positivexposure

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[positivexposure]

II: I’ve Been Carving My Elbows, I Might Just Take Flight // WHY?

Label: Joyful Noise Release Date: June 12, 2019 Album: AOKOHIO (8/30/2019)

Overall Rating: 8 - Refreshing Reason: 8 Deleterio Motilis: 8 Stained Glass Slipper: 6 Standout Track: Reason (Feat. Lala Lala)

In a Sentence: This latest group of songs is a nice mix of familiar sounds and new details from WHY? that leaves me excited and waited for more. Listen Here

Today was a good day because it brought us WHY?’s second mini-release of songs from their upcoming album, AOKOHIO. I definitely needed something to take my mind off of this desert heat. With six parts and eighteen total songs, It’s an interesting way to release an album, but I can’t say WHY? has ever bored me. I’m grateful for more than a single at a time, but I am itching for more tracks like an EP. The sound of these songs continues mostly in the direction they have been taking since the release of Eskimo Snow but once again stays true to what makes WHY? sound like WHY?. They have managed to grow with every album without leaving behind what makes them special to me.

“Reason” features Lillie West of LALA LALA singing some harmonies and she pops up a few times in the music video. It’s jaunty like Moh Lean’s “This Ole King” and has little jangles of bells here and there accenting each chord change. As my favorite song in this movement, I really wish it were a bit longer. Of note is Yoni’s falsetto with a slight hint of vibrato, which I personally haven’t heard from him before. It is beautiful and what initially caught my attention and also made me want to listen again. I wasn’t actually positive if it was Yoni or Lillie for most of the day, but it’s the catchy part for me that makes me keep restarting the video. I would love to hear more of this style going forward. “Reason” actually ends instead of fading or transitioning into the next, and it’s slightly awkward in the format it’s presented in. 

Because of the silence and sudden change, it takes me a moment to really get into the groove of the second track, but fans of Mumps, Etc.’s “Bitter Thoughts” and “Paper Hearts” or Sod in the Seed’s “Shag Carpet” should take to “Deleterio Motilis” quickly. They’re similar in both lyrical content and rap style. There are soft female vocals behind Yoni Wolf’s rhythmic speech and higher octave harmonies in the chorus, both of which I consider essential elements of WHY?’s sound. It’s even stylistically similar to older songs like “Bad Entropy.” Although in the previous track, Yoni and Lillie are both asking for a reason, this song elicits the strongest feeling of longing. 

The transition from “Deleterio Motilis” to “Stained Glass Slipper” feels a lot more natural. It’s the most upbeat song in the movement, and I instantly start tapping my foot to the chunkier bass. This song could easily fit right in on Sod in the Seed, both in style and lyrical content. There are also slight hints reminding me of “The Water You Walk.” The lyrics tell another story of love for a young woman, this time Yoni admits “the subject was too young.”  Alopecia’s “Twenty Eight” was perfectly age-appropriate, then came “Twenty Seven” on Sod in the Seed and now someone’s “turning twenty-five on the twenty-sixth.” This song feels more hopeful than any of the others, though. 

Overall and with the exception of the moment of silence between the first two tracks, this really does feel like one long song. There is always something catching your eye, as Miles Joris-Peyrafitte’s “visuals cut contemporary footage of Yoni and actress Tatiana Maslany with vintage home videos documenting Yoni’s childhood life in Cincinnati” and between overlays and quick cuts, there is plenty competing for your attention. With this project, AOKOHIO, Yoni wonders, “is there a word for bad nostalgia?” This album is personal and reflective, but it isn’t the warm and fuzzy parts of the word nostalgia, it’s the longing and wishing, it’s “about reflecting on the anxieties [he’s] had since [he] was born.” The quick clips at 1:08 and 1:14 particularly evoke this second-hand negative nostalgia in me. These songs are easy to relate to both lyrically and visually, and I am eagerly awaiting the third movement.

[positivexposure]

LABEL: Self-released  RELEASE DATE: August 5th 2014 OVERALL RATING: 8 – Unique STANDOUT TRACK: “Law & Order” IN A SENTENCE: Yoni Wolf creates the perfect sonic backdrop for what feels like pages out of a very private diary and Anna Stewart's vocals are like a lazy summer afternoon: slow, smooth, and beautiful. Listen/purchase: Divorcee by Divorcee

Divorcee is unique because the choruses in each song change lyrically but not melodically and each line in Anna Stewart's raw emotional lyrics takes you back to certain memories in her relationships. The lyrics are so raw in fact that you have to wonder what Yoni Wolf was thinking when he entered into a partnership that would require him to hear more than a few scathing thoughts about himself. Perhaps he is just getting a taste of his own medicine, letting Stewart vent about their private lives the way he did with Alopecia. WHY? fans will catch a few obvious rebuttals from Anna's point of view, in which Stewart and Wolf go "toe to toe, blow for blow," but will be left wondering just how many lines on this EP are about Yoni.

Opener "Snakes and Oysters" didn't engage me until the line just before the chorus, "our leering neighbor used to watch me cry." It just grabbed my attention. I don't particularly like the accordion on this track as it doesn’t seem to fit. “Snakes and Oysters” definitely shows us Anna's lyrical prowess, something I was (needlessly) worried would be lacking on an album where Yoni Wolf's lyricism took a backseat.

"Thoughts of a Man" definitely picks up musically and the funky chorus coupled with more great lyrics made me pay attention to a song I wouldn't like otherwise, mostly due to the vocals. They're just not my style on this track, until the choruses when the bass kicks in. This song is a wonderful and intimate look at the life of a touring musician’s girlfriend, in which she can “only imagine the thoughts of a man” and confesses that she “kissed a boy on Halloween in a Jason mask / and if I was sorry that I did it would you take me back?"

I love the sampling of WHY?'s "Good Friday" throughout "Last Fist," a track which instantly caught my attention with its chunky bass that is reminiscent of something on Alopecia. The line "I am not suited for matrimony" explains the project's name in a quaint and simple manner.

"Absence and Presents" is particularly scathing lyrically. "In spite of my desire to please, babe I'm gonna have to leave/ and I'm sorry that you can't say the two words that might make me stay.” The track continues the girlfriend’s point of view with lines like “I guess I can understand now that I have a band. You can't meet demands from the seat of a van," or the particularly gut-wrenching "I wasn't stunned you didn't answer your phone. You were right, you didn't try the day my cat died, sigh, sigh, sigh." This paints a much different picture than most fans see in their heads when they imagine dating someone who tours. All we see are the perks, not the missed calls, times we needed someone and they weren’t there for us, or the heartbreak felt by the person those songs are about.

