MUSIKMUSING

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[musikmusing]

A MUSICAL AMALGAMATION OF ITS PARTS: SEATTLE’S HONCHO PONCHO

(By Regan Wojick for Amadeus Magazine)

Honcho Poncho are five guys who grew up in the middle of one of music’s most beloved cities; the one and only, Seattle, Washington. And they took advantage of growing up in their rainy city by immersing themselves in the wondrous music scene.

The group, made up of Kalin, Charlie, Jonah, Owen, and Sam, are all working musicians who’ve played in a range of different bands, inheriting sounds from every genre they’ve at one point or another inhabited. No matter if they’re playing in Mary Lambert’s band or a funky R&B combo, Honcho Poncho is the band they call home. The guys don’t necessarily set out to be something different, but different is exactly what you get when you find yourself listening to their knee-clapping, foot-tapping debut album Late Night. It’s an entirely appropriate title for an LP that took hundreds upon hundreds of late nights to make… around 730 days to be exact.

Late Night was a record based on trial and error, and it becomes evident in the eight meticulously-crafted songs. It’s full of those late-night-feel-good tunes that you’ll find yourself listening to when it’s long past midnight and it’s just you with your closest friends. The folk-rock album effortlessly emphasizes classic strumming acoustic guitars and vibrant piano melodies, all while adding their own alternative, Honcho Poncho twist. We had a chance to talk to the founder, frontman, and lyricist of the group, Sam where we got to talking about the origins of Honcho Poncho, our favorite lyricists, and fellow Seattle native Father John Misty.

How did Honcho Poncho begin. Where did you all meet and how did you all come together to form the group?

It started when I made a series of recordings by myself and wrote a couple songs. I took those and applied to a music festival in Seattle called Sound Off! I was accepted and then I needed to form a band to surround me. So I started gathering folks that way initially. The new lineup was formed one summer when I was working at a festival called Doe Bay Fest and I ran into this guy named Kevin who booked the festival. He offered me a spot at another music festival called Chomp! At that point I started gathering the crew again and we started now with our current lineup. That was our first show altogether.

All of you kind of came from different genres – a couple of you were in garage rock bands, you were in a folk/country band –  is that how you guys kind of chose to go the folk, alternative rock route?

It’s just sort of the music that I write. I’ve always found it really difficult whenever I join a band that’s like, “We want to be this type of band!” I mean, it’s fun and you can do it, but it doesn’t feel as authentic as when you have a group of songwriters and we’re all just writing what comes to us naturally. I think after picking up all of the different styles from playing in punk bands and country bands, I eventually started mixing it all together. Those guys bring in a lot of different stuff: Kalin is in an R&B funk band, and Owen, our guitarist, he gets around town as a jazz guitarist. We’re all coming from really different places. Our bass player plays bass for the Mary Lambert Band, but this is home base now. We all go off and do our own thing, but this is the thing that we call home as a project now.

So everyone’s sort of focused their gears towards Honcho Poncho now?

We all knew that we were interested in playing in it, but we didn’t necessarily have the means. Sometimes it takes a little financial interest to get behind a project, especially for these guys who are all working musicians. With this one, we all just sort of showed up and were like, “Hey, these tunes are really fun to play and people really seem to like them, so why not just keep going with it?” Everyone needs what I like to call “Scooby Snacks,” where it’s just like your songs get added to rotation on the radio station and people keep listening and buying your stuff. It’s just sort of ya’ know…just Scooby Snacks! Everyone gets excited and they can keep going because they’re doing what they love.

Do you think that growing up in Seattle has played a part in all of your guys’ musical identity? Or do you not really see Seattle as part of the equation?

I think it’s a huge part of the equation. I mean we live in an age where we have information at any time, but you still can’t escape the fact when you turn on the radio in Seattle, you’re probably gonna hear Fleet Foxes. There are sounds that have come out of here and have faded away, then have come back. The genres are in an interesting cycle in this city, where it depends on what band has branched out from a certain genre to make it sort of solidified in a public sphere. What I dig about what Honcho Poncho is doing is that it seems to be something that I don’t see a whole lot of other bands in this sort of age in Seattle doing. That could either be a really good thing or a really bad thing. Who knows? I think that a lot of artists in Seattle sort of wait for their moment in a way. They wait for when their work is needed and then the community is so supportive here that I think it does play a huge role in it. I mean things like KEXP, and all of the different concert series and festivals that go on around town; it’s a really supportive community. It’s a very open access point too. There’s not a whole lot of homework that you need to do in order to be in the right rooms.

I’ve noticed that Seattle breeds a lot of garage-punk bands.

Yeah! It’s interesting because I think that the three waves – and it’s hard to say if we’re in one now – but I think that way back we had grunge, then we had the folk rock era, and now we’re sort of in another rock and roll phase, but it seems a little more like everyone’s swimming, looking for what exactly the town is in the mood for. There are a lot of old itches that are being scratched by a lot of bands in town that reminds me of another time when other bands were playing around town like Built to Spill. Yet no one’s really been like, “Hey you sound like that other band from another time,” which is refreshing. It happens a lot and it’s hard to escape especially when you’re in a town where music is so cherished, local music especially. It’s easy to kind of cross breed those styles.

That makes total sense. I feel like for rock and roll… nostalgia is nice but I think that being new and different is a lot better, obviously. It separates you. Listeners won’t try to pigeonhole you. So when you were growing up in Seattle, was music something that you always wanted to pursue?

Yes. I mean, I think it’s sort of hard to not. It’s a tradition. It’s passed down in this town almost. It’s sort of inherited. I think, especially for young people, the avenues to play music are immense. If you choose to not take those avenues, it’s almost a very deliberate choice not to. There are a lot of communities here that are all about all-ages music venues. My weekend night as a twelve-year-old was going out to see local music. Obviously that is incredibly inspiring, and it never stops.

Do you think there was a particular moment or person where it just clicked for you, where you were like yeah this is what I want to do?

I think it was through a series of fortunate events that have led to the position to really go all the way on it. A lot of it had to do with community support. I think that once you get that blessing from whatever community you’re a part of, it’s easy to make that decision. I’ve been really humbled by the last couple of months by just seeing how the music’s been received and the support of fellow band members, and I think that’s what made it really real for me; recognizing how much friction there can also be. It can be work and it can be something that you get better at. I think one of the greatest dynamics of our practices is that we definitely do not coddle each other. I think we can sometimes push each other in a way that can be really hurtful, but in a really healthy way too. We hold each other accountable for a lot. We all know we can do that much more as individuals. We all trust each other well enough that if one of us is missing the mark, that person feels accountable and should feel accountable for their mistake. And also know that they’re forgiven. It’s a weird mix. No hard feelings… but we all know that you fucked up. That was inspiring. I come from a theater background and was an actor for a couple of years. That’s a very critical environment in a really healthy way you know, it wouldn’t exist without criticism. I think that’s something that some bands don’t focus on, and don’t embrace, and don’t cherish: the criticism. They just kind of show up, play their tunes, and rock out super loud and super hard. Really it should be about the individuals and focusing on one person at a time to make sure everyone’s with the herd. Working in that environment is probably the most inspiring for me.

That’s a really interesting perspective. So when you guys are practicing and going through these songs, making the album… I’m sure that criticism is something you guys really held with high regard.

Yeah, it was a monstrous process. It was a two year process basically. It’s actually around the 2-year anniversary of the beginning of the process of this new LP.

Happy anniversary.

Thank you, you’ll get your gift in the mail! I recorded it all with Kalin, our pianist and when we were three days from saying it was done, Owen, our lead guitarist came in and said “this isn’t done yet. Here are the twenty ways we can make this better.” From that point, it took another 6 months. We scrapped a lot of material and a lot of parts. We re-recorded a lot of stuff and just used better equipment. The whole process went from December 2014 to July 2016. There was never a dull moment too.

There was always something that was in the works too. I was living out of Walla Walla, Washington, and was communicating with them from far away and I’d come back and record some sessions. I’d be on the phone with them a lot. They’d send me mixes and we’d send each other notes. It was an album built on criticism that I thought was really beautiful because there was no decision that wasn’t questioned. I heard a story about Gene Wilder and about how when he was writing Young Frankenstein with Mel Brooks that he would be writing all day and Mel Brooks would come over for dinner every night and would sit down and look at Gene Wilder’s writing and would say, “Hey this is crazy. Are you sure you want this in here? This is really ballsy.” Gene Wilder was like, “Absolutely. This is the key to the whole movie.” Apparently he would get red in the face and got all serious. Mel Brooks said, “Okay, I just wanted to make sure you cared. Now it’s definitely in the movie.” If you don’t give someone an opportunity to stand up for their work then you don’t know that they really care or like their decision. I think that I’m making it out to sound like we’re yelling at each other all the time, but we’re really just having conversations about it all, and really deliberately making choices every time we sit down.

Your lyrics are really candid and seem to be in the moment of what you’re feeling. What is your writing process like?

So what I normally do, I write all of the lyrics by myself. That’s what happens most of the time. For some of the lyrics on the album, we would record something and have a vocal melody. We kind of wrote and recorded at the same time when we were doing the demo process. I would tell them to record a part and I’d come back in 15 minutes with some lyrics if I felt like it was the time. So that’s one half of my writing and the other half is the painstaking, meticulous moving around of words and commas. More recently when I write a song, I’ll sit down and write 20 verses and scrap 15 of them. I prefer my lyrics to be an invitation, opposed to a proclamation. When writing, my favorite lyrics are all from people who wrote something that was to be interpreted, but not in a way where people had to figure them out. They were writing so that people could develop a relationship with those words on their own. That’s how I’ve developed relationships with all of my favorite musicians; it was by having my own time with their lyrics. I’d like to think of it as an act of generosity. I like to string together a lot of things that I don’t understand yet and sort of let them have their own life in a song. It’s very rare that people are given an opportunity with language that they have permission to do something with it.

Yeah, I agree. No one likes to listen to a song and feel like they’re being fed something. Do you have a particular lyricist that is one of your favorites or has inspired you to write the way you do?

Yeah, it’s a little scary because you’re afraid to admit your formula, but I love the the lyrics of Jeff Tweedy quite a bit. Jeff Tweedy, Neil Young, Joni Mitchell and Elvis Costello. In particular, I feel that Joni Mitchell has some of the best lyrics and poetry out there. Patti Smith also. I think that these are people who really saw their songs and their lyrics as literature as well. You can sit down and read a Joni Mitchell song and have the same experience with it, it’s just that she also knows how to communicate that through song. Do you have a favorite lyricist?

Hm. I really like satirical lyrics at the moment, so probably Father John Misty.

You know, I worked in the shoe store that he worked at. We never worked there at the same time, but I saw him on the street the other day, while in the care with my friend, and was in a heckling mood. I felt really bad about it as I drove away, but I rolled down the window and yelled, “Hey, when you comin’ back to the Woolly Mammoth?” He looked back. He looked confused, but he also has an interminable sense of cool, so he seemed alright with it.

Up until about a year ago, I didn’t even really know that he was in the Fleet Foxes.

Oh yeah. That’s the real deal right there. I actually just listened to their second album Helplessness Blues the other day and it’s just a masterpiece. Robin Pecknold’s music used to really inspire my songwriting and I learned very quickly it’s just something I love to listen to and not something I want to try and write. It takes a really particular person to write that type of music.

So what do you want your listeners to take away from your album?

It might sound dumb, but I think that my favorite thing that could happen is that someone else would come up to me and tell me something completely different from what I meant. I think that would be the most exciting to me because then I would have succeeded in giving them an opportunity to develop a relationship with it. I’m at the point where I want to have an amicable divorce with this set of songs. I think that’s where I’m at now. I want the songs to have their own life in other people’s ears. If I had something to say to people, then I’d be doing what you’re doing, I’d be a writer. I respect the hell out of people who can do that. I’ve never been able to be that direct about anything. I think that that’s a talent for the few. Amadeus doesn’t seem to be too instructive and I find that refreshing. It’s just here’s some more great stuff that you can figure out yourself, which I love.

(http://amadeusmag.com/blog/seattle-honcho-poncho/)

[musikmusing]

WHERE MY LADIES AT: GIRL SCHOOL FESTIVAL’S UNFORGETTABLE 3 DAYS

(By Regan Wojick for Amadeus Magazine)

Have you ever looked at a music festival lineup and thought ,“Where my ladies at?” Have no fear, Girl School is here.

The Girl School Festival is an event that showcases and celebrates the artistic talents of all identifying female artists of every race, religion, sexuality and background. Girl School is a unique festival for many reasons… let’s not state the obvious. The collective directly gives back to their supporters and the community in which they thrive in: Los Angeles. Fittingly, benefits from the showcase go to the Rock ‘N’ Roll Camp for Girls Los Angeles, which is a social justice organization aiming to “inspire girls to be their best selves.” The vendors at the Girl School even directly catered to their mostly female attendees (ie: organic tampons). Yes, the festival focused on the talents of female artists, but everyone was welcomed into the intimate Bootleg Theater that sits on Beverly Boulevard with open arms.

