t shredding local trails, you spend a fair proportion of your time on the road filming. What do you miss most about home when you’re away?

Sami
I do miss my own cooking. Every time I come back home, the first thing I do is make a plate of my pasta. Maybe this comes from my childhood but I need that plate of pasta.

cyclespeak
Do you have a particular recipe?

Sami
Parmesan, olive oil and salt. That’s it. I don’t need anything else to make me happy. And I might put on some vinyl and turn up the volume [smiles].

cyclespeak
Simple pleasures.

Sami
But after three days, I’m already looking forward to the next adventure [laughs].

cyclespeak
From the moment you receive a phone call or a message, how fast can you be packed and out of the door?

Sami
It doesn’t take me long. 30 minutes?


cyclespeak
Really?

Sami
I pretty much know what I want and what I need—and I don’t need much. But I do always take a pair of cycling shorts because no matter where you are, you might get a ride [laughs].

cyclespeak
You sound very organised?

Sami
Before, everything was super tight with the packing and arriving at the airport. Massive stress [laughs]. Now, I pack two days before I’m due to leave and arrive at the airport at least two hours before my flight—something I never used to do. And when I get to the airport, I’ve figured out a good spot for breakfast, where I can work. And it means I don’t arrive sweating [laughs].

cyclespeak
What would you tell someone just starting out taking photographs or trying their hand at film making?

Sami
I do get messages about that—people wanting to change their lives. For me, I was just handed a camera and told to shoot. And I said, ‘Shoot what [laughs]?’

cyclespeak
That sounds like good advice.

Sami
The first thing I always say to people is just go and do it. Do it, do it and keep on doing it. And fail and do it right and fail again and then see if you like it. You’ll never know when that will be – or whether you will or won’t – until you give it your all.

cyclespeak
And where do you see yourself on that journey?

Sami
I’ve still not completely figured out what’s my vibe. I didn’t think I’d like commercial photography but these last two shoots for big brands I’ve absolutely loved. They were wonderful clients in giving me free rein – I didn’t have a shot list – so it felt like they’d put their trust in me.

cyclespeak
You enjoy an open brief?

Sami
Yes. It’s like for a recent cycling collection I’ve just shot. Super commercial but I gave them this idea that we could rent a motorhome, go to the desert, camp out and ride bikes. Basically shooting on the go.


cyclespeak
Personally speaking, how much is a sense of storytelling and narrative an important element to these projects?

Sami
For me, it’s super important. For the brands, they don’t always ask for it but they all want it.

cyclespeak
I love that.

Sami
Right now, this storytelling style of shooting is mind blowing. Everybody’s doing it.

cyclespeak
Whenever you’re pictured outside – walking, riding, running – very often you have a brilliant smile that lights up your face. And this made me think about a post from earlier this year when you referenced much darker thoughts and feelings.

Sami
I’ve spent time on both sides. I’ve been the happiest person ever and the saddest. And I can think of certain people that wanted to drag me down the wrong path but I think that happens to a lot of people. And the only thing that got me through, was opening the door and going outside. Not necessarily to do sports but sometimes it was a matter of just being out in the fresh air. To find my true self, it’s never going to happen inside a house. I could stay inside – alone with my thoughts – and look at the same wall for a million hours and not feel any better. But if you go out and talk to somebody – your friend, your dog, your horse, even someone you don’t know – then this can make a real difference. It’s like a door that opens or stays closed.

cyclespeak
I guess an open door lets in light? Which brings me to your recent collaboration with Megamo bikes—a custom Sami Sauri paint job for one of their full-suspension mountain bikes with a theme of ‘sunset’.

Sami
I suddenly got this idea in my head about painting a sunset on a bike. To me, the best time of the day because I just love all that colour—not so much on me but definitely on a bike [laughs]. I’m good friends with Megamo and they’ve been super helpful over the past year. Just before I went to Egypt, one of the guys on the trip broke his frame in Barcelona by crashing when we were eating pizza. We got a bike from Megamo in under 12 hours so the trip could go ahead and all their generous help made me want to return the favour.


cyclespeak
So what is it about sunsets that you love so much?