"Low Piñata" is the heaviest song on the EP with the most musical filler in the form off bass, organs, drums, and electronic noises. "You don't know my middle name" turns slowly into "I can't recall your middle name or whether you or I am to blame" turns slowly into "you still don't know my middle name.... when we met ....  I swear you knew my middle name."

Closing track "Law & Order" definitely steals the show both musically and lyrically. Its funky beat and heavy Smiths influence add to its infectiousness. I tried to fight it but I have to sing along. I just have to.  "Law & Order" hits the hardest lyrically. It's very sentimental, nostalgic, depressing, and revealing: "Living with you is like driving in the rain" and "Living with you and being blindfolded are the same / I can't see where I'm going and it makes my head ache."

Divorcee is the perfect debut for this duo and I hope it's not the last chapter of their ever-changing relationship.

TRACK BY TRACK RATING BREAKDOWN:

Snakes and Oysters: 7 Thoughts of a Man: 9 The Last Fist: 7 Absence and Presents: 7 Low Piñata: 8 Law & Order: 8 ---

Not much has changed since Sunny Landon was little. She still insists on listening to one song over and over until she discovers her next favorite, she still always carries a journal, she still treats people the way she wants to be treated, and she's still very particular about the way her socks fit. @Sunzusunzusunzu on Twitter.

[positivexposure]

"Hostage" by Aubergine MACHINE - SINGLE REVIEW

Vocalist Shanti Ellis has teamed up with the electronic pop duo Aubergine MACHINE to bless us with a heavy new track, entitled "Hostage." The producer behind the group, Ian Carey, strings together a slew of familiar EDM sounds but avoids every convention over the three minutes. The bass vibrates as the underlying aura of calm and serenity carries the track forward. Ellis fits the track brilliantly. As she compares the love of her soulmate as a "prison" that has taken her "hostage." All though she "can't say no," it doesn't feel like she wants too. The people surrounding her, judging her, can't see that she's unequivocally bound "to this love game." There is a downtempo sadness to her musings, but rather than regret it resembles nostalgia. Especially as Aubergine MACHINE matches here subdued emotions with a strong and endlessly feverish melody. The track is a great single - short and sweet but bursting with emotive textures. The remix that is attached to the initial single on their soundcloud, is much longer and varied. A Brad Holland & Princeton Rejects Mix, the remix adds a much more uptempo vibe to the suppressed nature of the initial track. The two-step groove bounces along with ease for the extended runtime, never feeling to overlong - even though it does extend well beyond the original tracks length. While the original track feels as if it's trapped in it's own heavy heart, the remix is a very suitable counterpart that releases those very emotions. The remix allows Shanti to break through from the prison, from the being the hostage, and lets her celebrate her love in a more vibrant manner. To some degree, it seems necessary to hear both tracks alongside each other in order to not be lost in the thick of the original, or the lightheartedness of the remix. One serves as the foil to the other, and it's a pleasure to hear Ellis's vocals morphed into new implications with each sample.  Listen to the single over at: https://soundcloud.com/auberginemachine/sets/hostage-single-with-remix

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Narsimha Chintaluri is primarily a creative writer, focused on prose and poetry, but is also an avid fan of film and music. @Narshh on Twitter

[positivexposure]

INTERVIEW: MIYAZAKI!

Melbourne, Australia's Miyazaki! started around 2010 when Luke Seymoup decided to do a Bomb the Music Industry!-style project where he played most of the instruments and then performed live with a revolving door of musicians. Let's just say that didn't work out. Two guys called Jack and Mayo joined the band and they recorded two EPs and did maybe four gigs before they both quit. Luke's hetero-lifemate Josh joined on bass and their old drummer, Jack, recommended Mitchell. They all share a mutual love of Star Wars so, basically, they're bonded for life.

PX: What made you want to create music? LS: Clearly the millions of dollars that we're due to start making any day now. I think Mitchell has already placed an order for a pet chimpanzee. He's going to call it Sparkle.

PX: What influences you most? LS: I'll say the music we listen to but, really, none of us listen to the same stuff. The only artists I know for sure that all three of us like are Billy Bragg, Brand New and The Matches. That's not a bad thing though, it means we're always coming up with weird new things to try out. In terms of lyrics, I'm influenced by the fact I'm always doing stupid things and getting myself into sticky situations. I'm sure people will pick that up from the album.

PX: What’s in the near future for your band? LS: We've just put out a new album called “Thank You. Fuck You. Goodbye.” that we're really stoked about. We're launching it at 303 in Northcote, Vic on August 16th (so if anyone lives around Melbourne come down). After that we've got a bunch of awesome shows booked in and we're going to try and book some shows interstate for the first time. On top of that we've already started working on new songs that are sure to be the next “Born to Run” or Crazy Frog or something.

PX: What aspect of music excites you the most? LS: I'm sure all three of us would say something different but, for me, being able to say “hey, I made that” is totally awesome. Also, the one free beer we're allowed to drink at gigs before legally driving home is always good. Tastes like victory.

PX: What aspect of music discourages you the most? LS: The fact that The Taxpayers aren't the most successful band in the world because, hot damn, they deserve to be!

PX: If your band was an ice cream flavor (real or made up!) what would it taste like? LS: Cheap Mexican beer. If manufactured elsewhere in the world it would be made from Tecate but, since that's pretty hard to get hold of in Melbourne at the moment, we'd probably have to make it with something even cheaper like Sol.

PX: As a band, what has been the biggest obstacle you’ve had to overcome? LS: Probably finding the time to still be a band between the other things we have going on. As much as we'd all love to only do music, there's still work and other stuff that make getting things done hard. I started working full-time as a teacher this year and Josh has just got a full-time job as well so we've been really pushing to keep doing our thing and not let anything get in the way.

PX: Do any of your members have weird nicknames?  LS: I love to make up nicknames for the guys but none of them have ever really stuck. Josh has got to be Patsy and J-Bone in the past and Mitchell has got Pas-Man and Vinnie Pas (after Vinnie Paz of Jedi Mind Tricks). I'm hoping one will catch on eventually. A lot of people shorten my last name to Moup and a lot of good stuff has come from that like Moup Dogg, Moup Lion... okay, so maybe it's just Snoop Dogg references but I'm fine with that.