LA resident and musician, Anna Bullbrook, got the idea for Girl School when she felt a hunger for women’s presence in the music scene. Around the world there are tons of women that are producers, DJs, sound engineers, solo acts, leads of bands, and much more; we have always been present, but not always given the opportunity to be heard. Most upsetting, women are constantly being overlooked at music festivals, and when they do play festivals, women are rarely slated as the headlining acts. So, this gaping music industry void ignited a fire within Anna to bring together and expose more female artists. With the help of her peer, Jasmine Lywen-Dill, as well as a group of fellow female friends, Girl School began to gain traction.

Bullbrook has often talked about the importance of “women’s excellence” and what the means to us as a community. With Garbage’s Shirley Manson kicking off the 3-day event, those words seemed entirely appropriate. Friday night began with talks of a revolution – maybe not that serious, but it felt like we were getting there. Without a doubt, the inspiring and passionate Shirley Manson interview was a favorite moment for the majority of the attendees. The charming, vehement punk icon spoke with a dark sense of humor about her endeavors as a woman in the music industry and she did not spare any details. Not that anyone expected her to, of course. When she took one of the questions from Girl School’s Eve Barlow, she answered it, and elaborated, a lot. Manson did not preach about what to do and what not to do as a woman, but rather she spoke with the crowd like we were her friends asking for advice on how to navigate through life at such a controversial time, to which she could only respond with, “women’s sexuality is the most powerful currency in the world.”

The Q&A segment touched on a number of important things like dealing with feelings she had as an “outsider” within Garbage, how sexism can be can be just as hurtful coming from other women, and how politics are impacting women in modern day life. Manson has had her fair share of amazing ups and terrible downs as a woman in the public eye, yet has continued to stay consistent, uncompromising, and all around badass. The energy of Manson’s speech continued through the entirety of the invigorating 3-day festival with workshops set in the afternoon and musicians hitting the stage at night. Every night brought us an eclectic group of powerfully artistic women from a range of genres and subcultures.

The lineup was as diverse as any music festival could be and there certainly was not a genre left out. Kona opened the weekend on a smooth note with her sexy, bass heavy, bedroom tunes. Each artist overwhelmed the crowd with a different feeling, whether that be sexy, emotional, nostalgic, angered, or happy. Francisca Valenzuela, a passionate singer from Chile, created an emotional vibe of solidarity between the women in attendance as she sang about worldly issues in her native language. The set was intimate and heartfelt with just her piano and two backup vocalists. It made me, and others I’m sure, appreciate the event and the diversity of Los Angeles even more. VOX, one of the many LA natives, has been one to watch for some time now. The solo-singer-songwriter, clad in white ended her set with a chilling acapella rendition of “Cry Me a River,” and left her voice echoing throughout the theater.

It’s 2017 and women in music are still looked at in a particular light, not only in the music industry, but in everyday damn life. Women often are pigeonholed into pop music; they’re  judged, more often than not, by physical appearance rather than their substance and talent on stage. Unfortunately, people are apprehensive when it comes to all girl bands; there’s always a forewarning along the lines of “they’re a girl band… but they’re actually really good!” As if being terrible was the norm for girl groups. To these people: get a grip, you’re missing out.

Girl School was not only a movement of empowerment, it was an opportunity to discover some of music’s best new artists. The Wild Reeds are an encapsulation of women empowerment. The three women, all lead singers, played a set full of breathless harmonies and raging folk instrumentals, utilizing the harmonica and accordion to enhance their country/folk sound that they do so well. The Regrettes wowed the crowd with their simple, yet fresh garage-pop tunes. The extremely young (ages 16, 18, 18, and 19) band sang about the joys and tragedies of being a teen girl, from zits to straight up dealing with assholes. While the Regrettes, aesthetically, had a more vintage vibe reminiscent of 60’s doo-wop, Starcrawler took us back to the late, and loud, 70s. Starcrawler had the most interesting set of the weekend. The group was thought-provoking and honestly, people weren’t entirely sure what was real or just an act.  When the lead singer began to bleed out of her mouth I was pretty sure it was all for play; At least I think it was. Either way, the band easily gained a swarm of new fans. Similar to Starcrawler, rapper BOYFRIEND, brought the house down with her over the top production, heavy beats, and her never-ending dirty rap lines. As far as crowds go, BOYFRIEND, may have had one of the biggest turn outs.

Although Girl School only happens once a year, here’s to hoping that other festivals take note: women rock.

(http://amadeusmag.com/blog/ladies-girl-school-festivals-unforgettable-3-days/)

[musikmusing]

TODAY’S SONG: SEVDALIZA HYPNOTIZES US WITH THE OTHERWORLDLY “HUMAN”

(By Regan Wojick for Atwood Magazine)

Art is powerful, provocative, controversial, and thought-provoking. Sevdaliza is the walking embodiment of art with no boundaries. Although she doesn’t have more than about a dozen songs out yet, the Iranian-born singer from Rotterdam has been an interesting figure to watch these past few years. Through her dark electronic beats, alluring vocals, and brooding lyrics, Sevdaliza has not only captivated listeners, but also thrust them into her unusual world.

Sevdaliza writes in a manner that feels like it could be her stream of consciousness, yet she’s totally capable of telling a coherent story in short, scattered lines. Similar to her music, aesthetically, Sevdaliza does not shy away from trying new things. Every music video she puts out is inspired by classic culture, referencing old films or even twisted reflections of life itself. No matter what the subject is, Sevdaliza never fails to put her own futuristic, yet vintage stamp on everything she puts out.

As more songs and videos are released, the artist does not get any less mysterious. In fact, when you think you might have come to catch a glimpse into who she really is, you really know nothing at all. Unlike other artists, Sevdaliza is quiet when it comes to interpreting her songs and videos; rather than spoiling her mystique, she lets her listeners decide who she is.

We live in a world where if you want to know everything about your favorite pop star, it’s just one Google search away. At times it feels like singers and musicians are popular products. We buy their music and idolize their super stardom. For some artists though, it’s about relating to a group of people and being the voice that they don’t have. Being in any sort of spotlight is strange. The center attention is somewhere that I never want to be, and I imagine being a famous artist is like… all the time. Sevdaliza sets out to question that type of consumerism and adoration, which makes her so compelling. In today’s money hungry industry, she is putting out art without selling herself out.

Sevdaliza’s latest production, “Human,” tells us the tale about a woman in our success and beauty-obsessed society. Underneath the power suits and outer shells we seek acceptance on, we all inhabit a soul. Obviously it is not just our physical anatomy that makes us human; on a philosophical level, all of us are able to make decisions led by our own conscious. Every human is navigating, trying to find a role in their own life.

“Human” is carried by dark, electronic beats, but what differentiates Sevdaliza from other electronic artists is her ability to capture an emotion, not only through her so-real-it-hurts lyrics, but also through the music itself. “Human” feels empty in some places, like the artist is looking to fill a void. Perhaps her feelings of emptiness are a result of the technology obsessed, anti-social consumer culture we now live in.

“It’s passing me by

Been in and out

And in front of my judgmental eyes

My precious disguise

Business so cold

Can’t cope with my own

How to not fail”

The video suits the song well as it takes an interesting perspective on the greed that has played a huge part in our world. It also centers in on the beauty standards that people, particularly women, are held accountable to. The clip is set inside an artistically beautiful hall that looks like it could have been a 19th century palace, yet the characters in the music video give it an odd, futuristic feel.

Sevdaliza first enters into clear view wearing a black robe as she wanders to the center of the hall. We quickly find out that she is the center of the (presumably) rich audience’s attention. Sevdaliza works as a sex symbol in the video. Men are seen sweating as she takes off her robe to reveal her clad attire, a beautifully jeweled bikini peace.

The piece she is wearing brings about the scent of classic Hollywood nostalgia. The outfit she dawns in the video is a nod to old-Hollywood actress, Debra Paget’s costume in the Indian Tomb, where she was also seen as an object of sexual desire. Every watcher looks at the woman with pure lust and a hint of curiosity in their eyes. Things are not what they seem as the camera pans out; it is revealed that the Sevdaliza has the legs of an animal (Think an upright centaur… ).

“I am flesh, bones

I am skin, soul

I am sweat, flaws

I am veins, scars

I am human

Nothing more than human”

When the mystery of Sevdaliza’s character in the picture is unveiled, it’s easy to question the feelings behind the men there, watching her. Do they think of the woman as a beast? Do they only see her as a sex symbol? The reasons they watch with such intrigue do not matter, however; they are still there, fawning over and judging someone that they do not see as their equal because she is different. She is just another way to entertain their minds and, more intimately, their sexual fantasy.

The “Human” video is strange and sultry. Sevdaliza holds an abundance of power as she dances in front of the men, looking them in the eye, without a hint of fear or anxiety. It is one thing to be sexually objectified and another to be sexy. As she does look incredible in the video, it also takes a look at how “different” people are viewed. People who are unique become centers of unwanted attention. Sevdaliza has fused the power of sexual desire with the anxiety of being different to make for a beautifully dark, twisted piece of art. “Human” is the lead single off Sevdaliza’s upcoming debut album, and we cannot wait to see what distorted version of reality she will create next.

Music Video: https://www.youtube.com/watch?v=9t7SclAXoQw

(http://atwoodmagazine.com/human-sevdaliza/)

[musikmusing]

DIVING INTO PORCHES’ WATER EP

(By Regan Wojick for Atwood Magazine)

Water: symbolic for a pure, simple beginning. It often has to do with new life. The Water EP (released 8/23/2016 via Domino Records) is a look inside the pure thought process of indie-synth musician, Aaron Maine, otherwise known by his on stage alias, Porches. Before giving life to his 2016 album, Pool (2/5/2016 via Domino), Maine was working on (or with) a collection of demos, now released as an 8 track EP, entitled Water.

I use the word “demo” loosely though, because these aren’t demos in the traditional sense; rather than just being the bare bones of future songs, Maine’s “demo tracks” are layered, well-developed, and sung with just as much emotion as the final cut.

Water was not released to be critiqued, scored, or graded on artistic impact. Really, it wasn’t released for any reason other than being able to give fans an inside look at Porches’ musical growth, from trial to final cut. Being able to hear the way each song was crafted makes the listening experience to both records that much more interesting. The development in Porches’ artistry is evident through his trial and error process; where one artist might have been content with the collection of songs from Water, Maine was not.

The 27-year-old Brooklyn-based musician has honed in on his production skills since his 2013 synth-experimental “bummer-pop” record, Slow Dance in the Cosmos, and it’s something he was proud to utilize on the last record. On Pool, Maine writes with the same sensitive, Morrissey-esque lyrics he’s comfortable with, only this time around, he is able to capture the sound of his feelings in crisp, layered lines of synth, notable bass riffs, and clear vocal production.

I was eager to hear Maine’s evolution as songwriter and producer, and to discover the artistic transformation from Water to the transfixing, Pool.

Mood

“I just wait around

To hear the good news

I just wait around

To hear from you”

“Mood” sets the tone for the Water EP. In the introductory track, the bass-line stands alone in the beginning with only a drum pad playing beneath it, whereas on Pool, the bass-line is still there to be heard, but shares the spotlight with a starry synth.

“Are you in

The mood

I think I

I said the wrong thing”

Maine is stagnant, waiting for something to happen. He’s not sure when, or if, the person he’s after will come his way, but he’s willing to wait. It’s a song of contemplation as he is left alone with his own thoughts, replaying each still in his head like it’s a movie.

Pool

“Pool,” the title track to February’s record, is a call back to teenage purity and carelessness. On the finalized version of the auto-tuned track, the intro is simple, like what you might expect water droplets to sound like.  

“Don’t wake me up

For dinner

My body’s well

When it is still

Now that it’s still

I’ll watch you slip into the pool”

The demo track is hazy, as it relies on dreams of the singer thinking about the pool, watching his lover break the water surface.

Glow

The 3rd track on the EP, “Glow,” may have went through the most notable transformation as it went from nearly four minutes on Water to about three minutes on Pool. Maine took away the echoing drums in the introduction, and once again, cleaned up his production with dreamy synthesizers. It kind of seems like a remedy for him; when in doubt, use synth. And it works.

“I wanted to glow all night

I want you to know that i was right

So I tell myself that I

I won’t take it back”

Maine focuses on the theme of love. His introspective look on love gives each and every song a different feeling of intimacy and depth. “Glow” is no different. Rather than be about falling in love, “Glow” is about trying to stay in love.

“I tell you the truth

You tell it to me too

I know I need you

You know that we are through”

Passionate fights revolving around love always seem to get worse when you’re alone. Emotions build, things are left unsaid, or too many things were said. It’s a fine line between one’s own pride while still wanting to salvage whatever love is left in the relationship.

Car

Maine seems to follow a similar pattern when it comes to inanimate objects like pools, cars, even his own band name, Porches. There’s a strong emotive power behind the lifeless objects he expands on. He’s able to bring each insentient thing he sings about to life. His vocals sound clean and stronger than ever on the final cut of “Car.”

Interestingly enough, the Water version of the track seems like something that would have made it onto Pool. His usual artistic pattern is to add dramatic synths, but Pool’s “Car” does something that is unexpected of the record. Maine composes and adds a foot-tapping guitar riff. Sonically the demoed version of “Car” fits Pool‘s electronic pattern, but Maine’s modulated singing and much needed guitar lines give the song new meaning on the record.

“I pull up the car

And I let it run

It takes us away

From where we are”

Driving a car is something all of us take for granted. We even drive without thinking about what we’re doing; all we know is that we’re going in our usual routine to get from point A to be point B. We don’t think twice about the grand machine we’re using to navigate from city to city… moving from one life to another.