Sami
I’d much rather ride in the evening. In the morning I’m very active mentally and in a creative mood and want to get things done. But when I finish for the day, I can go out and ride into the sunset – it sounds a little like a movie – and that acts as a reward or a pat on the back.

cyclespeak
You’re always on the go – always busy – so how do you unwind?

Sami
I’m not sure I do switch off [laughs]. Maybe when I sleep? And part of me thinks that if I stop, I might miss something [smiles].

cyclespeak
I think that’s a state of mind a lot of people would recognise.

Sami
But I have started reading again—time with no phone or screens. And that’s why I like going on holiday to somewhere simple that doesn’t take lots of decisions to enjoy. Somewhere I can surf or go hiking.

cyclespeak
So do you prefer a 5 day, 5 week or 5 month plan for living your life?

Sami
Hmmm. Fuck. It has to be 5 day because nothing ever goes to plan [laughs]. I can receive a call today and I’m leaving for somewhere else. It’s crazy!

cyclespeak
There’s a post from earlier in the year where you write, ‘Do what you love and love what you do.’ Is that a fair description of how you’re currently living your life?

Sami
It’s not like I’ve always known what path in life I will take. But then somebody handed me a camera to film, photograph and ride at the same time. So I’m grateful for those special people that I’ve known—the ones who after years still see you as you are.

[pause]

It’s not been easy – there were times when I was working three jobs just to eat and put a roof over my head – but I’ve made it this far and I want to live every moment as if it was the last one.


Sami

Photographs of Sami in Egypt with kind permission of Sonam Gotthilf

Thereabouts / Crust Bikes

Part community, part production company, part creative partner. Ask Gus Morton and Isaac Karsen to define Thereabouts and you’re offered a number of varied responses. What is abundantly clear, however, is a passion for storytelling and the narrative of their collaboration with Crust Bikes is an exemplar of the Thereabouts vision. Rooted in the Australian Outback and culminating in a Utah desert testbed; a tale that encompasses talk of farm tractors, friendships forged on the trail and a belief in the bike as a tool for journeying.

cyclespeak
Looking back on the genesis of this bike build, where were you in terms of the riding you were doing? What was your mindset at that time?

Gus
I guess the idea has always been there ever since that very first Thereabouts ride to Uluru in 2013. Back then, your only option for endurance or rough-road riding was a cross bike. But they’re very upright and the bottom bracket’s quite high. They suit cross, they suit jumping over things, they suit those twitchy kinds of conditions. But there wasn’t really a bike with geometry that matched riding on gravel roads in the strictest sense.

cyclespeak
And this got you thinking along those lines?

Gus
On that trip we wanted to ride on different types of terrain. I just had a basic cross bike but Lachy* knew that his team issue Cervélo S5 wasn’t exactly capable of doing that [laughs]. So all credit to his foresight, he called up Mosaic and got them to build him a road geometry bike that could also handle gravel with an Enve fork that could fit a bigger tyre. He kind of created a road bike for dirt.

[*Gus’ brother, Lachlan Morton]

cyclespeak
And that got you both thinking?

Gus
After that first experience riding through the Outback, a whole bunch of product ideas came into our heads. And we’d already been playing around with the ways of riding a bike that weren’t being serviced. So after Uluru we were thinking how we’d go about making a bike and that it would look like this or this or this. And we’d talk about it and draw up designs. Eventually this led to a bike frame under the name Outlands. I think there’s ten of them floating around and I’ve still got a couple in my garage at home.

cyclespeak
But the process never went any further?