PX: Do any of your members have interesting non-musical talents? LS: Mitchell has been World Champion of Sarcasm for 21 years and counting.

PX: Coffee vs. tea? LS: I don't drink either because I'm a softy. The other guys are coffee drinkers though. I'll stick to juice.

PX: What is your favorite food/food place when on tour? LS: We haven't had the means to go on tour yet but, if you're coming to Melbourne, buy the South American Delight smoothie from Tropicana on Elizabeth Street. It is the best thing you will ever drink.

PX: Describe your band’s sound in 5 words: LS: We are the best ever

Recommend us 3 local and/or underrated artists you think everyone should know of: Foley! are one of the greatest bands you will ever hear. They finished recording an album the other day that is going to be the greatest thing. My good buddy Steven put out two albums as Troubled Medium that are both awesome, he's recently changed the name to Team Reasonable and put a band together that's going to blow minds. Finally, The Flying So High-Os are a band that write catchy folky/punky/pop hits that I can only dream of making.

[positivexposure]

New Bloom // Endless Heights

LABEL: Broken Hive RELEASE DATE: November 15th 2013 OVERALL RATING: 7.5 – Impressive STANDOUT TRACK: “Valhalla” IN A SENTENCE:  Endless Heights have peeled back the layers of pure hardcore to reveal a notable knack for melodic emo grunge in what is their best release yet. Listen HERE

In recent years Sydney’s Endless Heights’ sound has shifted from straight up hardcore, unraveling their own craft of melodic, rhythm driven tracks. Their blend of emo punk/hardcore peaks in the form of debut full length New Bloom. Injected into Australia’s punk scene late last year, New Bloom has refreshingly filled the void amongst a flood of local monotonous hardcore.

Vocalist Joel Martorana discusses aiming to make the most of time and existence on "Honest Life". Endless Heights have succeeded in doing this, clearly writing the music they want to try, hear and share. Highlight of the 10 tracks, "Valhalla" combines the very best of Endless Heights to date: catchy hooks, solid grunge and genuine, aspiring lyrics, “Try to keep my wings nailed to the ground / Valhalla / Safe and sound / I’m heaven bound.” The sludgy vocal style in this song is at times reminiscent of Andrew Fisher (Basement) who fits into the emo/grunge genre with ease.

The solemn predominantly instrumental "Coral Castle" contrasts beautifully with heartening "Matador", highlighting Endless Heights’ ability to write both brilliant slow and fast paced songs.

Infectious "Mosaic" is certain to convert effectively in a live setting, as Martorana repeats, “We all miss out when you don't stand in your shoes / I need you to be you / Which life will you choose?" The catchiest track on the record is reminiscent of old The Story So Far, particularly in this repetitive section. Watch the video here.

Endless Heights’ growth, passion and guts is admirable. It no doubt takes confidence to push the boundaries that those in the community have drearily halted at. The youthful east coasters have taken risks that have worked in their favour. Endless Heights have raised the bar for their Australian peers to look above at, enlisting them as one of Australia’s most exciting bands. 

TRACK BY TRACK RATING BREAKDOWN:

The New Bloom: 8.0 Honest Life: 8.0 Valhalla: 9.0 Sanctum: 7.0 Coral Castle: 7.5 Matador: 8.0 Mosaic: 8.5 House Of Cards: 7.0 Son Of Thunder: 7.0 Love Will Keep Me Whole: 8.0

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Hailey Hill is our Wonder from Down Under. Since graduating from Deakin University with a degree in Journalism and Public Relations, she spends her time listening to punk/emo-esque music and hangs out with dogs.

[positivexposure]

Listen/purchase: OLD DOPE (RAP TAPE) by Yoni Wolf

LABEL: Self-Released RELEASE DATE: May 7th, 2014 OVERALL RATING: 9 – Flawless STANDOUT TRACKS: “Broken Crow” and “Ghost Dream” IN A SENTENCE: Old Dope Rap Tape proves that old dogs can teach themselves new tricks.

WHY? frontman Yoni Wolf recently released Old Dope Rap Tape, the solo rap album featuring re-imagined fan favorites from WHY?, cLOUDDEAD, Hymie’s Basement, and even Reaching Quiet. This is not a collection of old songs simply thrown together on a mixtape. It’s an updated version of Yoni Wolf’s long and illustrious career.

“Bad Entropy” is rapped over Lorde’s “Buzzcut Season” and given a nice gritty groove with some electronic drums, almost as if an audible example of his mentioned “something honest to dance to, something soulful to sing to.” There is great integration of samples of Lorde’s vocals intertwined with some of Yoni’s flow.

Yoni raps “Broken Crow” over Mobb Deep’s “Shook Ones” making it sound more urgent but keeping its haunting sound. Interestingly, the flow of the lyrics isn’t very similar to Mobb Deep’s flows but similar to previous versions that are sung rather than rapped. It’s dark but dance-y. The echoing vocals in the beginning sound brilliant. There’s also a nice slightly odd sample about cats at the end – cats being a recurring theme for Wolf. If you like the bass-driven gritty feel of Alopecia you’ll approve of this mix. (And how about that falsetto?)

“Jimmy Breeze” is almost 5 minutes long, as both parts one and two of my favorite cLOUDDEAD song are performed. The flow is slower, the lyrics are clearer, and it’s all content, no filler. It still includes the fun samples of the song’s namesake and some yodeling. The background music for part two is amazingly crisp and clear.

“Distance” from WHY?’s latest effort Mumps, etc., is rapped over Pharcyde’s “Passing Me By” and features sung vocals during the chorus. It’s amazing that the vocals of the original track fit to this track so easily, mostly just by speeding the flow.

Fan-favorite remix of WHY?’s “Good Friday” by Boards of Canada is also included, with Yoni rapping over BOC’s sweet groove and featuring some cool effects as if the song is taking you out of and snapping you back to reality.

Electro-music gives “By Torpedo or Crohn’s” a sense of urgency and a slightly spooky feeling. Or maybe I just scare easily.

Hymie’s Basement’s “Ghost Dream” is perfectly shortened and reimagined just enough. This is more of a speed up and a polish than a true remix.