“Oh, what a machine”

Maine is marvels at the four-wheeled machine and its ability to take us from one adventure to the next.

Shaver

Shaving: an annoying routine for men and women all around. Maine takes mundane tasks and makes them a story. This time, he introduces us to the sensitive “Shaver.”

“I make my face

Smooth for you

Do you like the

Things I do”

The dark synth tune, reminiscent of the ’80s, is a reflection of how our attractions motivate us to do things for other people; whether it’s wearing a certain perfume, or shaving your face clean. Yet, more times than not, the small things we do to attract the objects of our affections remain unnoticed.

“I watch her watch

Through the rain

I want it to

Belong to you”

On Water, Maine’s voice sounded brittle, like he might fall apart at any given moment. On the final cut of “Shaver,” he sings with the same emotion, but this time it’s more of a soft whisper, begging for affection. Listening to Water, I began to feel like something might be missing. What was it? Oh yeah, Pool’s version of the track incorporates a sick saxophone solo. It gives the track another level of maturity, and it’s just plain fun to listen to.

Security

In many of his songs Maine portrays the kind of fragile, sensitive loner that a a lot of us can relate to at a some point in our life. “Security” is a simple, yet emotive song that tells the story of someone who yearns to feel stable in a world that is not.

“Man I wish

There was a place

That I knew

I could always stay”

Security can be found in a number of ways. For some, it’s with a roof over their head or with someone they love. At times, it seems like Maine is just singing into the void, waiting for someone to hear what he has to say.

“All I want

Security”

Making an album is a cut and dry process. Artists have to pick and choose what songs best represent the album and their artistic personality. Water features 2 never before heard tracks that Maine felt didn’t belong on the new record.

Black Budweiser T-Shirt & Black Dress

“Black Budweiser T-Shirt” is a raw, acoustic set. It’s a short piece. Honestly, it feels like it probably wasn’t finished as it barely reaches a minute in length. It’s a quick tune, but it’s worth a listen. It reminds us of the other side of the singer’s musical identity. “Black Dress” takes another lifeless object and runs with it. The sound is electronic, and the production is reminiscent of his first release as Porches, Slow Dance in the Cosmos. Black dresses are symbolic for two attractive things: sex and mystery, and it makes him feel “powerless.” It’s more of a loving kind of weakness, where he’s letting his guard down and taking her for everything she is, in her black dress.

Demos are like lost, hidden gems in their own light. Water has glittering moments, and perhaps it even shines in some points where Pool doesn’t. Whether one is a fan of Porches or one just wants an inside look at the way a musician works, Water offers an interesting, unique perspective on the making of an album. Water may be a record full of “demos” and unfinished songs, but it’s also the journey of an artist discovering his own, new path.

(http://atwoodmagazine.com/porches-water-ep-review/)

[musikmusing]

TODAY’S SONG: “SWEEP ME OFF MY FEET” IS POND’S ODE TO MALE ROMANTICS

(By Regan Wojick for Atwood Magazine)

Masculinity may be a fragile thing, but Australian psych-pop band POND aren’t afraid to show the softer side to being a man. POND is a group that nods back to glam rock days and infuses dizzy psychedelic rock to give the world something they’ve never quite heard before. Australians, Nick Allbrook, Jay Watson, Joe Ryan, and Jamie Terry make up the rock group, and these guys are no strangers to the game. Not only has POND been together since 2008, but they’re also apart of so many different projects and bands. It makes you wonder when they’re able to get any sleep in. Even amongst their many artistic efforts, like the oh so new, practically unknown band Tame Impala (right)… they’ve been able to consistently release music under POND.

POND is noted as a band that is experimental in both look and sound. Each member of the band has their own unique old fashioned style. They nod back to the 70’s leaning towards the days of gender-bending glam rock, but dirtier. Frontman Nick Allbrook is most recognizable as he embraces his feminine side on the stage, resembling the likes of the great David Bowie and Marc Bolan of T. Rex. Allbrook’s innate ability to put his femininity on display is what their latest single “Sweep Me Off My Feet” is all about.

The experimental psychedelic group has an album due out next year and next year cannot come soon enough. They aim to record albums that outdo their last, which in this case is the 2015 release Man It Feels Like Space Again. The single “Sweep Me Off My Feet” is a little taste of what their untitled, 6th album will sound like. The single is produced by former POND member and current Tame Impala frontman, Kevin Parker. Like most POND songs sonically it’s a dizzying journey full of quirky drum sets, vocal reverb, and space-y synths.

“Sweep Me Off My Feet” is an ode to male romantics and what it’s like to be certain type of guy in today’s dating world. What kind of guy is Allbrook describing? Someone much like himself: thin, feminine, artistic, and someone who isn’t particularly “manly,” whatever that means. Everyone’s wanted to be “swept off their feet” by great, passionate love, and now POND has put that cliche saying into their own words.

“Hey, you I’m not bold or cool or masculine Maybe you’re just waiting for that perfect Latin lover to walk in I’m not him”

The lyrics lean towards feelings of embarrassment because of how intimidating it can be to being vulnerable. Especially to a girl who has men lined up to be with her. He doesn’t want to be looked at as a “fool” like all of the others who have tried to win her attention.

“Following you ‘round Another lonely guy with longing in his eye But you said your man is bringing you down”

He’s become infatuated with the otherworldly girl, or at least the idea of her. The lyricist doesn’t see himself standing out amongst the crowd, really, he puts himself into the lonely boy’s club. Sadly, his love interest has a man in her life, but her man’s not treating her right. Perhaps she could benefit from someone with softer characteristics. One can be sure Allbrook has a certain Australian in mind.

“Someone sweep me off my feet I am not an angel, I’m barely a man I’m lonely, but I’m here, baby understand Someone sweep me off my feet”

On the final verses of the weirdly whimsical song, Allbrook is booming and unafraid of love. The band works together to bring the song to it’s perfect finish with a guitar solo that sounds like it’s come straight out of one of their very own jam sessions. Allbrook brings his femininity into play once again as he cries he’s “not an angel, [he’s] barely a man.” He smoothly and easily pushes aside gender norms all while trying to find love. Externally, it’s a fun, psychedelic pop song, but when you look a little closer, it’s a tune that explores the complexity of being an effeminate man trying to fall in love in modern society.

[musikmusing]

ARRIVING AT ‘THE ALTAR’ WITH BANKS: A TRACK-BY-TRACK REVIEW

(By Regan Wojick for Atwood Magazine)

The artist known as BANKS started out somewhat of an enigma. The Los Angeles songstress, who drops her first name Jillian when she hits the stage, rarely ever made waves on the black holes that are Twitter and Instagram. It only added to her mystery. Really, social media presence isn’t entirely necessary when your music speaks for itself. In 2013, she released two EPs, Fall Over and London, lighting a widespread fuse for BANKS . Without breaking a sweat, she absolutely lived up to all of the well deserved hype.

Late in 2014, BANKS put out her first full length, Goddess. The album was on everyone’s playlists, whether they were into pop, indie, electronic, R&B, etc. At the same time BANKS was able to isolate her listeners yet reach out to eclectic groups of people by referencing influences like Tracy Chapman, Fiona Apple, and the Weeknd. Goddess was an in depth look into the pain and passion revolving around love in relationships. Jumping forward two years, after long months of touring and releasing singles here and there, we have arrived at The Altar (released 9/30/2016 via Harvest Records).

In religious terms, the altar is symbolically a place of sacrifice. It may seem like an old-fashioned tradition now, but a majority of weddings have happened at the top of an altar, where the groom awaits his life partner. It raises the important question: Do love and sacrifice go hand in hand?

When BANKS is involved, the answer seems like an absolute yes. Perhaps, it is the sacrifice of giving up independence. However, it is never that simple with the multi-layered singer. With an album like The Altar, you can’t just look inside the thematic box; you need to look around, under, and above the box. It’s possible that the album works as her altar as she bears all in front of the world, when her own timidness could not let her do so before. The Altar is a place where things are front and center. BANKS can be BANKS, with her emotional curtains drawn.

Any fan cannot help but notice the drastic difference between the two albums visually, lyrically, and sonically. On her debut album cover, Goddess, BANKS is almost unrecognizable as she was hiding behind her dark bangs and the deep red album art. Again, running with her mysterious persona. While The Altar’s cover is different in every way possible. The album art is light gray with her au naturale face front and center, embracing her freckles. (What? BANKS has freckles?) Just by the look of the new record, you can sense an aura of change.

She has grown in confidence, and is welcoming it with open arms. With each song, you can hear the gradual evolution of BANKS: from a shy, less controversial singer to an artist with bold lyrics and vocals that are not be messed with. The Altar takes a similar approach following her debut, musically,  but amps it up even more. Each beat hits harder and each synth is striking. Although her last album was entitled Goddess, BANKS has embraced the Goddess she is supposed to be more than ever.

Gemini Feed

The opening track of the album sets the mood for what listeners can expect for the next 12 songs to follow: honest, passionate electronic pop music with indisputable soul. BANKS sings each emotional line in a lower, growling almost frustrated, voice. We can all relate to a time when, no matter how loud we spoke, we couldn’t get through to someone; pride works as a barrier, deflecting anything and everything having to do with feelings.  

“I tried to say I love you but you didn’t hear me And you’re passive aggressive Convinced me other people they don’t care about me”

BANKS reflects on the way she was treated by her passive aggressive ex. While she was only trying to mend their spiraling relationship, he only brought her, and her crushed ego, down.

So, what exactly does being a Gemini entail you might be wondering? With the growing obsession of astrology signs, it’s slightly shocking that you don’t know, but I’ll refresh your memory. The sign represents a pair of twins, so Gemini’s often have dual personalities and you might not know which personality you’re dealing with. Putting two Gemini’s together might not exactly end in harmony.

“When I said I miss you, you never believed me And we were so depressive You and me together we were Gemini feed”

Likeness and differences can make or break a relationship, and in BANKS’ case, they may have been too similar to work their differences out.  

“And to think you would get me to the altar Like I’d follow you around like a dog that needs water But admit it that you wanted me smaller If you woulda let me grow you coulda kept my love”

In the verses, BANKS may have been using a gruff voice, but by the piercing choruses, she was ready to get her point across. Loud and clear. The last chorus is where listeners are properly introduced to The Altar. When she looks back on the relationship she was in, she can hardly believe her love was almost sacrificed to be with a man who made her feel lesser than he.

Fuck With Myself

BANKS gives us a lesson in self-love with the fervent and sexy “Fuck With Myself.” The second track, and the first single released off the album, reeks of imitable confidence. There’s a definite cockiness to song, but it feels more like well deserved self assurance. The song explores different electronic sounds, and uses familiar hip-hop beats making it fall somewhere in the left field pop, R&B region.

The song reiterates, in it’s own unique way, that you need to “fuck with yourself,” or love yourself, before you should step up to the plate to love somebody else. Pushing romance aside, being able to feel and trust yourself is important in all relationships, whether it’s personal or business.

Lovesick

The introduction to “Lovesick” is reminiscent of moments on Goddess, particularly, the heart wrenching ballad “Change.” This time around though, BANKS isn’t recounting the sad moments of a crumbling relationship, nor is it her offering to change herself just to salvage what was left of their love. “Lovesick” is a sweet ode to her love. It narrates the simplicity of an instant love affair; the kind that has a pure, undeniable connection from the start.

This is one of the happier, lighter tunes that BANKS has to offer on the album, which works as a nice contrast to her darker, more intense tracks of heartbreak. The song starts off as a slower piano ballad, but by the end of 3 minute and 20 second track, you’ll undoubtedly be bobbing your head and tapping your foot.

Mind Games

“Mind Games” explores the pain of toxic relationships. As humans, we need confirmation in love; we crave attention and adoration. “Mind Games,” the longest song on the record, brings us into a dark state of mind. It’s heartbreaking to love someone and to know that you can’t, or shouldn’t, be with them. At times, we’re blinded by fond memories, but “Mind Games” focuses on each twisted thing that happened within the relationship.

“I foresee it’s true That you would love me better If I could unscrew All of your moods that make me wanna runaway But I got stuck with faulty legs”

Her ex let let his bad moods get in the way of their own love. Although she knew the kind of man she was partnered with, she could not muster up the courage to leave him. Perhaps, she was afraid she wouldn’t find anyone again.

“You claiming I’m a handful when you show up All empty-handed The way you say you love me like You’ve just been reprimanded Cause I know you like mind games”

It sounds like a war of tug and pull. She had to squeeze the word “love” out of ex’s mouth, and he only ever said it like he was being condemned or forced, which may have been all part of his “game.”

“Do you See me now”

The last line of the song is powerful. She repeats “do you see me now,” and each time it’s uttered out of her mouth, it’s grown stronger. It’s as if she’s saying “look at me, I don’t need you.”

Trainwreck

The fifth track on the record follows behind “Mind Games” with a similar theme, but in a different voice. On “Trainwreck,” BANKS has let her frustration boil over, and she is not being shy about it. The pop, trip-hop track is an absolute banger. We find the songstress practically rapping her biting lyrics over solid electronic beats. BANKS has a unique style of rapping. She speaks each line in a sweeping breathe. She strings words together that just shouldn’t make sense, but of course, they do.