Gus
It takes a lot of time and experience to do original stuff – whether that’s a bike from scratch or even a piece of clothing. We’d been talking to some people in Hong Kong but it was like, fuck, we don’t know what we’re doing here. And this was back in 2015, 2016 when both Lachy and I were professional athletes and didn’t have a huge amount of time to dedicate to going over and spending a couple of months in Hong Kong.

cyclespeak
So what’s changed since then?

Gus
Those ideas were floating around from the very beginning of Thereabouts and people have always asked when we were going to make stuff. And then when Isaac and I got together, I guess the act of bringing in an outside perspective with all this other world experience kind of opened up our thoughts. That maybe we could do this in collaboration with smaller brands. And it was Isaac who created that impetus and had the technical know-how.

cyclespeak
You each come at things from your own perspective?

Gus
I’ve said this to you before, I’m very utility focused. I’ll just do whatever I can to make something work. I enjoy that but I’m really only using the tools that I have. Isaac is much more about the right tools for the job and acknowledging that there are people with the expertise to make this stuff. And so, with Isaac on board, we decided to make a bike. Yes, I had connections with people, but it was his knowledge of equipment and his perspective on riding that created the impetus for us to be like, well, who would we want to partner with? What do we want to make?

Ready for anything

cyclespeak
Thinking along those lines, Isaac, when you see a bike leaning against a wall or outside a coffee shop, what do you see as the potential in that collection of tubes and components?

Isaac
I’m not sure whether this will answer your question but in advertising, which is what my full-time job was before coming onboard with Thereabouts, you’re basically a commissioner. You make decisions on the director and the film editor, the visual FX and the music. You lead with your team – this collection of collaborators – and I guess my brain just works that way. So when Gus and I first got together and discussed all the possibilities for projects, we began by figuring out all the people Gus knew and had worked with.

cyclespeak
To build your team.

Isaac
And in a similar way to a collection of ideas and a collaboration of minds, bikes are so exciting because you personally get to choose all the parts. What wheels you want and what tyres will work with the riding you’ll be doing. And I guess I really enjoy figuring out how all these separate elements can come together. In a sense, working out the tone and the character. Which is just as true for a film as it is for a bike build. 

Gus
And that’s what’s interesting because we were only talking yesterday about what’s changed with Thereabouts since Isaac and I got together. I’m someone that if I see something, I’ll ask myself whether I can do that too. And if I can’t, I won’t do it. Or maybe I can see a way I can learn that skill and take on that task. But I’m not someone who reaches out for help.

cyclespeak
And Isaac?

Gus
He’s very much no, no, no. We’ve got to do this properly. Isaac’s more for finding the right person, reaching out to them, engaging with them and bringing them in. And the balance of those two outlooks has really launched Thereabouts massively forward. Whereas before, if it couldn’t just be done in-house then it wasn’t going to happen. And that’s where I was blocked.

cyclespeak
This sounds like quite a profound change in your way of thinking?

Gus
I wanted to do all these things but didn’t really know where to start. The bike, the film projects, the podcast. All these new facets of Thereabouts have come about because of Isaac’s whole other approach to thinking that balanced out my own in a really powerful way.

cyclespeak
So the idea for the bike has been there from the early days of Thereabouts and you’ve referenced before, Gus, that you see a bike as a tool for moving and for journeying. And Isaac, I know you share that viewpoint, but you also come at it from a form and function perspective. Do you both feel the project benefited from these different approaches in bringing the process to fruition?

Gus
To be honest, I was always onboard with making a bike but it was Isaac’s desire to see it done properly that proved the deciding factor. Left to my own devices, I would just ride what I had and stick a rack on it or tie a bag on. Often things that weren’t really meant to be used in that way but I would modify them to just make it work with the shit that I had. And from that regard, the equipment was always an afterthought. But having done that for a long time, all of a sudden someone comes in and tells you, no, there’s a product for that. Or the potential to create something to do that particular job. And the Crust bike is a perfect example. When I rode it for the first time I was like, oh shit, that’s what it feels like to ride something that’s meant to be ridden in those conditions. It’s so much easier and so much more enjoyable [laughs].