Also featured are Yoni’s verses from Themselves’ “Rappin 4 Money,” and Alias’ “Well Water Black.” The whole album sounds nearly live, save for the vocal sampling and layering, which is fitting since this album is to commemorate the limited edition version of the set he performed solo in its entirety in a short stint of eight intimate shows in May.

TRACK BY TRACK RATING BREAKDOWN: The Fall of Mr. Fifths (Eskimo Mix): 8 Bad Entropy (Buzzcut Mix): 10 HAHAHAHA: 10 Broken Crow: Shook Mix): 10 Waterlines (8million Mix): 8 Rappin 4 Money: 7 Cold Lunch (Twisted Intro): 7.5 Bitter Thoughts (Elevator Mix): 7 Rifle Eyes: 9 Distance (Passing Mix): 8 Good Friday (Boards of Canada Mix): 9 Well Water Black (Onyx Cloudz Mix): 6 By Torpedo or Crohn’s (Dntel Mix): 9 Pick Fights & Deceived (Silent Mix): 7 Ghost Dream (Ghost Mix): 10

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Not much has changed since Sunny Landon was little. She still insists on listening to one song over and over until she discovers her next favorite, she still always carries a journal, she still treats people the way she wants to be treated, and she's still very particular about the way her socks fit. @Sunzusunzusunzu on Twitter.

[positivexposure]

AN INTERVIEW WITH KRISTIE SHOEMAKER

Kristie Shoemaker is a 22 year old self-described rotten little peach currently living in Brooklyn, New York. She hopes to one day transcend her corporeal form and live out the rest of eternity as a celestial orb dancing among the rings of Saturn. 

Elizabeth Foster: Where are you from?  Kristie Shoemaker: A little south of Baltimore. It's like a really shitty town that has like a Super Wal-Mart and a McDonalds. So, I say Baltimore because no one even knows that this place exists. I've been to Baltimore, but that was a very scary experience.  EF: Do you think where you live has had an effect on your writing? KS: It just forces me to write more because there's really not much else to do. Like, I will literally sit in the Wal-Mart parking lot in my car for hours writing on my phone. There is nothing else to do. You can sit in your house or you can sit in a parking lot. That's about it. EF: What was the feeling you had when you first found out someone wanted to publish your work? KS: Just really excited and feeling like it was kind of worth it, I guess? I don't write things to get published and have people read it. It's more of a release to get whatever insane radio static going on in my brain out of there. It just feels nice that the things that I say can resonate with other people, that they actually take interest in reading it and relate to it. It feels comforting to know someone is feeling the same way as me, makes you feel less alone in your own head. EF: Does the content of your poetry cause you to feel more vulnerable or empowered? KS: I feel like all my writing is very stream of consciousness, like whatever mood I'm feeling. A lot of it is vulnerable. Last time I was in New York this stranger came up to me and asked if they could take my picture because they said that I looked very vulnerable. Like "that look". Feels like having half of the thoughts in my head spilled out for people to read definitely puts me in an interesting position. I can let strangers in easier than someone who has a presence in my life, but then they don't become strangers and it feels safe. It's empowering in a sense because other people are taking notice and listening to what I have to say, but a vulnerability comes with that. It makes me feel things when people feel things about me, but then comes the 'do you know too much, did I just word vomit all over you?' I try to keep my twitter/poetry shit separate from everything else. Or at least I try to because I feel like certain people won't really like the other half. EF: Why do you write? KS: It's always been the way that I calm down. There are certain things that pop in my head that will cycle and twist and turn unless I put them down and turn them into something. It's a way to kind of make my brain slow down a little bit and make sense of everything that's happening. It's kind of like a 9th grade journal, but written hopefully a little bit better. EF: What would you say directly influences your work the most? KS: Definitely the people in my life either past or present. I feel the majority of what I write is in relation to some person and the emotions they made me feel. It's my way of making peace with someone in a sense... if I can't say certain things to them. In terms of what else influences me it would probably be... I listen to a lot of Elliott Smith, so that's the total cliché sad person, whatever. I think he writes really sad things in an undeniably beautiful way and when I listen to it I feel happier. It's inspiring in a sense. Even if I'm having a miserable day I want to be able to write something that might come from from that place, but doesn't make the reader feel as miserable as I might have felt when I was writing. EF: What influence do you think the internet has had on your writing?  KS: The community is really inspiring. I really like to see what style and what ideas everyone has. I feel like everyone has a similar, but slightly different voice. I can't consume enough. There's so many outlets for people to just release anything that's going on in their head at any time of the day. God knows I live on Twitter, which is either a really good thing or a really bad thing. It's just nice to see what's going on with other people, see how they interpret what's happening in their world, how they write about it. It's cool to get to know people without having the weird "getting to know someone" phase. EF: How has being a woman in such a male dominated field affected you? KS: Sometimes I feel smaller than I am. It could just be my own inner voice, but sometimes it does affect me. I know with the internet it's really easy to just publish anything you want. You have the option to publish your own work and get your name out there, but it is difficult to get some recognition because at least in my experience I've noticed that some people will kind of push aside or belittle whatever emotions I'm writing about. It's just a challenge. I like challenges. I mean, a lot of people are really warm and welcoming to it as well. It's hard over all. I'm taking a men's psychology class which is completely ridiculous, but the whole world is like that. It's not just writing. You just have to either be awesome and make yourself feel awesome all the time or resign to the fact that the situation is what it is. As long as I keep myself above water then I try to not let it get to me so much.  EF: Do you think your work is viewed with a more critical eye than if you were male?  KS: I feel like it really depends on who's reading it. I feel like this community is very receptive to just everyone. It's really nice and reassuring that there are good people that appreciate work for what it is regardless of who is behind it. Branching outside of that I think it's a completely different story. I know a lot of what I write about is extreme mood swings, feeling sad, relationship problems... all of that stuff. Some people would view it as just stupid little girly ramblings or whatever. It's frustrating that not everyone is as receptive as the community is, but I am hoping that one day people will stop being so full of themselves. EF: Are you working on any projects currently?  KS: Currently I am working (slowly because of life) on a secret amazing online project with Catch Business and other wonderful people. I would really like to actually spend a lot of time writing and editing an actual ebook. The one that I put out I put together really quickly because I just wanted to make something. I had been telling myself for months that I was going to do it and I never did. I was like, "I need to do this tonight or I'm going to feel horrible" so I threw it together. I like how it turned out, but I would like to make something more substantial. I'm writing more in a journal to hopefully turn into 'something' by the end of the year. I really want to collaborate with someone on something too, so that might be on my radar as well. EF: Do you think you'll be writing for a long time?  KS: That's a hard question. I'd like to think that I'll be writing for a long time. I kind of go through phases where I write a lot and I'll be insanely productive and creative and feel really good about what I'm writing. Then I'll go months without writing anything and something will happen that snaps me out of it. Then I'll cycle back through it again, so I feel like I'll be writing to some extent for a long time. I'd like to make it a little more balanced so I'm not manically writing 500 poems in a week then not writing anything for three months. If I'm not writing poetry I definitely want to do something in the writing field, like be around books. I work in a bookstore now. That's definitely not a career, but it's a nice relaxing atmosphere. As long as I am surrounded by books in my life I'll be happy.