“Talking to ears that have been deaf for as long as I Can remember. A self-medicated handicap so i speak to Myself and i try so hard to get his stupid deaf ears to hear that I’ve become illiterate. I become dumb”

She’s dealing with the same man she’s been dealing with for a long time, and now, she’s over it. Rather than talk to someone who won’t hear her, she’s decided to talk herself out of the mess she’s in. She tried to save him, but realized it was useless when he wasn’t willing.

“And I saved you from your darker days Born to Take care of you Or I thought so Maybe it was just a phase”

Some of us are born as savers: people who so badly want to help those who can’t get up in the morning. BANKS is one of those savers. Some people can’t be helped; if you don’t want the help, then you won’t get it.

“You showed me all your letters that I Should’ve confiscated Both of my eyes were weighted I had to get away”

It’s dangerous to be in a trapped relationship. The walls close in, and there’s no light at the end of a tunnel. BANKS escaped the “trainwreck” that her fate was headed towards and is ready to move on.

Now when people ask me what BANKS is like, this will be the song I play.

This Is Not About Us

BANKS has a smooth way of saying “it’s not me.. It’s you.” In “This Is Not About Us,” she tries to let down a man in her life, who’s been attracted to the idea of a relationship for a long time. Maybe they were short term lovers that didn’t work out. Unfortunately, he didn’t get the memo.

Sonically, this is the most pop she gets on the record. It has a catchy chorus with a radio friendly instrumental.

Weaker Girl

Through the record thus far, we’ve already seen evolution of BANKS not only an artist, but also as a person. She is strong, confident, and candid. Although she didn’t exactly lack candid moments on Goddess, there was some power missing behind some tracks. “Weaker Girl” is a song would have been unfathomable on BANKS’ debut, but on the new record, it makes perfect sense. It echoes the cockiness that we heard previously on “Fuck With Myself” and the self-awareness of “Gemini Feed.”

The dark R&B track is sultry and tempting  with the repetitive chorus “I’ma need a bad motherfucker like me.” No matter how sure she sounds in the track, there was a time when BANKS could never say that. And in such an explicit, this-is-what-I-want attitude. She recalls when she was a “weaker girl” and how her ex still wishes she was that girl. When she grew taller, she was seen as a threat. This song is an ode to her newfound badass-ness.

Mother Earth

The only song transition, which is seamlessly beautiful I might add, is between “Weaker Girl” and “Mother Earth.” It might seem like an odd pairing, but it’s a reminder that she is multi-layered, and that for each time she is rough, she is also warmly tender. BANKS’ entire album is certainly full of soul, but with kind words and gentle vocals, “Mother Earth” stands out as the most soulful tune.

BANKS bears all and takes the role of an older sister, a kind neighborhood, a best friend, or a mother figure. The artist has had her fair share of heartbreaks and pain, so she’s reaching out to anyone who might listen. She’s gotten in touch with her roots and femininity, and she’s offering to be that shoulder to lean on.

Judas

Judas: the notorious biblical figure most famous for his kiss of betrayal. His name is now synonymous with traitor. In “Judas,” BANKS bites back at the treason her ex committed. Traitors always seem to be the closest people to us until… they’re not.  

Too dumb to deal Too numb to feel the knife in my back

As a younger woman, it’s hard to stand up for yourself. Real life, altering situations can be hard to deal with, and hard to realize.

Beggin me for thread, I think you need to change your brain

This line is kind of a reference to BANKS back in her Goddess days. The tables are turned, now she’s the one with the power and control. She’s grown far beyond the timid and guilty woman she was on her debut.

Haunt

I’ve always felt that BANKS had a witch-y side to her, and “Haunt” slightly confirms my suspicions.  The track is spellbinding with tropical beats and experimental production. It sounds like running through a dark, cold forest with crickets and animals of the night.

BANKS holds a steady tempo in an even tone for the duration of the track, almost like she’s hexing her ex. Although her vocals stay in the same range for the majority of the song, there are moments where she channels the lower BANKS growl that I love so much. The tenth track on the album perfectly describes the way we feel “haunted” by people that have left our lives when we most needed them.

Poltergeist

“Poltergeist” and “Haunt” are back to back, making for a sultry pair of songs. “Poltergeist” follows in the same manner, being disturbed by the thought of someone, even when they’re gone. The eerie track’s production does a good job of making the singer sound like she’s, for lack of a better word, possessed in some bits. This song is at the top of my favorites list at the moment because of the crafty lyrics. Again, I can’t stress the importance of her production; each line brings you into BANKS’ dark, twisted little world.

To The Hilt

“To The Hilt” is the only pure piano ballad on the record. BANKS’ vocals pair so beautifully with the piano, I wouldn’t mind a record full of just ballads. Her voice is light and gentle, like she’s trying to get what she has to say out before her emotions take over. Most her songs deal with romantic relationships, but on “To The Hilt” she sings about the pain of a friend leaving her behind in the music industry.

“We backed each other to the hilt Now I live in the house we built”

They’ve built this music, their brand, and now that she’s right where she wants to be, she can’t share with the person who helped her get there. It’s an interesting internal conflict: to be happy with success but be haunted by the person who aided your way there.

“You saw me as a superstar when i was in a cave You helped them to see”

The person she sings of believed in her when no one else did. He made her feel like she was capable of things, maybe when didn’t feel so capable.

“Hated you for leaving me You were my muse for so long Now I’m drained creatively But I miss you on my team”

Artists and muses have beautiful relationships, but sadly, one cannot work without the other. Not only does she miss having someone to help support her creative outlet, she simply misses the friend who’s been with her since the beginning: before BANKS was BANKS.

27 Hours

BANKS ends on a high note, with her voice loud and powerful as ever. By the end of the record, we realize that she isn’t as fragile as she used to be. She’s bold, brave, and sometimes, a little bit mean. The passionate feelings of love or hate that have been prevalent in each and every song are what make humans, human. It’s what makes soulful music honest.

“27 Hours” is her owning up to hurting a man, after telling him to stay away. She does not shy away from the incident. No, instead she’s  open and unafraid to bear all, even if it means revealing her mistakes. It ends the album on a memorable note; it’s the kind of song that echoes through your head at night.

The Altar is the artistic, and personal, evolution of BANKS as she navigates her way through life, pain, and love. She is only human, and as humans we learn from our mistakes with no shame. This is pure BANKS, on her Altar, unafraid and uncensored. You can embrace it or you can leave it.

[musikmusing]

MANGY LOVIN’ WITH CASS MCCOMBS AT THE TERAGRAM BALLROOM

(By Regan Wojick for Amadeus Magazine)

SEPTEMBER 16, 2016

Cass McCombs is fresh off the release of his eighth album, Mangy Love. I refuse to confine the record to a single genre because McCombs so effortlessly, yet thoughtfully blends different musical elements together to create a fluid body of work. The 12-track record is riddled with complex melodies, well-crafted instrumentals, and thought-provoking, and often satirical, lyrics. There are clever one liners and observations that are so true, it’s sad. It’s an album that should be listened to more than once, and rather carefully. The songs prove easy to become attached to because they either incite a feeling, or an uncomfortable laugh.

After nearly a decade and a half long career, McCombs is no stranger to the stage; in fact, he seems to be right at home, oddly enough, in front of hundreds of people. In Downtown Los Angeles at the Teragram Ballroom on Thursday night, Cass McCombs gave the crowd his best. Giving his best looks like the only thing he knows what to do, really.

“Opposite House” started the night off right, it was a solid introduction to not only Cass’ talent, but the talent of his touring band made up of Dan Horne, Otto Hauser, and Frank LoCrasto. McCombs’ voice stayed a consistent volume throughout the hushed tune, working nicely as an ice breaker between audience and performer. The 38- year-old multi-genre songwriter and seasoned musician didn’t talk much during the set, but clever stage banter isn’t necessary when your songs are as witty as his. The audience was transfixed and seemed to bob their heads harder and tap their feet louder with each song he performed. Looking around, it became clear that fans of McComb respond to the songs in their own unique ways, especially one of his new tracks “Bum Bum Bum”. As he crooned about his distrust of the government and sending letters to “congressman/The Ku Klux Klan,” the concert goers either shut their eyes, focusing on the searing lyrics and the way in which he masterfully sang them, or they simply could not keep their eyes off of him.

McCombs has a reputable and lengthy discography, however no matter how many songs he may have in his catalog, his night at the Teregram was a set made up of mostly Mangy Love songs. And no one was complaining about that.

McCombs sings with a steady conviction as he uses his words to emotionally reach out to his listener to make a connection. At times, it is an intense connection like when he told the naysayers in a deadpan voice, “if it’s so easy, why don’t you try” in “Medusa’s Outhouse.”

Cass almost works as a type of conductor on stage, making sure each line is hit the way it’s supposed to be. When McCombs is able to find his groove during the set, he begins to relax and play around a bit, even improvising like he and his band are having a spur of the moment jam session casually on stage. His backing band are skilled instrumentalists, keeping up with every unpredictable move Cass makes. At times, the crowd and the band were both in the same frame of mind: “Will he improvise? What will he do next?”.

The Teragram marked only the third night of his tour, but it’s obvious that getting back into the touring routine is just like slipping on an old shoe for Cass McCombs. He is an intense and extraordinarily talented performer that no one should miss if they get the chance.

As always, all photos are shot by Silver DeStouet: @shotbysilver

(This article was written for Amadeus Magazine http://amadeusmag.com/blog/cass-mccombs-teragram-los-angeles/)

[musikmusing]

NOSTALGIA TRACKS: LORDE’S TEEN ANGST ANTHEM “RIBS”

(By Regan Wojick for Atwood Magazine)

You’re probably asking yourself, “Is a song by Lorde really old enough to be considered a nostalgia track?” Nostalgia doesn’t necessarily have to mean that something is old; nostalgia is the wistful reflection and love of the past. It’s a weird feeling – almost a feeling you can’t quite put your finger on, but when it hits, it washes over in bliss. And what is more nostalgic, and terribly embarrassing, than reminiscing on those early teenage years? I may have only been 16 about 3.5 years ago, but sometimes it feels like so much longer than that.

2013 was the year I was 16, the year Lorde was 16, and the year Lorde’s debut album Pure Heroine (September 30, 2013 via Lava Records) was released. Although the singer and I live on different sides of the world, being a teenager is universal. Pure Heroine is full of pure, angst-y teen anthems; it was the soundtrack to every kickback my friends threw and every late night car drive we went on. Thinking back on those seemingly endless nights, I feel the urge to cringe because of the corny, sad, carefree, awkward moments I can recall. There’s a definite sense of relief that those are just memories now. Although I don’t particularly miss being 16, I miss the moments attached to that age, and that time in my life.

Lorde may be an international pop star who is also a poet beyond her years, but Pure Heroine has a way of making all listeners feel like they can relate to Lorde. I never questioned the lyrics because she sang with a strong sense of conviction, which may be what some other young artists lack. Lorde, born Ella Yelich-O’Connor, was able to release a strikingly beautiful record based upon a not-so-pretty age. It is a pop album that is full of substance and deep emotion. She was vulnerable and as honest as any teen girl who’s baring her soul to the world could be.

When I listened to Pure Heroine recently for the first time in a little while, each song instantly had me reflecting on where I was and who I was at 16. Really, there’s always been a song that stood out to me the most. I don’t know if this song means so much to me because of the the lyrics, or the way Lorde sings each line like she’s just yearning for more time in the present… I’m going to go with all of the above. The tune on the record that hit me the most, in all of its angsty glory, is “Ribs.” The song opens with an ambient, droning buzz that makes you want to stare into space, looking at nothing in particular. The songstress is often heard saying she wrote the song about “growing old… and throwing a party when [her] parents were away.”

                             The drink you spilt all over me                                “Lover’s Spit” left on repeat                           My mom and dad let me stay home                                It drives you crazy getting old

The feelings she sings about are almost tangible: The song that you and your friends could not stop playing even though you’ve heard it a hundred times before – though, Lorde and her friends are much cooler than me. I mean, they had to have been some of the only 16 year-olds to listen to Broken Social Scene.

                             This dream isn’t feeling sweet                   We’re reeling through the midnight streets                               And I’ve never felt more alone

Getting older is the hardest thing in life to face. You are forced to come to terms with your own humanity. Growing up is like participating in a race that you wish you never started… only you don’t really have a choice; life progresses and changes, and naturally, it doesn’t wait for you to keep up. You stumble and choose your own path during adolescence, but it can feel lonesome and scary. Through Lorde’s narration of her own teenage journey, she’s able to capture all the anxieties that go hand in hand with being a teen.

As “Ribs” goes on, the anxiety and exhaustion in Lorde builds up. It almost feels like she’s trying to keep up with what she’s singing. When it sounds like she’s about to burn out in the middle of the song, it brings about an overwhelming dose of reality. By the end of her song, her vocals seem tired and nearly forced, like she wants to make sure she’s able to capture the moment she’s in.