Utah testbed

cyclespeak
I love the idea that you don’t see the bike purely as a possession. It’s all about what you can do with it. Where it can take you.

Gus
Exactly. All of a sudden you’re like, holy shit, if we really wanted to, we could hang three gallons of water on this bike and survive in the desert for multiple days without re-supplying. And that’s straight where my mind goes. Riding the Crust, all of a sudden this whole new world opens up.

cyclespeak
Isaac, you mentioned the process and I was wondering whether there were other framebuilders in the mix or was it always going to be Crust?

Isaac
I was still living in Downtown LA at the time and I only had a road bike. Just riding in Griffith Park and wasn’t really able to get out any further from a time perspective. But I’d lusted after a Crust bike for ages. And especially the Bombora which was the frame we’ve used on our build. And we have to give massive credit to Cheech and Matt for what they’re doing with Crust because they’re building just the coolest bikes. Really owning that category of frames and doing it their own way.

cyclespeak
I like the idea that you’re a fan. How there’s an emotional element to your choice of collaborator. 

Isaac
So I mentioned to Gus that it would be cool to do a Crust and we should get in touch somehow. And he was like, oh, I know Matt. And I’m like, we should hit them up now. And Gus just sent him a message.

cyclespeak 
With all these different strands coming together, would you say there’s an element of Matt and Cheech in the Thereabouts build?

Gus
Absolutely and it’s funny you should say that as I was thinking about my relationship with Matt. Because when you’re riding a bike professionally, you get introduced to all the big names on the race circuit. Just by virtue of you simply being part of that world. But to be honest, for me, I’ve always been most at home with the dude at the bar that you meet when you’re out riding. That’s where my engagement lies and where my love of this sport is based. Whether that’s down to my inability to make it as a bike rider, I’m not exactly sure. But I’m definitely more comfortable with the more anonymous side of things.

cyclespeak
And you feel this relates to your friendship with Matt?

Gus
A while back, I was invited on a ride in California and Matt was also on it. He’s this little Aussie bloke – I immediately clocked the accent – but I didn’t know who the fuck he was. And he didn’t know me either. But we’re riding along and chatting and just through talking, all of a sudden, I realised that this is the guy that makes Crust bikes.

cyclespeak
And a connection was made.

Gus
Here’s this bloke who was a plumber, a surfer, a BMXer. And with Crust he just created his own niche within the cycling world. Really doing it his own way. And there’s no pretence with Matt; he’s super sarcastic and his sense of humour is really similar to mine. So just over the course of this five day ride, I got to know Matt after gravitating to him. The kind of person that doesn’t give a shit about the way that things are or the way things have been.

Desert campout

cyclespeak
That sounds a very grounded, down-to-earth approach to business?

Gus
Way back, Lachy and I had talked to 3T about the Exploro bike. That was originally going to be called the Thereabouts bike.

cyclespeak
No way.

Gus
Yeah, we worked with Gérard Vroomen. Discussions going to and fro about the design and the whole, fucking gigantic legal process of royalties. We both thought it would be sick to have our name on a bike but the project kind of stalled. And we then went through a similar process with a number of other companies. Sitting around the table with all these heads of brand and they’d be talking about incorporating what we were doing with Thereabouts into their shit.

cyclespeak
But nothing came of it?

Gus
I kinda thought that having a bike was impossible. You’ve got to jump through so many hoops and then at the eleventh hour the process reaches a point where it stalls. But with Matt, there was none of that [laughs]. We called him and asked about making a bike and he said, ‘Yeah, sure.’ And it was really that easy. One person, their own brand, doing their own thing and just interested in making stuff that excites them. And that’s like, very rare, I think. Just wanting to get it done.

cyclespeak
In the Thereabouts podcast episode that features Crust, Matt says he doesn’t care what the cycling industry thinks.