[positivexposure]

RIP: The Track Record

Years Active: 2003 - 2007 Status: Disbanded From: Annapolis, Maryland Members: Michael Strackbein - vocals/bass | Rob Elson - guitar/songwriting | Hasani Martin - Drums | Rob Viti - Guitar

The Basics: The Track Record formed in 2003 and self-released EPs in 2003 and 2004. In 2005, they joined Rushmore Records and went on their first national tour. In 2006, they left Rushmore Records and self-released their only full length album, The Coolest Kind of Crazy.

Why Are they Gone?: The split was publicly announced to be due to “the huge strain put on [their] personal lives by all of the bullshit that has happened to [them] as a band over the last year” and for an “opportunity to explore areas of life previously unavailable . . . due to the demands of being a full time band.” You can read the rest of their farewell letter on their MySpace. 

Why we loved them: They played raw sounding, honest pop-punk without whining. Their lyrical content was a lot deeper than most pop-punk bands but still easy to relate to.

Why we miss them: I am not really a pop-punk fan, I sort of grew out of that when I was thirteen, so I only have this one album that I like to listen to still. I still love old Starting Line and listen to it nostalgically sometimes, remembering all the memories of listening to it with friends and having fun being young. But what about as I grow up? The Track Record was a more “grown-up” band who played pop-punk, and I know they would have grown with me. Sadly, Rob Viti passed away at the age of 26, so chances of a reunion are pretty much gone.

Our regrets: They played in my town once and I was at the show, but I stayed outside the whole time. . . so I never really got to see them live.

Listen to: “Wake Up to the World”   or “Good Answer” 

[positivexposure]

FILM REVIEW: NEIGHBORS // 8.5

Starring Seth Rogen (This Is The End) and Rose Bryan (Bridesmaids) as the new parents on the block , Mac and Kelly, Neighbors is a frantic riot that wades in the shallow end of "dick" jokes before diving in headfirst, and rarely coming up for a breath. 

Even though it may not have balanced both aspects perfectly this time around, Efron's turn as the Frat President is well worth the often sporadic ride. RATING: 8.5/10

[lachlanisstoked]

SINGLE REVIEW: Divorcee - Thoughts Of A Man

There’s nothing I hate more than to not appreciate music by a band or artist; to not recognise craftsmanship and creative output of someone who is baring their bones to the cold, judgemental world in artistic surrender. WHY? has been a band I’ve followed for a few years now, but have only really begun to fully embrace and understand this last year, and albums like Eskimo Snow (2009), Elephant Eyelash (2005) and Alopecia (2008) are now permanent fixtures of my public transport listening playlists (PTLP for short). With WHY?’s latest album, Mumps, Etc. (2012), I was torn apart by my response of not enjoying it, and not savouring frontman Yoni Wolf’s vision for this album. Granted, tracks like Bitter Thoughts and Paper Hearts stick in my mind to this day, but not nearly with the same fervour felt for the band’s first three albums. Despite this, I’ve been patiently waiting since Mumps for new stuff from Yoni, and save for a for a very filler-esque EP (Golden Tickets, 2013), which granted was instrumentally sound but lyrically abysmal, nothing has cropped up. Until now.

[positivexposure]

We stumbled across this review of Divorcee's new track "Thoughts of a Man" and had to share it with you. Thanks to lachlanisstoked for letting us share it on our site. Please check out their website for more awesome content!

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[positivexposure]

Juliette Jules - "Black Crow" EP Review

OVERALL RATING: 9.0 - Excellent STANDOUT TRACK: Hallelujah RELEASE DATE: May 23rd 2014 In A SENTENCE: Black Crow EP is an exciting release by an artist wise beyond her years, and is filled with endless potential.

Juliette Jules is just sixteen. Let that sink in as you press play on her new EP, entitled “Black Crow” - a beautiful twenty minute excursion into the wise-beyond-her-years mind of this young darling. With help from her producer/engineer, Peter Karroll, Jules pursues the tried tales of love, nostalgia, happiness and sadness. She manages to fill her brief EP with a full spectrum of emotions, even tackling Leonard Cohen’s “Hallelujah” in a stunning rendition of the beloved tune. “Johnny Was,” opens the record with soulful strumming, and, before long, Jules showcases her unique voice - a tender, angelic, whisper that’s nuanced like no one else her age. She ponders how “Johnny was,” how “Johnny drowned all his pictures to forget his baby son,” because “Johnny left his wife at home.”  But Johnny was a liar, a man filled with “madness and despair,” who “walked in the rain, and never came back again.” The pristine storytelling, matched with the limber musical soundtrack is a staple of this EP. Jules' voice warbles and trembles throughout, such as when she mourns for the “black crow,” who left his nest just to “break its wings,” or fantasizes about going “where the sun is shining,” on “To The Mountains.” The Parisian artist’s voice swings from meaningful whispers to flailing falsettos, almost never stretching beyond the her limits (if she even has any). The weakest track on the EP, “The Game,” is the only one reserved purely to the idea of “the game of love.” While the other tracks are bubbling with subtleties that yearn for a repeated listens, “The Game” is rather simplistic, and, for once, her unique delivery seems to strain a bit. Her repetition of “in this game,” being, perhaps, the only misstep on an otherwise excitingly excellent release. Download her release on BandCamp, which comes with various artwork for the separate tracks. All in all, “Black Crow” is a powerful EP from a immensely talented young lady. The potential seems endless.