                                You’re the only friend I need                                  Sharing beds like little kids                           And laughing ‘til our ribs get tough

Looking back on your childhood, it can feel kind of ethereal at times. It’s pure and innocent. Thinking back to the hundreds of sleepovers you had with friends, the late night talks, thinking you’d be able to function on only two hours of sleep. Of course, it was a much simpler time. There were no major tests you had to think about failing, there were no jobs you had to worry about getting (or keeping), and there were no people you had to worry about impressing. It was a time when your best friend seemed like the only person you’d ever need in the world. Like Lorde, I too had fond feelings for the past when I became a teenager. As I (reluctantly) grow older, it becomes clear that my world isn’t what it used to be, but beautiful memories are still being made. Nostalgia is a wonderful place to visit, but one should not live there.

(This article was written for Atwood Magazine http://atwoodmagazine.com/ribs-lorde-nostalgia-tracks/)

[musikmusing]

FINDING “THE LOVE THAT REMAINS” AFTER LOSS: A CONVERSATION WITH SAVOIR ADORE

(By Regan Wojick for Atwood Magazine)

It’s like a physical feeling, almost like a longing when people are apart. It’s often called “the love that remains.”

Life is like a story. One that is constantly unfolding with twists and turns, coincidences and fate, relationships and heartbreak. It is a cliche, but things happen for a reason. And they happen in a particular order, working like the chapters your book.

Savoir Adore, led by the passionate Paul Hammer, is an “adventure pop” group from New York, and they want to be the soundtrack to your ever-changing life. When I’m talking to Paul backstage at the Bootleg in Los Angeles, it seems like he is the happy-go-lucky type, and he’s got the contagious smile to prove it. Behind the frontman’s smile, there is emotion and passion for not only his craft, but also life itself.

Hammer’s enthusiasm to feel and to inspire to feel is evident in the group’s latest emotive synth-pop release, The Love That Remains (August 12, 2016 viaNettwerk). The songs are animated and practically bursting with passion. Emotions are out, hitting different angles like the big, booming triumphant pop song “Giants,” or the tender, romantic song “Lovers Wake,” and then there’s the heavy beat, synth guitar driven tune “Savages” that has the ability to make someone feel… carefree (I can attest that this one’s great for late night car drives when you have nowhere to be).

Savoir Adore’s previous record, Our Nature, worked as a narrative for a character Hammer had in mind – someone who was surrounded by beauty and love, yet they were all alone. The Love That Remains takes off from where Our Nature ends; it follows the same man, who once was heartbroken and lonely, but is now coming into his own and is on a path to “rediscover love.”

As I’m talking to Hammer, I get the feeling that he relates. A lot. Savoir Adore certainly have had their fair share of heartbreak, having lost their leading lady and basically the other half of Savoir, Deidre Muro in 2014. Hammer’s band mate, and ultimately one of his best friends, had left and was onto new ventures, but heartbreak only lasts so long. Interestingly enough, as that important figure in his life stepped out, another one –his wife(!) – stepped in.

And it all happened within the same week.

The universe certainly works in peculiar ways. Savoir Adore may have a new lead woman (Lauren Zettler), a new way of doing things, and a cleaner sound, but they have maintained the same fun and experimental spirit that makes Savoir Adore, Savoir Adore.

A CONVERSATION WITH SAVOIR ADORE

ATWOOD MAGAZINE: FIRST OFF, CONGRATULATIONS ON YOUR NEW ALBUM.

Paul: Thank you.

AND I HEARD YOU GOT MARRIED, RIGHT?

Paul: Yeah I am.

YAY! SO CONGRATULATIONS.

Paul: Well, I guess newlywed now! 9 months.

FROM THE SOUND OF THE ALBUM TITLE, THE LOVE THAT REMAINS, IT SOUNDS LIKE IT’S GOING TO BE A DEEPLY PERSONAL ALBUM...ABOUT RELATIONSHIPS. IT’S A TITLE THAT KIND OF STICKS WITH YOU. HOW’D YOU COME ABOUT CHOOSING THAT AS YOUR ALBUM TITLE?

Paul: It was sort of 2 things at the same time. Our last record ended off… ok, so our whole last record was about a relationship. A really dangerous chaotic relationship. And the ending of the record is this character being alone basically surrounded by all this beautiful stuff, but completely alone. So, i almost knew from the beginning that this record was going to start from this character kind of coming to grips with that. But then when i actually met my wife — she’s Brazilian, we actually met in San Paulo when we were playing a festival– she taught me this phrase“saudade.” It’s like a physical feeling, almost like a longing when people are apart. It’s often called “the love that remains.” As soon as i heard that i was just like oh my god that’s perfect. I did a quick google search and no one else had used it so i was like that’s the title of the record. Basically I had the title of the record before i had any songs finished. From there, i kept it written on a chalkboard I had in my studio and i always thought about it and built the whole story around that.

SO GOING INTO THE ALBUM, YOU HAD A SET THEME.

Paul: Yes. i knew i wanted it to be about someone rediscovering love, essentially. The first song of the record, “Lovers Wake..” the hardest part about this record was finishing that first song because it was completely, for me at least, emotionally and creatively… it all rested on that. I actually finished that song and wrote it out here [Los Angeles]. So as soon as it was done, I remember driving down Sunset Boulevard blasting this demo that I’d just done. I was like crying a little bit because i was like “I’m free! I’m finally free!” After that song was done, I built the story from there.

THAT IS SO GREAT. SO, OBVIOUSLY THE BAND HAS BEEN THROUGH A LOT OF CHANGES, WITH DEIDRE LEAVING THE BAND, SO HOW DID THAT AFFECT THE PROCESS COMING FORWARD?

Paul: A lot. The interesting thing was that it fit…I couldn’t ignore the fact that it fit so closely to the story. Especially because she left the band the week that I met my wife. It was this weird sort of exchange of like losing… you know, i think people don’t realize how close of a relationship you have with band members. Even if it’s never romantic, it’s just a very close, trusting relationship. So when she left it was obviously a super big deal. It took me about 6 months to figure out how to work on my own. I knew it was going to be hard, but it took me awhile to just write music again and let go of that collaboration. It honestly helped once the concept was in place and meeting and writing with Lauren. I knew once I started finishing songs and started writing with other people, I knew I’d want to maintain that element. I really like the male and female sort of collaboration… musically and creatively the process. The second we finished was “Giants” and that was the first song Lauren and I wrote together. That, in a way, really helped us cement the collaboration aspect. But it was really hard. It was a friendship that I lost too. What’s good is that now, 2 years later, it’s settled a little bit. We can talk again and it’s fine.

THAT’S GOOD, BUT IT’S ALMOST LIKE A BREAKUP IT SEEMS...

Paul: It totally is a break up! It’s funny because it seems so cliche but I’ve spent more time with her than any girlfriend I’ve ever spent time with. And vice versa. Its an intense thing!

SO WHEN SHE LEFT, WAS IT A PROBLEM THINKING IF YOU WANTED TO CONTINUE ON AS SAVOIR ADORE?

Paul: Definitely. It was sort of the best piece of advice I got from my manager who’s also a close friend of mine. It’s funny because we had  this dinner after it happened and he was like “alright first let’s talk as friends then I’ll switch to manager.” The advice he gave me was to not worry about that quite yet. Just write music. Deidre and I started the project together but I’d always do the more production side of things, so at least the sound elements of it, I was very much in control of. He was like just do your thing and once you start finishing songs just see what it feels like. If it feels like something new, we’ll figure it out. If it feels like Savoir Adore, you’ll keep going.  As soon as i finished certain songs, i was like it has to be Savoir Adore. It meant too much to me to just give up on it. But yeah, that was also a few months of deliberation.

YEAH BECAUSE THE SONGS SOUND TOTALLY NEW, BUT IT STILL SOUNDS LIKE YOU.

Paul: I think so. There’s definitely an evolution to it and I wanted that to happen anyway, but I think at the end of the day, it still sounds like, and has the spirit of Savoir Adore.

AND HOW DID LAUREN COME INTO THE EQUATION?

Paul: I’d actually known Lauren for a long time and we actually joked around about, and had always wanted to write together. It was funny because me and Deidre had such a specific collaboration that it was sort of like oh we just do this thing.  But then the timing was interesting because Lauren was singing and playing in a band called Panama Wedding at the same time and she actually ended up leaving the band as soon as Deidre left Savoir Adore. Then we were like well, let’s finally write together! From there, especially when we finished “Giants” which kind of became such an important song on the whole record I was like why don’t we have a rehearsal with the band and see how you feel? It’s obviously tricky to come into a band that’s already established.

YEAH, IT’S ALMOST LIKE WELCOMING A NEW FAMILY MEMBER.

Paul: Yeah, exactly. And for her too for her to feel comfortable. So as soon we did a few rehearsals, and a test show, and it was like this is going to be good. And we’ve become such close friends too now. It feels right.

THAT’S PERFECT. SO YOUR FIRST SINGLES “PARADISE GOLD” AND “GIANTS” ARE VERY DANCE-ELECTRONIC POP SONGS. THEY DEFINITELY HAVE AN ADVENTURE FEEL TO THEM. DID YOU GUYS PUT THOSE OUT FIRST TO KIND OF GET EVERYONE HYPED?

Paul: Yeah, I think, I always knew that I wanted “Lovers Wake” to come out first which was back in January because I wanted that to be this sneaky darker mission statement. But yeah then after that we wanted to also remind people that we are fun, there’s a dance element to it. Especially with “Giants” and then with “Paradise Gold” it was a natural follow up. But that’s kind of why I’m proudest of the album because there’s sort of a little bit of everything. I don’t like records that are just one thing you know? I like listening to a record and being like ok, here’s the dip. Here’s the part where you think about this feeling, that feeling. It’s a journey. I’m glad you said adventure because I always felt like our music is like a romantic adventure.

YEAH, IT IS! SO BESIDES OBVIOUSLY MAKING THE ALBUM WITH A DIFFERENT PERSON, HOW DID THE PROCESS OF MAKING THIS ALBUM DIFFER FROM OUR NATURE?

Paul: The biggest part of it was just taking my time more. I had stressed so much about the next steps and the anticipation. Especially because things were going really well, once “Dreamers” took off and then we had some great tours. I almost put too much pressure on myself. I needed 3 or 4 months and then realized that I need to relax. I need to take a breathe. I need to take my time because if I rushed it, I knew it wasn’t going to be good. That was the biggest difference is that I didn’t put any sort of….I originally was like it’s going to be done by September, and my manager was like dude don’t worry about that. If it takes a year, if it takes 2 years it’s fine. It was the first time I was consciously working on music rather than touring and writing. With Our Nature we would tour, write a couple songs, tour, write a couple songs. There was also more collaboration this time around. The whole band actually played on this record. On Our Nature I was the only one who actually played everything. This time I wanted them to play. We really took our time and it influenced the overall sound. Which was cool and honestly it was easier for me because I didn’t stress out about everything. We also had someone else mix the record which was a big deal too. The whole process is like me, in a weird way, taking more control of the project and also sharing it more. 15 or 16 people were involved in writing, playing, mixing. It’s cool, I’m still in the position where if something doesn’t feel right I need to do this, this, and this..

SO WRITING AND COLLABORATING WITH ALL OF THOSE PEOPLE, DO YOU THINK IT ADDED ANOTHER LAYER OF NEW SOUNDS?

Paul: Definitely. Especially because everyone was lucky enough to come into few collaborations more than once. I started to realize people’s natural tendencies. Like I wrote this song on the record called “Heaven” with Winslow Brighton in  New York, and I knew that she had a very light airy voice. I had this idea for a simple song where the chorus was just the word “heaven.” It was perfect. If it wasn’t for that collaboration, I feel like it might not have clicked. We wrote the song in like 2 hours whereas some of the songs took months and months. That was the coolest thing about the collaboration aspect and especially with guys in the band too. They just do things that I don’t think of and it’s great because I will pick up a guitar and my hand will naturally do this shape. Whereas Alex will pick up a guitar and his hand will do this shape. So it’s just a different tonality but it’s cool because now more than ever we can naturally play and display that in new ways live because it’s the band that recorded it and it’s the band that’s performing it.

SO BEFORE, WHEN THEY WERE PLAYING THINGS FROM YOUR MIND, DID YOU FEEL THAT IT WAS DIFFERENT ONSTAGE?

Paul: It was! It was sometimes hard because I was almost forcing them to do something that I had done whereas now Alex can naturally do his thing and it’s from the record. It works perfectly in that way.

AND HOW DOES THE WHOLE WRITING PROCESS GO ABOUT?

Paul: It’s usually a little bit of all those things. I more often than not will start  a song and sort of write the music, the instrumental part, then I like to collaborate on lyrics and melodies and things like that. There’s a song called “Devotion,” and when we were all upstate, we got a little drunk… we got a little high. I was like “guys. Tonight’s the night. We finally write a fast song!” Because we always joke that our songs are in same tempo. So I set a metronome and was we wanted to write  a song to that speed. In the morning, we heard it and we thought it sounded pretty cool. We ended up then kind of developing it. It all started with the intention though, of wanting to write a fast song. It’s great because it’s in the middle of the record. That one was all of the band in the same room. Then a lot of the times it’s just me and Lauren working on it. “Lovers Wake” I started in a room on my own, had it fully produced then wrote the melody when I came out here. It’s a mixture of different things.

THAT’S COOL! IT SOUNDS REALLY COLLABORATIVE.

Paul: Yeah it is. Kind of the whole concept of the band started from an experiment. I was a folk singer-songwriter for years. I always loved that but I felt very trapped from the limitations. So I found Deirdre who was sharing the same frustration. We were like let’s just experiment. It leaves it open ended. We’ve already talked about recording the next record and it’s going to be different again!