Gus
That’s right. He doesn’t [laughs].

cyclespeak
So I wondered where you sit? And whether your self-perception is one of outsiders?

Isaac
That’s an interesting topic [Gus laughing in background]. I think to a degree we’re outsiders but, in the same breath, we’re still kind of part of it all. And going back to my earlier point about collaboration, we still need wheels and a group set to complete the build. So, no matter what, you look to different people to help bring your vision to life. And we value and really care about our relationships with those individuals or brands that build bikes and I think it’s really inspiring what people like Matt and Cheech are doing at Crust.

cyclespeak
So, after deciding on Crust for the frames, I guess you had a free rein for the componentry?

Gus
Exactly. Isaac was like, let’s do this or use this. And that’s sort of how this all works. One of us will come in with an idea – for a film, podcast, whatever – and the other one will either be, that’s great, or no mate. There’s a sense of checks and balances but when it came to the  equipment it was very much what’s the sickest thing we could put on the bike. I suppose the best way I can frame it is to ask if you know that much about tractors?

cyclespeak
Tractors?

Gus
Well, Lamborghini started out making tractors. My Dad used to have a Lamborghini tractor on the farm. And I kind of picture the Crust in the same way. It’s got really fucking fast shit on it but it’s still a tractor [laughs]. You’re not going to race this in the World Tour but it’s specced out like it expects to be. So the thinking went, what’s the most do-anything robust frame? And that’s how we arrived at the Crust Bombora. And then we asked ourselves, what’s the most badass shit we can put on it so we can make this tractor go as fast as possible over any terrain.

Isaac riding the Thereabouts Crust

cyclespeak
It sounds like a fun process?

Gus
Just completely unorthodox. And going back to that question of whether we see ourselves as outsiders. From an ideological standpoint, then absolutely, we’re outsiders. We’re talking about using the bike in very different ways but, at the same time, we have to co-exist inside this industry and we’ve got really great relationships with brands like SRAM, Rapha and Specialized. It’s just that we tend to look at ways of using a bike that lie outside the regular realm of riding.

cyclespeak
In the film Sometime Thereafter, you explore the idea of a shared journey experienced through individual perspectives. So when the finished Crust was standing in front of you, how did you both feel seeing your name on the bike?

Gus
I guess I look at it this way. A bike is greater than the sum of its parts and we were lucky enough to know these people who make derailleurs, wheels, tyres. Who make bar tape and saddles. They’re all creating these elements and there’s all these personalities and characters behind those components. And Isaac was able to pull them all together into an epitome of what we are and what our view of the sport is. And as a result, we put our name on it because it’s a physical representation of where we currently see Thereabouts and what we want to use a bike for. That unquantifiable essence of a bike and how it moves you through space. That’s us, putting our name on it. Like putting an intention to your day [laughs].

Isaac
The parts arrived as Covid was happening so the bikes were built up during lockdown in Portland. I drove everything over and then, a few days later, you’ve got a fully-built bike. Which was crazy because they looked way different than I was expecting.

cyclespeak
And then you got to ride them.

Isaac
It was mine and Gus’ first escape from lockdown restrictions on a trip to Southern Utah. I loaded the bikes into my car and we drove all the way south.

cyclespeak
Was this Utah trip a case of ticking boxes – a testbed for the bikes – or more about asking questions?

Isaac
It was heavenly.

Gus
It was.

Isaac
The riding was pretty out there and our bikes were completely fucked up but they survived.

cyclespeak
Once again, returning to the theme of a tool for a purpose?

Gus
Exactly. In terms of putting your name on something, we’re storytellers and this build fits in a kind of abstract way to that end. A tool that will help us to tell a story and hopefully empower people to make their own journeys.

Gus and Isaac

cyclespeak
You mentioned how your Crust bikes were built up during the Covid lockdown. Has the pandemic influenced the direction you’re going with Thereabouts?