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Narsimha Chintaluri is a primarily a creative writer, focused on prose and poetry, but is also an avid fan of film and music. @Narshh on Twitter

[positivexposure]

Ras Xix - "Self-titled" Album Review

OVERALL RATING: 8.5 - Great STANDOUT TRACK: Weightless With You RELEASE DATE: April 2014 In A SENTENCE: Ras Xix's self-titled full length album is filled with heavy jams and undercut by surprisingly reflective tunes perfect for the summer.

Ras Xix's self-titled full length album is an exercise in versatility. Hailing from Los Angeles and Singapore, Xix has been traveling the globe to satiate his evident desire to create engaging and eclectic music, as well as reach a broader audience to share his passions with. With a voice that's reminiscent of past punk-rock greats, such as At the Drive-In and The Mars Volta's Cedric Bixler-Zavala, Xix croons and shrieks his way through this project in equal bursts of energy. "Weightless With You" starts the album off in fantastic ballad fashion, introducing us to Xix's reverberating yet understated vocals. The instrumentation carries the drive of a standard rock affair but effortlessly blends electronic elements in the negative space. Rather than build on the first tracks somber yet energetic flair, "Nora 5" immediately showcases this record's versatility with an acoustic number. "Eclipse the sun, and taste the night, as you dance across the sky," Xix ruminates, carrying you through the blissful harmony of the song.  But before long, and never missing a beat, "Over" and "Consent" batter the listener with post-rock, post-hardcore build ups and breakdowns - intense yet never crass or overextended. The album works well in this area of build ups and releases, with smooth, melodic lulls in between the louder, bolder, peaks. Powerful in its patience and control, the self-titled album is never overreaching or haphazard. The genre shifts or melding of different influences such as with "Las Arenas de Cartagena," are always tasteful and purposeful, and Xix's admittedly infectious harmonizing helps tie the entire project together where a lesser artist may have allowed it to falter. The infusion of genres spanning electronic, post-rock, punk, acoustic, and war Xix himself describes as "world beats," serve as an alluring backdrop to even the most secondary tracks (such as the electronic breakdowns on the backend of "New Religion," or the fleeting acoustic nature of "If It's Gone"). Ras Xix sense of control and quality taste in harmonies can be found even as the 45 minute album draws to a close, as he allows the final track, "Machine" to whistle and bounce somberly into the light. The album is a feel good experience, fit for a fun summer but still accompanied with a meaningful vision thanks to Xix.

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Narsimha Chintaluri is a primarily a creative writer, focused on prose and poetry, but is also an avid fan of film and music. @Narshh on Twitter

[positivexposure]

Mad Men S7EP04 - "The Monolith" (REVIEW)

God damn what a fucking episode. 

As Don continues to fight through purgatory, all the other pieces seem to be constantly repositioning - poised for conflict. As he swallows a a fifth of his pride, believing that that was enough to earn back the good graces of his coworkers, Don inhabits the office of “a dead man.” Believing that time and an olive branch would heal all wounds, Don expected a resurgence of importance and responsibility - instead he got Peggy. The student finally became sensei, and in the current vengeful-Peggy fashion, she flexed her authority (the reveal of her being in charge of the Burger Chef campaign a moment of triumph in here gleeful eyes). Don, reduced to twenty-five tag-lines about hamburger meat, a list of clauses looming and looking to absolve his partnership, and an overtly philosophical IT guy - implodes. 

I really was surprised by the reaction though, maybe because I thought Don was already at where he finally ends up at the end of the episode. I thought he’s been willingly closing every open door, from competitive offers from other agency to IBM (that drunken rant to the IT guy just another flawless turn by Jon Hamm), because he started this firm. Because he needed it’s stability.  But here he is, throwing shit, turning up, and goin to a “ballgame.” Regardless, in typical high-caliber Mad Men narrative, this one episode acts as a synecdoche, encompassing the tiny victories as well as the poignant sadness, representative of all of the characters’ deeply embedded flaws. Both Don’s violent-turned-drunken tantrum (rescued by his proxy Freddy Rumsen: “fix your bayonet and hit the parade - do the work Don,” is his sage advise) and Roger’s brief moment of lucidity with his daughter (only with the help of pot and nature this time around - no acid, although wide-eyed “Marigold” is a different case), reach powerful conclusions. Don can’t expect the world - as Bert Cooper sternly reminds him, things were fine without him. Roger can’t keep living in his own fiction - as his daughter becomes more lost in hers. 

As Kubrick’s “Monolith” leers over them all, size and scope and scale and perspective all shadow over the men and women. “What man laid on his back counting stars, thought about a numner?” And, for Don, Freddy’s well-intentioned quip of “are you just gonna kill yourself” ultimately proves to be irrelevant. Because he’s already descended into Hell, multiple times - he’s already parted with his identities. It was time for the reprise, and he knew it on some level. 

Hopefully he follows through. 

Other Thoughts:

-A lot of awkwardly hilarious scenes this week. The gutting tension between Don and Peggy, Don on the verge of breaking his contracts, Roger and the hippies.

-Why did Don have to confront the IT guy? Man, I haven’t seen him that wasted in a while.

-Pete seems to be doing well, for once. 

-I hate when couches have too many farts.

-Peggy’s boss is a sexist douche (but hey, at least he gave her an extra $100 a week!)

-”It’s gonna do a lot of magical thigns like Harry Crane seem important” - Roger is GOAT -”It’s not symbolic,” “Oh it’s quite literal.”

-”It’s more of a cosmic disturbance...human existence is finite”  

9.8/10

[positivexposure]

FILM REVIEW: THE AMAZING SPIDER-MAN 2

*VAGUE-ISH SPOILERS AHEAD (no more than the trailers though)*

Andrew Garfield's Spider-Man is essential to the success of this series.