YEAH, I READ THAT YOU AND DEIDRE WANTED TO RECORD AN EXPERIMENTAL POP RECORD?

Paul: Yeah, that’s how the first EP went. We gave ourselves rules. Everything we had to finish was in 48 hours and we couldn’t play any guitars. That’s what we did and it ended up being this thing. If we didn’t do that, Savoir Adore wouldn’t exist. It was that fun, initial spark. That EP ended up getting passed around and got to the label, who at the time was releasing MGMT, so it was a really big boost for us in the Brooklyn music scene. From there, we just kind of played catch up for the next 6 months because we didn’t know what the heck  we were doing. We had no intentions of being a band. We were like oh we have to get a drummer? We have to get a van?

IT ENDED UP OKAY!

Paul: It ended up okay. It took some time but yeah.

I ALSO READ THAT YOUR DAD IS A REALLY POPULAR COMPOSER AND HE USED TO PLAY IN THE ORCHESTRA?

Paul: The Mahavishnu Orchestra. It’s like a fusion jazz band from the 70’s.

OH, THAT’S SO COOL! AND HE USED TO WRITE FILM SCORES RIGHT?

Paul: He did Miami Vice. That was like his big thing. It’s where I get all of my obsessions with synthesizers I think. It’s from my dad.

I WAS ACTUALLY GOING TO ASK ABOUT THAT. DID HIS MUSIC KIND OF INFLUENCE YOUR DIRECTION GROWING UP AND WHERE YOU ARE RIGHT NOW?

Paul: Definitely. It’s funny because it didn’t too. What naturally happens with parents is that you want to listen to things that they don’t like. He loved instrumental music because he was an instrumental musician. So I listened a lot of that stuff growing up which is honestly I think why I write music first. I write music to a concept or idea but I almost never write lyrics first. That’s always the last step. It’s kind of hard sometimes, but “Lovers Wake” was called “Lovers Wake” before I had any lyrics. It’s just the way I work, I think it’s because my dad had such a focus on it. But also, he just didn’t like Fleetwood Mac?

WHAT?!

Paul: I know, and I remember telling my friends like “oh i’m going to listen to Fleetwood Mac because my dad doesn’t like it.” Half of what you take from your parents is what they like and you’re also rebelling against them.

THAT’S SO FUNNY. AND TO ME YOUR MUSIC SOUNDS LIKE AN ADVENTURE, LIKE WE SAID EARLIER. HAVE YOU EVER THOUGHT ABOUT DOING FILM SCORES LIKE YOUR DAD?

Paul: That’s my dream. Whenever I hear bands, like Broken Social Scene, did that I know, and Rostam from Vampire Weekend… it’s just my total dream. Especially because of the way I approach it which is much more music and cinematic. I hope that in one point in time, someone who’s directing a film likes Savoir and wants to do something. I don’t really have an interest in doing the classic Hollywood movie score. I’d rather do something a little bit more experimental rock sound, which luckily is a thing now. I think there are more and more indie films that are employing indie rock producers and synthesizer elements. Someday.

THAT’D BE AWESOME. SO THERE ARE A FEW FESTIVALS COMING UP HERE IN LOS ANGELES … WHO WOULD BE ON YOUR DREAM FESTIVAL LINEUP? DEAD OR ALIVE.

Paul: It would be… Cut Copy, maybe we’d have an alt-country stage with Nathaniel Rateliff and the Night Sweats. Then we’d do a DJ tent and we’d have Hot Chip, Holy Ghost, and Autograph. They’re amazing. St. Lucia I’d have on there. They’re such a good live band. And… us. Somewhere in there.

OH YEAH, HEADLINING.

Paul: Headlining yes. Tame Impala.

THEY’RE PLAYING AT FYF ACTUALLY!

Paul: That’s cool. I hate that I’ve never seen them live. And it kills me.

YOU GOTTA CATCH THEM! THEY’RE PLAYING IN LIKE A WEEK.

Paul: Really? We’re leaving tonight. We’re actually leaving right after our set because we’re going to San Francisco we have to be there by 5 and it’s just annoying enough.

I GET YOU. THAT’D BE A COOL FESTIVAL THOUGH, I’D GO SEE IT. YOU GUYS HAVE BEEN ON TOUR FOR A LITTLE WHILE NOW AND IT SEEMS LIKE YOU’VE BEEN EVERYWHERE. IS THERE A FAVORITE SPOT IN THE WORLD THAT YOU’RE JUST IN LOVE WITH?

Paul: Mexico City. Lauren and I went there, because sometimes we play as just a duo because especially for international stuff, it’s really hard to get the whole band. It just… people are so passionate about music. They’re so intelligent. They’re so interested and curious. I know part of it is travelling internationally, there’s an extra boost, but ugh. Lauren and I were just overwhelmed the entire time. We ended up doing some cool things because it was an underground music festival. So everyone involved was definitely very like progressive and super into the same music we were. It was just that combination of people. It was the old world culture with the new world art. On top of it, the food was just outrageously good. It was so overwhelming. We were lucky enough to do a lot of Latin American stuff. When I met my wife, that was one of the best weeks of my life. Not only from meeting her, but of course, also just Brazil being an incredible place. In the states, LA is by far my favorite place. We haven’t played here in awhile. When we want on the X Ambassadors tour in the Spring, we met up in San Francisco. So we haven’t done a proper show here in awhile.

WOW, WELCOME BACK! SO DO YOU THINK YOU SEE A DIFFERENT REACTION IN DIFFERENT STATES?

Paul: It’s so funny because it just depends. It depends on who you’re playing with, time of day, time of year. Age groups are different too. Time of night. You definitely see different reactions. New York is one of the hardest crowds. You almost have to play a club night where everyone’s in the zone to party. People just need encouragement to let loose. Whereas LA has really good crowds when it’s a late night show and it’s a weekend because I feel like people are just a little more relaxed here. We’ve always had good show in Portland too because people are super into music and more laid back as well…. I’ve lost my train of thought… our drummer’s band is playing second.

OH WOW. SO HE’S GOING BACK TO BACK?

Paul: Yeah, I don’t know how he does it. We were joking around too because these are the longest sets we’ve ever done. We almost always support bigger other bands, so playing these headlining sets now and playing for an hour and 10 minutes is like .. I’m exhausted.

WOW, YEAH, I’M SURE. INTERNATIONALLY HAVE YOU NOTICED A DIFFERENCE?

Paul: That’s another reason why Mexico City was so amazing. We played and people were just losing their minds and singing along. Then afterwards, just lined up to talk to us. It was so cool. I think in general, it always feels a little bit more special because it’s this big journey. For fans too because it might be their first time!We’ve had a big following in Mexico for a long time because of Spotify so coming their after years, it builds up. London is one of my favorite cities in the world. There’s such a cool music scene there too. It’s been four years now since we’ve played in London. Which is partially because of the new record. Hopefully we’ll be able to go. That’s the next step whenever anyone asks. I just hope we get to do a European tour, a South American tour in the next year.

WHAT FEELING DO YOU WANT PEOPLE TO WALK AWAY WITH WHEN THEY LEAVE ONE OF YOUR SHOWS?

Paul: I want people to feel emotionally fulfilled in a way. I remember when I would go to shows when I was 16, I would drive home listening to the record of the band. Just feeling so amped, so emotional, and so sensitive to everything. In a good way. I hope that when people leave our shows, they feel the same way. Inspired to create art and inspired to make music. But I also just want to inspire to feel. More than ever, now too, this record is very emotive and romantic. I want to soundtrack people’s lives.

IF SOMEONE WERE TO LISTEN TO SAVOIR ADORE FOR THE FIRST TIME, WHAT SONG WOULD YOU SUGGEST TO THEM AND WHY?

Paul: Oh, that’s tough. Right now, I’d probably say “Lover’s Wake.” It’s still, to me at least, it feels like a very unique blend of a lot different styles and it’s also very romantic in a way, and emotional. I think it fits in well with “Dreamers” and “Beating Hearts.” That’s why I had to finish it first. I think it’s the bridge between the old and the new Savoir Adore.

THAT WAS ACTUALLY THE LAST QUESTION… ANY FINAL THOUGHTS?

Paul: Check out the record! I hope more and more people listen to it. It feels crazy to have it out now. 2 years of writing it and then when it was done, there was still 4 months of waiting to release it.

THAT MUST HAVE BEEN TORTURE.

Paul: Totally! I was just like, what do I do now?

Thanks for reading and do your ears a favor; listen to my favorite song from their new record, “Savages!” https://www.youtube.com/watch?v=Qi8uD4gaQ2w

(This article was written for Atwood Magazine http://atwoodmagazine.com/savoir-adore-love-interview-2016/)

[musikmusing]

Watch the Many Shades of Banks in Her New Video For Gemini Feed

Banks has got me wrapped around her finger with each and every release. From the looks of everything she’s put out so far, The Altar is going to be deeply personal, sexy, and empowering. The theme of “Gemini Feed” is melancholy, but you get the feeling she knows that. It’s kind of a big fuck you to her ex. Banks is now conscious that their relationship was toxic, and just sad. When she thinks back it’s almost like she can’t believe she was going to marry this person. She’s never going to follow her anyone around like “a dog that needs water.” Now she’s stronger than that. In relationships, one should grow not dwindle. The visually stunning video features the many different shades of the mysterious Banks. She’s a queen sitting on a thrown. She’s timid, tied up, in all white. She’s in all black, where we see her slowly coming into her own... The video has a similar vibe to “Fuck With Myself” in that it’s dark and sultry... with a slightly demonic feel to it. It’s as if she’s leaving her internal and external demons behind. All analysis aside, it’s just a fantastic video. 

[musikmusing]

Noyes: A Loud Band From Lawndale

by Regan Wojick (for Amadeus Magazine)

The Smell – an iconic all ages, hole-in-the-wall venue located in an alley somewhere at the center of Downtown Los Angeles – has become a breeding ground and creative haven for a range of DIY artists, many of them pundits of surf rock, punk, and that dirty, fuzzy, grunge rock that fits the LA venue’s seedy aesthetic so well. But the seminal venue’s days are numbered, due to the landlord selling, and big developers money-mongering plans to build concrete parking lots that make beautiful downtown, uglier. Maybe you went to your first concert, or joined your first (and last) sweaty mosh pit there, but for those of us that claim devotion to the music space, The Smell is all the community it propagates; a supportive artist-run vibe that spawns the city’s constant flow of booming musicians. Amongst the sea of grunge-punk bands that have played on The Smell’s stage is Noyes: a group of four very loud, even grungier looking guys that come from the LA suburb of Lawndale. Noyes, pronounced like ”noise,” started around four years ago and is made up of friends Kermit (singer/guitar), Daniel (bass), Ian (drums), and Byron (guitar).I talked with the guys as they waited around to play The Smell for their third time. Within the first few minutes of sitting down with them, you begin to realize that they’re more timid than their music, stage presence, or name might suggest. It is clear though that there’s an undoubted passion for the music they’re playing, and when they begin to rattle off names of bands they admire and things they hate, it becomes even more apparent of their love for all things music.I got around to asking them about their influences, their scuzzy grunge sound, and their feelings about the large probability of The Smell getting torn down in the future to make room for more parking. Yes, you read it right. Parking.  

How did you guys all come together to form Noyes?

Daniel: We all went to the same middle school. It was probably around… 2006.

Ian: The way I remember it is My Chemical Romance.

Kermit: Don’t listen to these guys. Ok, so Ian and I started playing together when we were really young like 15 or 16.

Ian: I didn’t touch a drum set until I was 14.

Kermit: We started playing together in another band with other friends and they all left. We played as a two-piece, then Daniel joined in early 2012. Byron has been going with us to every show since 3 years ago on the tour and he joined the band in early May.

It seems like a lot of other bands your age have leaned towards the same genre…kind of all falling under that lo-fi “Burger Records” sound. But you guys are very angry… boasting a “fuzz punk” and grunge rock sound. Was there a reason you decided to go that direction?

Kermit: We didn’t really decide to, that’s just the music we were most interested in. We’ve never been into Burger. We grew up more in the suburbs so we didn’t really experience anything here in greater LA.

Has growing up in Lawndale and the surrounding LA area influenced your style of music at all?

Kermit: A bit. The only bands that were in Lawndale were like post-hardcore bands.

Ian: We kind of wanted to rebel against that post-hardcore stuff. It was just a bunch of macho stuff… like people getting into the pit just to hit each other.

So did you guys listen to any bands that heavily influenced your music taste growing up and your current musical direction?

Kermit: We were originally going to play Joy Division covers.

Ian: And we didn’t play a single fucking Joy Division cover!

What’s your songwriting process like? What comes first, music or lyrics?

Kermit: Daniel and I both write songs. So there’s two different songwriters. But it’s usually written in parts so the arrangement comes together.

So it depends on the song for the music and lyrics and which comes first?

Kermit: Yeah, lyrics sometimes come later. Sometimes I’ll look back at stuff I write to for other songs.

How did the entire process of working on your latest EP, Relapse, differ from your earlier one,Noyes, released in 2015?