Gus
Looking back on the past year, having everything scratched gave us time to rethink our approach and strategise a bit.  Along the lines of what we want to do and how we’re going to do it. So we spent a lot of time reformatting the business plan. How we can make and tell these stories and get them to the widest audience in the most beautiful way. So we’ve got a lot of exciting things in development and a shitload of work to be done over the next six months. But we’re getting there [smiles].

cyclespeak
For many people, the pandemic has been life changing and not always in a positive way. But maybe adversity can sometimes push you to question and reassess how you’re living? To explore new directions and appreciate what we might have taken for granted?

Gus
At least from my personal point of view, I’ve always felt the urgency to do things and get them out. The last two years have really changed that for a number of reasons but as a result I feel we now have a more sound perspective which will hopefully help us make a bigger difference in the work that we do. At the heart of Thereabouts, it’s about telling stories that inspire people. We want to show the positive impact sport can have on society at whatever level you choose to engage. Sometimes it feels the way we go about this might not be the easiest way to do it. But, for us, it’s certainly the most rewarding.

Gus Morton / Isaac Karsen / hereorthereabouts

All images with kind permission of Thereabouts

Thereabouts Outspoken Ep011 – Crust Bikes

Crust Bikes

Gus Morton / Here Or Thereabouts Part 2

In this, the second part of our conversation, Angus ‘Gus’ Morton muses on the future of professional cycling, his striving for a life of simple pleasures and whether love is, indeed, all you need.

Looking back at the films you’ve been associated with, one of my personal favourites is Rapha’s short feature ‘Riding is the answer’. Did you direct that?

 I didn’t but that’s actually a funny story because I had no idea I was going to be in that. Or even the level it was on. I’d just shot the first Outskirts and was living out in LA and this guy from Rapha was explaining that they were in town on these dates and would I be available to be part of the shoot for a day. So I was like, sure, and didn’t think anything of it. A month goes by and I get this call from the executive producer at a creative agency and so I’m wondering what they’re doing getting involved because I’m only going to feature in this film for a second or two. Then I get a lady wanting to take some photographs and I have to go to wardrobe but I was super late because I rode there and when I finally arrive there’s 30 people waiting.

 I imagine not particularly happy?

 Oh, man. They were pissed [laughs]. And then they start talking about the days we’ll be shooting and I’m telling them that I won’t be in town that long. Apparently the shit hit the fan and there was this huge meltdown. I woke up in the morning and there’s 30 emails and millions of missed calls. Turns out I was the main character [laughs].

 That tiny detail kind of passed you by somehow?

 Man, it was a bit of a stitch up. And I honestly had no idea. I just thought it would be a van with a camera in the back but it was this huge production. They’d closed parts of Downtown LA and I was riding around on empty streets. No cars.

 Just the amount of work to get those permits.

 Yeah. It was insane. Comical. A proper LA shoot.

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But, for me, the film was perfectly pitched. And thinking on from the tagline – about riding answering questions – looking back at your professional racing career I was wondering what kind of rider you were?

 Not a very good one [laughs].

 I’m sure that’s not the case.

 I was a worker. Just a team guy. That was my job riding for Jelly Belly. I was pretty good at cobbled stuff but never that good when it came to individual success. Though I must admit that the first time I was pro I had some decent results but most of the time I was sick with this parasite.

 They didn’t know what the problem was?

 No and my body was doing all this weird stuff like it stopped producing testosterone. It took a while to figure it all out and kind of plagued that first part of my professional career. And then when I’d finished racing for the first time and got into film, this guy asked me what I wanted to do and I told him I wanted to be a director. I was young, probably 22 at the time, and pretty bull-headed. And he looked at me and then told me to go away and do something else for 10 years.

 10 years?

 Just go out into the world and experience. Because what perspective do you have when you haven’t done shit? So I really took that to heart and it played a big part in me getting back into racing for a second time.

 From the outside, professional cycling can seem a very brutal career. All about performance?