Adding to the list of great casting, Emma Stone adds the necessary heart to Gwen Stacey's final act and Dane DeHaan as the troubled Harry Osborne couldn't have been more fitting (or menacing). The Chronicle star mirrors Peter's own insecurities, but with more volatile tendencies ("time for the bonus round!"). However, despite the marketing for three villains, the centerpiece of the film is Jamie Foxx's oddly comic turn as Electro, with Green Goblin and Rhino serving as Sinster Six set-ups. Stunning special effects galore, the electricity, the web slinging, slow-mo, massive scale, city-destroying destruction is all on point. It's a great blend of comic book and real life aesthetics. We'll get to the flaws, but there's just so much to love about this film: the swagger in the intro (including "sick" Spidey), the (usually well-timed) humor, the first Electro fight/his first meeting with Harry (and the epic soundtrack in those scenes) - just well placed minute details that add to the entire atmosphere. To be honest, there aren't many negatives even worth focusing on. The jumbled presence of villains leaves room for criticism, but, in my opinion, it makes for a sense of "a day in the life" of Spider-Man - which clearly involves a lot of multitasking. Not only did the film serve as a bridge between the younger high school Peter Parker and the man whose entire life will be dedicated to protecting others, its admittedly unfocused narrative created a subtext which helped humanize the man behind the mask more so than the previous franchise. Superhero conveniences asides (I mean, if people are willing to give the awfully contrived The Dark Knight Rises a pass...) the directing is entirely engaging and lays the basis for many more adventures.

I loved a lot of aspects of this film, just as I did the first one - but hey, I also didn't obsessively watch the trailers and ruin it for myself, so I guess I have less to cry about than the typical (read: hardcore) fan. As long as Garfield (and now DeHaan) return with the same intensity, I'm down for more cheeky one-liners and mid-fight banter.

8/10 

--- Narsimha Chintaluri is a primarily a creative writer, focused on prose and poetry, but is also an avid fan of film and music. @Narshh on Twitter

[positivexposure]

Instax Film of Moon Temple for positivexposure by Elizabeth Foster. Doodles courtesy of Moon Temple herself.

[positivexposure]

AN INTERVIEW WITH ALEXANDRA NAUGHTON

Alexandra Naughton's ghost can be found hovering over the skeleton of the East Bay extension, or sometimes in a forest tracing the rings of a cut redwood. Here she was born (South Philly, 1985), and there she died (in your arms).

Elizabeth Foster: I know you currently reside in Oakland, CA, but where are you from originally?

Alexandra Naughton: Philadelphia. I moved here (Oakland) in 2008. I was born and raised in Philadelphia. I lived there until I was 22 and it felt super stagnant, you know? It's not a small city, but it felt really small to me. Especially, you know, going there all four years of college and high school. I just wanted to get out and I had a friend who lived out here, (we're not friends anymore) but I was like "yeah, I want to come visit you!" So, I came out and I visited her. I was like "oh yeah, I'm moving here," so I kinda just made a jump and moved, but it's been good. I think if I hadn't done that I wouldn't be doing what I'm doing right now, at all.

EF: If you hadn't moved to Oakland what do you think you would be doing?

AN: I’d be living with my parents or trying to be a criminal. Which… Who wants to do that? Like, I feel like I’m too old to even find that idea romantic.

EF: How long have you been writing for? Seriously or otherwise.

AN: Oh, I mean... Since I was a little kid. Like writing stories or like writing songs in my head and like, you know, singing them out. I used to be on the softball team and I hated it; my dad made me do it. I just remember standing in the outfield picking weeds out of the grass and like, making up songs about why I hated softball.

EF: Have your parents read your writing?

AN: Yeah, they follow my blog. They know what I'm doing... It's weird. My mom would say like, "Oh, these poems are like, really depressing... Are you like, okay?" and I'm like "I'm fine, it's just a poem mom. Ya know? Don't have a cow," but... They're pretty cool. They're supportive. I think I'm lucky. My dad's an artist. He's a commercial artist. He always encouraged me to draw and stuff... you know, be creative when I was younger. I owe a lot to him. I am happy that that was the case. I think it would totally suck to grow up in a household where that wasn't encouraged, like, it wasn't permitted. I can't imagine that.

EF: What feelings, what people, what state of mind do you feel influences your writing the most?

AN: I don't know if other people do this, but... I wrote this thing for htmlgiant about how like I have to write I have to get my thoughts down because if I don't I'm just going to go crazy, blah blah blah. And some guy was like "you know, that's not writing, that's an addiction, so congratulations on your addiction," but that's how I feel. If I'm confused about something or I'm trying to understand something, writing it out and analyzing it from different view points is the best way for me to understand a situation or a feeling, or something. So, I feel like confusion is typically the motivation factor when I write.

EF: How do you deal with negative criticism from strangers on the internet, such as the person you just mentioned? 

AN: Yeah, that was funny because I didn’t even see that until I… I Google my name every once and a while, just to see if there’s links up about me or something. Someone reviewed something that I didn’t know about and that’s how I found that. That was just a tweet on Twitter that guy wrote about like “congrats on your addiction,” but… uhm… I haven’t gotten that much negative feedback, so far. I mean with this book I haven’t. Or my online writing… Not really, but uhm, when I make music videos, those get a lot of negative attention from 4chan people and stuff like that. Like, just idiot teenage boys, who because I don’t fit into their, you know, idealized version of a woman, like I don’t have big tits and I don’t brush my hair the way I’m supposed to or whatever, they just like to comment on my appearance or the fact that I’m not really that great at rapping or whatever… Which is fine. I don’t really care, but I don’t know. I think it’s just interesting to see what people have to say and I don’t really take it too much to heart because I think I am doing good work and I think the people that I care about think I am doing good work. I don’t think I’m hot shit. I always want to improve. I just hate that attitude, like that smug attitude that I feel like is prevalent with a lot of people who are big names in the lit scene. I’m really not crazy about that and I wouldn't want to perpetuate that in any way

EF: Do you believe there is a limit to what can and can't be considered poetry?

AN: Poetry is like porn. I can't define it, but I know it when I see it. Not really. Anything could be poetry, but not anything could be good poetry. And of course it's always up to the individual. My favorite thing is talking with a friend and hearing them use a new turn of phrase or a funny sentence and saying, "That right there was a poem."

EF: How do you imagine Billy Corgan would react if he were to get his hands on a copy of I Will Always Be Your Whore/Love Songs for Billy Corgan?

AN: I don't know. I hope he would be into it, but I'm not sure how he would take it. If he already knows about the book, he probably thinks I'm some crazed fan making crazed fan art. But that's not what it is at all. I'd like to send him the book so he could see that.

EF: You're going to be going on a book tour for I Will Always Be Your Whore/Love Songs for Billy Corgan this summer. What are your strongest feelings about that?

AN: I’m excited, and really nervous, and also kind of dreading it. I don’t dread the readings or meeting people and all the fun stuff that will happen, but we are going to be on the road for a hella long time. I’m talking like, taking a bus from Boston to Washington D.C., and bussing from Baltimore to Atlanta then to Nashville. Thankfully, I am traveling with my friend and fellow writer, Jesse Prado, so I will have someone to have talk to and have adventures with while riding on Greyhound.