Kermit: Well for Noyes, we won this drawing to record with Converse. It was an 8-hour session and only one day, so we went in at 11am and left pretty early. We were doing the last session because our engineer was flying to New York that day. We recorded it, mixed it, and then left.

Daniel: It was all tracked live. Both EPs were tracked live except for the newest single that we just put out, which was overdubbed.

Kermit: Relapse was done from 9pm to 6am on night.

Ian: It was definitely midnight! I remember having to get off work to drive straight to the studio.

What can people expect when they come to a Noyes show?

Kermit: I don’t know..

Ian: It’s either a good show or bad.

Kermit: Yeah, we either play really well or really bad.

What makes it a bad show?

Kermit: Just bad playing.

Daniel: Just not feeling it.

Do you guys have a favorite venue to play at?

Ian: Not here. The Black Lodge in Seattle and The Know in Portland were both really fucking awesome venues. In LA, we’re kind of spoiled with spaces like that so there’s not really one to have an attachment to. You could go to The Echo, The Smell, Los Globos. There’s a show basically going on anywhere. I mean I’m sure it’s the same in Portland.

I know you guys just recently toured. Was there a spot that you were like “I want to come back here again.”

Everyone: Portland.

Did you see a difference in the way the crowd responded to you?

Kermit: Portland was just really packed. There was a bigger local band playing.

Ian: The Ghost Ease.

Kermit: We played in Denver too at a bar and the first band was playing country music and we were like “Oh fuck, how did we end up here?” We thought for sure we were going to get beaten up and thrown out onto the street. It went alright though. People really didn’t know why the country band was there. The Melvins used to play there all the time.

FYF in Los Angeles is coming up in a little bit… who would be on YOUR dream festival lineup? Alive or dead.

Ian: Thee Oh Sees.

Kermit: Of course. I’d really like to see the Stooges, but when they were young, not now.

Ian: How sick would it be if Dead Moon played? Or Built to Spill? Or the Melvins?

Kermit: The Witches too! The Ty Segall band. Not the Muggers.

Ian: If you compare the 2010 lineup to the 2016 lineup… back then you had bands like Best Coast and Panda Bear fucking playing!

You describe Noyes as a “cacophonous arrangement of angry and livid songs written by angry and livid young men.” What are you guys most angry about right now?

Ian: I wrote that when I was like 17…

Yeah, I could tell you wrote it.

Ian: It’s just never changed!

Kermit: What are we angry about right now? The fact that a Donald Trump presidency is possible.

Ian: It’s no longer the lesser of two evils. It’s like both are shit.

Kermit: The Smell might be knocked down for fucking parking lots. As if there aren’t enough already.

What’re your thoughts on the Smell, this iconic, DIY-supporting venue in Los Angeles, getting torn down?

Kermit: Ian and I started going to the Smell when were 15 or 16. Not sure what year it was, but it was an anniversary show. Best Coast was headlining and it was right after they got signed to Capitol. They kicked out the drummer and had a studio drummer playing with them. It was some bald dude. He was wearing ear monitors…

Ian: Probably the best sounding drums I’ve ever heard at the Smell.

Kermit: I went to my first mosh pit at the Smell. Now that I’m getting older I can go to shows that are 21+, but back when I couldn’t, The Smell was one of the only places young people could go to and see live music.

What can we expect from you guys this coming year? A new album or tour?

Kermit: We don’t know. I really want to have an album out by the beginning of next year. We’re always writing new stuff.

For more from Noyse, head to https://noyes.bandcamp.com/ or https://noyesla.com/.

(This article was written for Amadeus Magazine http://amadeusmag.com/blog/noyse-band-la/)

[musikmusing]

This new Banks tune has been on repeat since I pressed play at noon today. She’s just got this way about her... Not trying to start a witch hunt or anything but it’s like every one of her songs has the ability to put me under a spell. And I’m totally cool with that. Give it a listen if you haven’t already!

[musikmusing]

HOLYCHILD Explores the Dark, Dirty Fast-Paced Path to Fame in America Oil Lamb

By: Regan Wojick (for Haxel Magazine)

Pop music is a wonderfully diverse genre, isn’t it? It’s the basis of pop culture! And I love the sarcastic, snarky, ironic pop music that satirizes that very thing. It’s otherwise known as “brat pop.” A little over a year ago, HOLYCHILD began to mold a sound around this so called sub genre of “brat pop.” The Shape of Brat Pop to Come was a bold introduction for the LA duo, made up of Liz Nistico & Louie Diller. The debut record exposed the dark, self-absorbed, celebrity worshiping nature of our society all while still making us want to dance our asses off. It posed important questions to teens and young twenty-somethings; should we be content with the way the world works?

After months of touring and living in Mexico, HOLYCHILD is back and bratty as ever. America Oil Lamb, is a loaded name. America, oil, lamb… these things are very much desired and admired in different cultures around the world. Are these things good or are they ugly? Well, that’s for the listeners to decide. The EP has nearly identical album art from the first record so right off the bat, you get the idea that this 5 track record might just work as an extension from LP 1 to the EP and then on to their next project. The album co-writers are made up of artists that aspiring pop acts could only dream about working with: MS MR, RAC, Kitten, Mereki, TKay Maidza, and Kate Nash… did anybody else just start drooling? Guys? Ok, it may have been just me. It’s easy for fans to dive right into the 5 track as it shares similarities with Brat Pop sonically and lyrically. With that being said, they’ve expanded concepts and even restrained their sound in places where it was needed. “Rotten Teeth” featuring Kate Nash is for the girls and boys who’ve never quite lived up to external expectations that society has thrust upon them. This one is definitely meant to be screamed at the top of your lungs. The upbeat instrumental contradicts the introspective lyrics and asks an important question: should you give in to what society wants or should you pave your own path? Although the album branches off into different subtopics, like fame, money, and beauty, it all ties back to one theme. Be true to yourself and who you want to be. It’s a cliché, yeah, but HOLYCHILD definitely makes it sound cooler than when your mom says it. “Not Invited” expands on the topic as Liz and Mereki vent about not getting an invite to a super cool celebrity party. I suppose I would be bummed out too. They end up not really caring though because they realize they’re “funnier” and “got more shit to say” than all of those boring celebrities. But seriously, who wouldn’t want to be in a clique with Liz, Louie, and Mereki? The seduction of fame and power is intensely prevalent throughout pop culture. We idolize, admire, and seek to be those in that position; the road to get there is never clean. “American Oil Lamb,” featuring power-pop duo Ms Mr and alternative popstar Kitten, explores the dirty, fast paced path to fame. It’s a bleak situation; living like you’re never going to die yet you’re living to please someone else. It’s my favorite track of the EP (maybe because I’m also a huge fan of Ms Mr & Kitten as well) because it’s the type of song where when you think it’s going to end, it just gets better. The narrative of the 5 track record is deep, complex, and worthy of a sit-down listen. It’s best listened to when you’re having an existential crisis or whilst you’re driving to a fancy get-together that you really don’t want to go to. Turn the record on at your best friend’s birthday party or at your own pity party. American Oil Lamb can be whatever you want it to be.

[musikmusing]

TODAY’S SONG: LIVING AND LISTENING TO YOUR “BONES” WITH WENS

By Regan Wojick (for Atwood Magazine)

The human existence is so much more than just existing. Life is meant to be an experience, trial and error, adventure, and excitement. With life, comes love. As humans, letting someone in is one of the hardest things to do in any relationship, romantic or not. There is an undeniable fear living within us all: That the person we desire the most is the same person who holds the power to destroy us. When you let go, and let them in, however, greatness and adventure are usually waiting on the other side.

Wens, a 17 year old LA native, leaves us “tangled in [her] web” and spellbound with her sultry debut song “Bones.” Being at a ripe stage of life, the young pop writer might know a thing or two about being a daring youth. Her powerful vocals and heavy pop-synth instrumentation take listeners on a dark, adventurous path into her mind, and although you’re not sure where you might end up, you’ll go right ahead.

                           “Don’t fill me up, fill me up with regret                           Crawling through the vastness of space                         If there’s a will, there’s a way, there’s a way”

The beginning of the song is ominous, giving off a sense of uncertainty. Wens worries about letting her guard down because when one gets one’s hopes up, it can often lead to “regret.” Youth isn’t all about finding someone to fall in love with, though; it’s about falling in love with a moment in time, or even falling in love with a feeling you had once. When you let go of that fear of being disappointed, all obstacles will break, and then you will find the thrill that you so seek. It’s a restless urgency for adventure to leave the place she is at now. The youth are constantly filled with an eagerness to be wild, and to live life like nothing can hold us down. It’s almost an ignorant feeling of invincibility. It’s a blissful feeling to know that if you want to be free, you can be; you just need to break down a few fences to get there.

                                  “Take me away, take me away                               ‘Cause in this fence there’s a hole”

As the song begins to build, the anticipation of freedom and adventure only heightens. The chorus echoes “bones”and it makes you want to gather your “squad,” dress in all black, and storm a graveyard. Although, storming a graveyard might be pushing the whole “bones” thing a little too far. You could sub in an empty school, an abandoned warehouse, or anything that makes you feel slightly uneasy. The words sung against the heavy synths create a dark, angst-y feel to it, but within that teen angst, there is power.

                                  “All of me is alive ’til I’m dead                           Hold me close ’til my pulse loses time”

We are not immortal, nor do we have nine lives. That is the beauty of being human, though; that we tend to believe we are. We strive to live life to our fullest potential. The timeless, and embarrassingly overused, phrase “carpe diem” has never felt more tangible until Wens sings, “All of me is alive ‘til I’m dead.” Like Wens, we all want to find someone who makes us feel like we are alive, and not just breathing. Life is meant for living and we all seek thrill to keep our hearts fluttering with adrenaline.

                                   “There’s a whisper in my bones                                      Keeping me restless and whole”

The last chorus is stronger than ever, letting you know that these feelings of restlessness and eagerness to experience life at its greatest potential will never be subdued. The want – no – the need to do something that makes you feel powerful or young is like that annoying itch that you can’t scratch. When you feel a “whisper in [your] bones” you should probably just listen, because it can lead you to a life full of exploration. “Bones” may be Wens’ debut, but from the sound of her booming vocals and fierce lyricism, it is surely the first of many.

(This article was written for Atwood Magazine http://atwoodmagazine.com/bones-wens/)

[musikmusing]

TODAY’S SONG: THE AVALANCHES ARE SEEING “COLOURS”

By Regan Wojick (for Atwood Magazine)

After releasing a debut album, it might take artists years to release any new material. Well, the Avalanches waited about 15 to release new music and as expected, it seems like the new album,Wildflower, will be worth the decade-and-a-half long wait. Not only was the invisible pressure of time mounting on top of the Avalanches (no pun intended), but the pressure to release anything after their highly acclaimed debut, Since I Left You, was laying on their shoulders too. To say their first LP was well received might be a bit of an understatement considering it was named one of the best Australian albums ever and recommended as one of those records you need listen to before you die. No pressure, right? Right, because the Avalanches live up to all of the big talk surrounding their artistic persona.

The Avalanches bring their unique musical perspective back into the universe with their otherworldly newest single “Colours,” which features Mercury Rev’s own Jonathan Donahue. The tune it comes straight off of their unreleased sophomore LP, Wildflower, and it’s safe to say that the song is getting people well acquainted with the Avalanches once again. The electronic pop powerhouse, though I’m a hesitant to confine them to a single genre, is made up of Aussies: Robbie Chater, Tony Di Blasi, and James Dela Cruz. With wandering minds and crates full of old records, these guys can make any old song sound brand new. The Avalanches are producers more than anything it seems because of the way they utilize samples from other artists, beat pads, synthesizers, and occasional live music sessions. They’ve used samples from big artists like Madonna to Francoise Hardy and now they’re borrowing some tunes from the 60’s folk rock band, the Sandpipers.

“Colours” is an expected, yet interesting release for the Avalanches. Honestly, the song kind of has an uneasy vibe to it. Jonathan Donhue has a dream-y voice that lends itself perfectly to the dazed personality of the song. As odd as the track may be, it works for them. If the song had to be described in a genre, it would fit right into odd-ball psychedelic. (Apple Music has a radio station for that genre right?) The first few seconds of the tune are reminiscent of oldie cartoons, which makes sense because of the 1960’s Sandpiperssample. The song opens with an unusual voice exclaiming about “colours” that echoes through much of the song. The first real lyrics of the song are basically what it would sound like if your record player spun the Sandpipers’ “Where There’s a Heartache” backwards. The opening lines are a reminder that there will always be light after the dark. Some people might need to have their heartbroken once or a twice before they can understand what true love really feels like.

                                                 “Oh, colours!                                 After the tears, true love can start                  Where there’s a heartache, there must be a heart”

As the song goes on, “Colours” sounds like what one may imagine the inside of a – for lack of a better word — hippie’s mind to be like. The song is lively, imaginative, and in a sense, free of all constructs. The Avalanches transport the listeners to another dimension in time. They’re taken on a new, exotic journey that they’re unfamiliar with, where the skies are blue, the birds are singing and mermaids are swimming.

                         “Hey mermaids, I’m only here in the sun to play                                    I wanna join you in the urban surf                                  And learn to love you in a neon way”

Underneath the fantastical instrumental, there lays a hint of desperation within the words sung by Donahue; almost a feeling of angst. People change or learn how to suite someone’s needs in an anxious attempt to avoid going through life alone.