 It is. Exactly right. And it’s kind of funny how you’re judged. Some riders do one good thing and somehow hang onto that. Others are consistently up there but without the recognition they actually deserve. And I don’t really think that cycling truly understands that it’s in control of its own destiny. Everyone’s racing to get first but what the fans also buy into are the characters and stories. Yet the professional sport almost wants to eliminate personality. And it blew me away that, year after year, Team Sky riders were literally getting piss thrown over them and yet they continued with the same MO. Was it successful? Yes. But what’s the point of it all?

 So what’s your take on Education First’s Alternative Calendar?

That’s where it’s going. We look back at bike riding and all we talk about are the epic stories. Because that’s what captures our hearts and the general audience doesn’t give two fucks for science and system. It’s all romantic; all emotional. And brands are already beginning to change their focus so ideally we’ll see the sport continue in this direction.

 So you think other professional cycling teams are watching?

 Dude, you look at Education First during the Giro when Dirty Kanza was building up. There was more media focus on a one-day 200 mile gravel race across the backroads of Kansas than a fucking 21 day grand tour.

 I can see your point. I’ve watched the Dirty Kanza film three times. The Giro once. So in terms of a business model?

 How much would it have cost the team to ride the Giro? Two, three hundred grand? By contrast, for EF to ride Dirty Kanza it would have cost them basically nothing. And there’s still this disconnect between directly spending money in sponsoring a team and whether you can accurately measure a return. But you know exactly how many views you’ve had on YouTube. And I’m like, if you create a character you’re guaranteed to get ‘x’ number of views per race on whatever content you build around it. People switch on Neighbours every night and watch it. No one wins. They watch it for the characters and the stories. Why don’t you create something like that in sport?

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I recently saw an Instagram post obilqely referring to a current female professional cyclist. Arguing that she hadn’t placed well in a race or her own national championships for a number of years and the only reason she was still a member of the race squad was down to her being pretty and having a huge following on social media.

 But what’s the problem there? This post is arguing that she doesn’t deserve a spot on the team but is the problem the rider or the entire sport. Doesn’t that just demonstrate that no one gives a fuck about results? That there’s limited value in that for the sponsor and this rider is bringing something extra to the table? I mean, I hate social media. I don’t use Instagram anymore aside from contacting people. I had my own troubles with that but not from any particular high ground. It just took up too much of my time. But this rider is being followed for a reason. Maybe because it offers an insight into her life as a professional cyclist. Or she’s followed because she has something to say that matters to people. Whether she can still ride her bike and place well? Obviously lower down the priority list of her followers but also her sponsors because she’s got a contract. And that’s what I’m trying to say. All these sponsors are investing money into the sport in the hope that they’ll win. Is that a reasonable allocation of funds? One team is putting in ten million, another team their ten million. But the most interesting thing about bike riding is how dedicated these riders are and how far they’re prepared to push themselves. So many characters from so many different backgrounds. It’s a potential gold mine [laughs].

 Again, I’m hearing from you this focus on stories?

 The thing with Dirty Kanza – the way it played out – I still don’t think they fully get it.

 In what sense?

 We can all see the race. We understand what that is. But what would it look like if we threw these guys completely fish out of water? OK, we’ve just finished the Tour of California and we’ve got ten days to Dirty Kanza. Let’s ride there; training on the road as we go. Let’s sleep in a van. Camp. We don’t need all this other shit. We’re approaching it exactly the same way other people racing are doing it.

 Thinking about Lachlan [Morton], Taylor [Phinney] and Alex [Howes] riding Dirty Kanza; all of them professional cyclists for EF Education First and I did wonder how their entry in the race would be viewed by the amateur racers. But, as it turned out, they didn’t win.

 Taylor said it was absolute hell. And it shows they’re human and that’s all we want. To see these guys be genuine; that they’re not robots or beyond our realm of thought.

 That they suffer; that they have their highs and lows?