EF: Do you have any advice for writers looking to publish their first book?

AN: I want to say that if you are writing something and you think it's good and it's something you've been working on for a while and truly believe is amazing, don't be shy to just send a message to someone you know in indie publishing, or some place you've heard of. Just do it. 

EF: How do you feel when someone approaches you to tell you that they find your work easy to relate to?

AN: It is seriously the best feeling. I think it's not an easy thing to do to approach someone whose writing you've read, like it's kind of anxiety-inducing for me when I walk up to some writer I admire, but it's such a reward to know that someone likes your work and gets it. 

EF: Do you think you'll be writing for a substantial amount of your life?

AN: I can't imagine doing anything else. I can't imagine not writing. I would die.

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You can purchase Alexandra's book I Will Always Be Your Whore/Love Songs for Billy Corgan from Punk Hostage Press  here. 

To find more of her work follow her personal blog and check her out on Facebook. As well as the blog and Facebook page for her zine BE ABOUT IT.

[positivexposure]

AN INTERVIEW WITH MOON TEMPLE

Moon Temple is a 20 year old living in Brooklyn who dropped out of high school to pursue her dream of becoming a satellite orbiting Earth. We are currently unsure whether she is dead or alive as the new iOS update has caused a ~300 trillion year delay on iMessages sent to space. The last message received by earth from the Moon Temple satellite included a scrambled message. Once decoded it read “moon temple sucks” in all lower case letters.

Elizabeth Foster: How long have you been writing for? Moon Temple: I think I started writing... It's hard to say. I think I started writing a lot of poetry when I was 11? It was pretty "depressing" stuff, because I was going through a lot of like, "pre-teen angst". I think I started writing more seriously when I was maybe 14 or 15.

EF: What are the biggest influences on your writing?  MT: I think I get a lot of overwhelming explosive emotions sometimes and that tends to go into my writing a lot. I dunno, I am always trying to get something big. I dunno how to explain that any better, but something big. Bigger than I have experienced before. 

EF: Do you have any sort of ritual you follow when you want to write something? MT: No, I'm bad about that. I'm really bad.

EF: Do you feel that your writing style has changed or progressed much since you started gaining more notoriety? MT: I think so, I think I have found more of my own voice. Not entirely, of course, I still have a long way to go... but I think I have gone from sounding a lot more directly influenced by other people towards actually finding something that actually sounds like me.

EF: Some say that literature is a more male dominated field. How do you feel about this? do you agree? MT: I think it's true, it's true of most arts, and I'm not really sure what to do about it. There's a lot of women writers that have been grouped under the umbrella of feminist writers and I think while feminist writing is important it's also kind of... I don't know how to explain this exactly, other than that I want my writing to somehow transcend the barrier of writing for, or within, a movement.

EF: Have you received much criticism from your male audience or peers? How do you react to it if you do? MT: I've definitely gotten the criticism of not really being an artist, that I only get attention for being an attractive female. The only thing I can think to do is to try to laugh it off, because there is no other thing that makes any sense. It definitely hurts me on some level, especially because I have an intuitive desire to be found attractive by others but also know I don't want to be just that. It gets confusing. But if I get caught up in thinking about it too much, letting it hurt me, i feel it will negatively impact my ability to write. If I ignore it and keep writing, I'll be happier. And I can prove it, you know, that I am an artist and not just a pretty girl.

EF: Have you received any weird anonymous messages? I've noticed this more prevalent among female artists. Can you tell me the oddest one you remember? MT: I can't remember anything specific, but I have gotten a lot. I have gotten things where people *gasp* Oh! I do remember the weirdest one! Someone said that "I imagine that i would 'love' you and 'care' for you and [Editor's note: omitted due to trigger warning and inappropriateness]." It was just completely out of the blue, I dunno. I dunno what inspires people to write those types of messages at all, because it's just completely inappropriate. Again, all I can do is just ignore it or laugh at it because if I think about it too hard it's just going to hurt me.

EF: Do you think the internet has made it easier for our generation to find a platform for their art? MT: Absolutely, I think in the past maybe 40 years or so most of writing has been really academic from what I've read and seen. Now people don't have to go to college, they don't have to get an MFA, they don't have to be a teacher, they don't have to have anything to do with academia to be an artist, be a writer, or have an influence in the world because of the internet and I think that's awesome. 

EF: Do you have any words for young writers you wish someone would have told you when you were starting out? MT: I think not to feel overwhelmed or intimidated by other people who have more exposure than you. Uhm, and also not to worry about how far you have gotten compared to others your same age. Because sometimes, especially with the internet, something gets seen by the right person and then it can take off and become a snowball. It feels great when it happens to you, but sometimes you'll see it happen to other people and you'll feel bad about yourself and it doesn't necessarily mean they are more talented that you, it just means that you need to keep trying. I feel like I would have had a lot less self doubt if I had fully understood that. 

EF: Do you feel there are any substantial differences between reading your work in person and reading over webcam? Which do you prefer? MT: I think I like reading in person more because it feels more real to me. When I'm reading over webcam I feel a lot less nervous because I can just close out the entire tab that it's happening in and look at my writing and that's all I'm looking at. When I'm in front of people I have all these people in front of me, but it makes me feel like I am actually connecting to them. When I am on webcam I feel like I am in my own little space and I can just go away as fast as I want to. 

EF: You discontinued publishing Now That's What I Call Alt Lit a while ago, any plans for reviving it? MT: I've been considering reviving it, I always felt satisfied when I finished an issue, but I also felt really stressed out having to make judgment calls on what writing is good and bad. As much as it's really fun to promote people whose writing you feel really confident about it's also really hard to tell people you're not interested in what they're writing. I don't know, it made me feel horrible. I've been going back and forth on starting it up again, it's been hard for me to get up the courage to actually look at people's writing and decide if that's what I want to put out there or not. 

EF: Do you ever think you are going to grow out of writing? MT: I fucking hope not. I don't have any other talents, so if I grow out of writing I'm just going to be another person, like, subscribing to the status quo of working and paying rent and just doing the same old boring thing. I think writing is my only chance at having a little bit more than that and I want a little bit more than that. 

You can find Moon Temple's blog here.