                                        “No-one wants to be alone                                      Everybody’s going somewhere                                      After dark and the bars are slow                                        Where do all the mermaids go?                                    Everybody’s got there somewhere”

He feels like he’s alone in a world where every person has “their someone” to go home to. He’s searching for his “mermaid,” or a beautiful someone to love him even when the night has slowed down. “Colours” is a mythical song of love, loneliness, and longing for a mermaid. Life is a weird, never ending quest to find love and we are all just searching for our “somewhere.”

(This article was written for Atwood Magazine http://atwoodmagazine.com/colours-the-avalanches/)

[musikmusing]

TODAY’S SONG: FINDING RHYTHM AND SOUL WITH MØ IN “FINAL SONG”

By Regan Wojick (for Atwood Magazine)

Summer will be upon us soon and the world is in great need of tropical-house jams to get us through the long, sweltering nights. Thankfully, our pop music prayers have been heard and Danish electronic pop artist, Karen Marie Ørsted, known by her stage moniker, MØ, has answered. With her recent release, “Final Song,” off of her so-new-it’s-not-titled-yet album, MØ has given her audience a sure to be summer hit. The title may seem a bit ominous, and almost worrisome to diehard fans, but oh, it is just the opposite. In fact, the song sounds like an exciting new beginning for MØ. After riding the wave of Diplo-produced dance party hits like “Kamikaze” and “Lean On,” it’s easy to welcome MØ back with open ears. “Final Song” sounds like a radio hit, but it has the ability to be so much more than just that.

       “Melodies on repeat; that’s what I hear when you’re by my side”

Soul and passion are driving forces for all great things. Unfortunately, some great things come to an end, but what if you fought for those passions? That is the inspiration behind “Final Song.” It’s not MØ saying goodbye to anyone or anything; instead, it is her fight song to keep those passions alive. As the first pre-chorus starts to build, it’s nearly impossible to stay still as the beat drops and MØ calls out “don’t let this be our final song.”

                       “But when you’re gone the music goes

                           I lose my rhythm, lose my soul”

The tropical-house tune doubles as an anthem for struggling lovers and for people who have lost that spark that fuels their very being. MØ savors every moment she has “under the disco light” and yeah, all good nights must come to an end, but she just can’t seem to let this one go. Imagine MØ grabbing you by the wrist, demanding that you fight to keep your inner fire fueled. She urges anyone and everyone who will listen to “hear [her] out before you say the night is over.” She needs that one person, or thing, to stay by her side because when they’re gone she loses herself, “rhythm and soul.” She is telling her audience to keep fighting for what they want, and she will do the same.

                     “So hear me out before you say the night is over

                      I want you to know that we gotta, gotta carry on

                           So don’t let this be our final song”

The artist sings with so much determination, one gets the feeling that she relates to the song on a deeply personal level. When MØ releases a track, it’s instantly recognizable as a MØ song. It’s clear that she is involved with each and every one of her songs on all levels. It’s truly an admirable artist trait. When Ørsted sings about her “rhythm and soul,” she could be drawing from past relationships or incidents that have affected her career since being in the spotlight. An instance that comes to mind is a TV performance she was apart of. Recently, in an interview with FADER Magazine, Ørsted reminisced about that awkward Saturday Night Live performance she had with larger-than-life rap star, Iggy Azalea. While performing their single “Beg For It,” MØ recalls looking “lost” and thinking “that was it” for her career. It clearly wasn’t true to her style and passion.

Lucky for music listeners everywhere, that wasn’t MØ’s final song. Being the fighter that she is, she instantly decided she needed to “get back on that damn horse” And she sure as hell did.

“Final Song” is an exciting preview of what we can expect on MØ’s next album. The MØ-esque tropical house beats, layered vocals, and fervent lyrics make for a hit that will be sure to set dance floors aflame this summer!

(This article was written for Atwood Magazine http://atwoodmagazine.com/final-song-mo/)

[musikmusing]

Easy Listening: A Conversation with Naked Giants’ Henry LaVallee

By Regan Wojick (for Amadeus Magazine)

Naked Giants: the name of a band you won’t forget, but probably shouldn’t google image search. In a sea of constantly emerging bands, the Naked Giants trio – all under 21 – have developed a unique music profile that makes them stand out amongst the crowd. The band, born and raised in Seattle, defy the punk norm, incorporating psychedelic-soul with garage rock to create a pretty timeless sound.Drawing inspiration from the band’s eclectic music taste, which ranges from Hendrix, to gospel, to Ty Segall, the trio have garnered a style that allows them to have fun, but still “hit hard.” While dozens of iconic artists have come up from the inclement city, the new band is determined to leave a mark in Seattle.In a few weeks the group will embark on their first tour, where they will be co-headlining with fellow Seattle band, Dude York. Before they take off for their SXSW tour, amadeus had the chance to catch up with Naked Giants drummer, Henry LaVallee, to talk about preparing for life on the road, their first single “Easy Eating,” and putting soul back into rock n’ roll.

How did the three of you come together to form naked giants and where did the unique name come from?

I’m the drummer. The guitarist and I went to preschool together. We have pictures of us when we were like 4. At one of the first shows the guitarist, Grant, and I played together, Gianni was playing in a different band. We were like “hey, you’re a really good bassist. You should play for us.” We all liked the same music and can appreciate different kinds so it just naturally formed really well. The band name, Naked Giants, was made up last year. I was sitting in my kitchen table and my big brother, who’s 6’4, big dude, came bounding down the stairs in these little European underwear and I was like “oh, you’re like a naked giant.” The band name is kind of stupid and funny. We thought hey, we could work with this.

You guys are embarking on your first tour in a couple of weeks, how’re you preparing yourselves for life on the road?

That is a great question. We’re dialing in the live set, so that playing the music isn’t even an issue. It’s just like second nature. Which should be a part of any show really. We’re getting our gear set up so that nothing breaks while we’re on tour. We’re making sure everything is tuned well, drum wise. It’s the first tour so it’s kind of hard to prepare because none of has have really been on the road. We’ve played in Portland before but not really like this. We’re getting our website up too. We just filmed an in studio at Western Washington University. We’re working on having material so that the audience, if they care about us after they see us, can go to online and search it and see that somethings actually there.

Is there any venue that you’re most excited to play?

I really like festivals, so we’re really excited to play the Treefort Festival in Boise. I’ve heard a lot of good things about that. I’m excited to play the Satellite in Los Angeles. I mean I’ve been to Disneyland but I’ve never really been to LA and I don’t really know a ton about it, so it’ll be a very different experience. I mean, it’s a pretty good way to spend your first time in LA.

There are so many iconic bands and artists that come from Seattle, like Jimi Hendrix, Nirvana, Heart, and that’s just to name a few. Did growing up in Seattle spark your wanting to be in a band?

Yes. Totally. Ok, so when you’re in a band, you have the opportunity to play in the same spot Nirvana played in and all that stuff. Also, the whole Hendrix story is super inspiring to us. The way he kind of redefined everything and did it his own way. He really brought soul into rock and roll, or reminded people that rock and roll is about the soul; about that feeling. We emulate the shit out of that. Mitch Mitchell is a really great drummer, Hendrix picked him up when he was in England but basically we really try to emulate Hendrix and The Who. Those are some fat inspirations for us. It’s just a cool city. When we started, the Seahawks had won the superbowl and Seattle was getting back into the swing of things, a hip city. It was cool and we wanted to ride that wave and bring another great name to the list of Seattle bands.

Do you feel like living in such iconic music city like Seattle, has put a particular type of pressure on you as a band?

I don’t really think it puts pressure on us because it is such a supportive community. The other local bands that you play with are like “you guys are rad.” Everyone is really supportive, so there isn’t a lot of pressure, but there is a lot of the need to work hard so we stick out amongst all of the other rad bands. It’s not so much pressure as it is empowerment, which sounds corny. Or maybe diligence.

I was actually going to ask about community because I feel it’s probably similar to LA. LA has labels like Burger Records and Lollipop, and I feel like within that scene, everyone is really tight. Is it similar in that sense? Does everyone go to each other’s shows?

We definitely go to a lot of shows. However, we are all under the age of 21 and Seattle does not have a super hip under 21 scene. So, we usually find ourselves sneaking into shows through the backstage doors, and we try to go to as many all ages shows as we can. When we play 21+ shows we don’t really get to mingle outside of the backstage area, but we do get to talk to all of the other bands.

How do you separate yourselves from the plethora of other garage punk bands?

First of all, our guitarist loves Ty Segall. That’s probably the most contemporary influence for a guitarist. It’s like Hendrix, Jack White, Ty Segall. Totally natural progression right? The thing is my drumming is more inspired by hip hop and/or gospel. I’m listening to a lot of gospel drummers right now because they’re amazing. I try to keep my drum chops at a more entertaining fun level than just like *insert punk drum imitation here* like super punk because that’s boring to me. The attitude of Naked Giants is that we really don’t take ourselves seriously but we’ll still rock your grandad’s socks off. We’ll dance around onstage and we enjoy when people get funky and get down. We also hit harder than.. I can’t think of an analogy right now. We try to have as much fun as possible while still sounding super tight. If you’re not having fun than you’re doing it wrong.

Why did you decide to release “Easy Eating” as your first single from your forthcoming EP?

We had a really good response when it first came out, which was last January 2015. We recorded a demo in our basement and we sent to the local radio station KEXG. It’s like an indie, Seattle artist radio. We met one of the DJs so we sent it to her and she played it. Our friend texted us like “holy shit guys” and we were freaking out. We started freaking out like Beatles fans or something. It does capture the essence of we like to have fun and rock hard. The only lyrics in the song are “livings been pretty easy. I got something to eat and I want more.” It’s super fun to play live. We like the recording of it, but we have an EP out soon.

What is your recording process like?

We lay down all the drum tracks first to make sure they sound good. We track bass, we track guitar, and record vocals. It’s all really fun. The best part is working with a producer who really understands you and also he doesn’t want to change you either; he doesn’t micromanage the band. ProducerWe want someone who works with us. Talks with us. Someone who’s just really comfortable and meets us where we’re at. That’s key part of the recording process. Grant, the guitarist, really likes getting the perfect sound with his guitar pedal, with his amp and all of that. So a lot of the time, he and the bassist will be working on the actual sound of the guitar and bass making sure they’re ripe, like no one’s ever heard before. It’s really fun to record. We have some songs that are like 5 to 7 minutes. You know like The Who, or Led Zeppellin, they’ll just do these epic songs that are 9.5 minutes. So we have a couple that are kind of like that, that we recorded with a different dude.

Do you have a lot of shorter songs as well because Easy Eating is like 2.5 minutes right?

Yeah! The EP we recorded, there are 6 songs, I don’t think any of them maxed out at like 4.5 minutes. We were kind of like lets just get a bunch of tracks that we can send out to record labels and see if they can pick up anything. Even with a 2.5/3 minute song, we try to do more than just verse chorus, verse chorus over. It’s fun to write a song because it can be anything you want it to be so the more unique and interesting it gets, the more you get to redefine what rock and roll can be while still marching to the same drum.

One of the stops on your tour is at the Treefort Fest. Do you have any expectations for the 5 day festival?

Just meeting other musicians and meeting anybody. I love meeting people and talking about music with people, like everybody in the band loves to do that. You never know who you’re going to see, or who you’re going to be moved by. What’s fun at festivals is that you get to see this really great part of a band, you get to see these great moments for a group of musicians playing at a festival. Never been to Boise, so I’m excited to go to Boise. That’ll be at the very end of the tour, it’s the last date so I’m sure we’ll all be tired and worn out.

When people see you for the first time at a festival, what is the one thing you want them to take from your set?

That rock and roll is not dead. It sounds super corny, but then again so is rock and roll. Mostly we want people to walk away and be like “whoa those dudes can’t even legally drink and they just played the most bad ass set.” Were kind charming and charismatic so when we go onstage at an all-ages show, there’ll be 15 year old girls screaming, but then a 40 year old security guard will be like “those dudes hit hard.” There was one body guard who said we sounded like Prince mixed with the Rolling Stones. That was the best compliment we’ve ever gotten.

Have you guys developed any pre show rituals yet?

Well we tell each other we love each other. We did a recording session the other day and we grabbed some jambalaya, gumbo, and cornbread at this nice little place afterwards. It was not so much a pre-show thing but a post-show thing. To just grab some dank snacks. We all like eating a lot. Pre show though? No not yet. I’m sure once we start the tour though we’ll start saying like let’s start having fun or else very night will become the same. I think running is really good, especially as a drummer because I move around way too much. Having good cardio is good for that. I read a Kendrick Lamar interview and he said he ran a lot for shows and I appreciate that because if you’re up there and out of breathe what do you expect the audience to feel? You got to bring the energy.

So many great bands playing at Treefort this year. Are there any particular bands that you’re excited to see?

Let see. I believe The Oh Sees are playing. Diarrhea Planet is rad, I would love to connect with them because they know what’s up with having fun. I’ll try to connect with them. They also have a great band name.

I hope to come see you guys at the Satellite.

Yeah! Come see us. Say hi, I’m the drummer. You’ve got a friend already!

(This article was written for Amadeus Magazine http://amadeusmag.com/blog/easy-listening-with-naked-giants-henry-lavallee/)