 And then when an amateur cyclist beats them? Well, that opens up a whole other level of narrative.

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This grassroots approach to riding your bike; is a life of simple pleasures important to you?

 I think that’s what I’m pursuing. What I’m exploring through these films. Spending all my time boiling things down to their absolute essence. What is satisfaction at its most basic, molecular level?

 Have you found the answer?

 No [laughs]. But the act of trying allows me the realisation that I don’t need much to be happy.

 And the understanding that enough is enough?

 Yeah. I’ve had problems with that [smiles]. Constantly asking myself what can we do next, how can we make it better? I’ve been staying with Taylor and we’ve been spending a lot of time thinking about that.

 With this mental and emotional exploration, I’m thinking of the Beatles’ song ‘All you need is love.’ Would you agree?

 I think love is an interesting one. It can be all consuming; whether you have it or are pursuing it. When you’re falling into it, then it is all you need. And then if it’s lost, it’s all you want. So maybe it’s about being comfortable with yourself first. For a number of years I’ve chased all these different things and in some ways they’ve offered a form of distraction. So what I’m trying to do now is to take stock and confront all these things that I’ve ignored.

 I found it interesting how you allowed references to your relationship with Sami [Sauri] to be included in the final edit of Big Land.

 I left them in there for a reason. Which is funny because we got a lot of backlash; people just didn’t get it. But my thinking was that something really interesting happens on these journeys. You go through all of these emotional states when you’re physically tired. So me including those scenes was all about highlighting how the dumbest, smallest, pettiest things can result in these ridiculous arguments. Which, from a distance, looks like a real hipster break-up but that’s the point of it.

 That it’s real?

 Absolutely. And it’s like in life, we sometimes need to take a step back and realise how the tiny, insignificant things that we’re focusing so intently on are, in fact, tiny and insignificant. But I’m not sure that this approach was totally understood when it came to the film. Which kind of backfired because Sami copped a lot of flak.

 Did people think it was contrived?

 I think they thought it was trivial. Which it was but that was the point [laughs]. And that highlights the fact that maybe a lot of our audience don’t watch the films in the way I thought they might. So that’s a learning curve that I also need to take on board. You put stuff out there but then you need to emotionally let go because you can’t dictate how people will choose to interpret your work.

 In the film you looked really pissed off. Are you the sort of person to make the first move?

 I’m quite fiery [smiles]. Very emotional in that regard and I can be a real prick sometimes. But I’m getting much better at being able to apologise. Because it’s not always about accepting blame. It can be saying sorry for how you’ve behaved and then moving forward. Not an easy lesson to learn and I’ve done a lot of dumb stuff in the past. But I’m trying to get better and that’s why it’s good to take a step back.

With Gus

There’s that lovely black & white picture of you and Sami on Route 66. What were you laughing at?

 That was literally as we were crossing from Oklahoma into Texas. We’d all had a really dark time for a number of reasons and it was just a very cathartic moment as we stood – howling and yelling – sipping a beer. The sort of moment that I’m still trying to articulate to an audience. Because, for me, those are the fundamental elements of a trip like that.

 The sense that emotions should be expressed. That it’s good to let things out?

 And riding helps. Because you can ruminate on things before deciding to talk them through. Lachy and mine’s relationship is built on those moments. We won’t see each other for months and then we’ll ride and talk about whatever’s nagging at us. And these journeys that we’ve filmed are all about those shared moments on the road.

 From the outside looking in, it looks quite fun to be Gus Morton?

 It has its moments [laughs]. But, yeah, I have a great life. I’m very privileged to do what I love and to have the freedom to do that. It’s not easy in the sense that things don’t just fall on your lap. To have the life that I lead you have to chase it hard. And with the films; you want them to be aspirational. For people to engage and feel the need to go on their own journeys. In a sense, that’s the whole idea.

Photography: Thereabouts

Riding is the answer

Outskirts

Rapha Outskirts Collection