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Bishop Briggs, Fader Fort, SXSW 2017
Ryan Hemsworth, SXSW 2017
Playboi Carti x A$AP Rocky, Fader Fort, SXSW 2017
Playboi Carti, Fader Fort, SXSW 2017
university of witswatersrand
Hannah Diamond shares a video for her new single “Hi”
(Originally posted on November 2, 2015)
Beneath the saccharine coating of PC Music’s unique brand of bubblegum pop music lies a cultural criticism that can’t be ignored in 2015. For those who believe pop music can act as a reflection of the concerns of popular culture, the concept of PC Music can be seen as an indication of the anti-social nature of the social media age. In an effort not to turn discourse over a electronic sub-genre into a lecture from your grandpa, I’ll say that I believe PC Music has been a mainstay in alternative music conversations because of their knowing wink at pop sensibilities and the realties of our daily lives. But aside from all that, it’s fun.
Hannah Diamond has become one of the leading figures from the PC Music camp, maybe because she has a face that exists outside of avatars. But along with her infantilized voice and highly conceptualized brand, her music speaks to a generation of people who live a large portion of their life through pixelated screens. The video for her new single, “Hi”, features the singer entertaining multiple webcams and IM conversations while fantasizing about celebrity and fame. Lines like “I don’t want to be alone in my bedroom / writing messages you won’t read / I don’t want to be alone in my bedroom on the internet / waiting for you to say ‘hi'”.
The song is the story of an online relationship, not with one specific person, but with all the people you interact with, and how it can often feel really isolating in online spaces despite being constantly surrounded by others. It’s about interacting with people who often only show small segments of their life, and the dilemmas around authenticity that this presents. It’s been insightful seeing first-hand the conclusions people draw on what is considered ‘real’ with reference to people, and particularly girls, who live a lot of their lives in online spaces. As someone who has regularly had their own authenticity challenged since I started releasing music, this aspect feels very personal to me. (via Stereogum)
Hannah Diamond’s debut album is in the works, in the meantime check out the video for “Hi”.
Interview: Sun Club discuss the four-year growth of the Baltimore band
This interview originally appeared on Unrecorded.
Sitting down in the grass with Sun Club before their Friday night set at Savannah Stopover felt a lot like reconnecting with old friends; the kind who you went to middle and high school with but haven’t seen in awhile. Hanging out with them was like hanging out with old friends in your parents’ basement, talking about nothing but at the same time it feels so important. We discussed the correct way to order Chipotle, Friendsvs. Seinfeld, and Donald Trump. Later that night they would put on a raucous show for a packed audience at the festival’s only outdoor venue. Between jokes and asides, we talked about their evolution as a band and what we can look forward to from them in the near future.
So what’s the origin of Sun Club?
Adam: Devin and Shane are brothers, and they have been friends with Mikey for a long time. They’ve played for a really long time, so they’ve made just a bunch of music and wanted to put a band together when they were younger, when Shane was still like 9 or something. And then later Cory joined in in 2010 or 11 and then I joined in like 2012, I wanna say. That’s when Sun Club came about, around 2012. Since then it’s been us five.
So it’s been like a bunch of different iterations, not necessarily under this name but just people playing music together?
Shane: Yeah, since 2007.
So you guys have been at this for a while.
Shane: Yeah, I’ve been thinking about that a lot lately. We’re on tour with PWR BTTM right now, and we were just on tour with a band called Hinds, and Hinds played their first show in 2014. Like, their first show ever, in any band ever. It’s like, damn, in 2014, we had been touring for 3 years. [laughs] Not consistently, but we had gone on a tour in 2011, it was the first.
I feel like in a lot of bands people are convinced you need to get hype within being a band for like a couple years or you’re not going to be successful or something, or get bigger. But I’ve watched a lot of bands exist for a really long time, and I feel like that’s a more satisfying and elongated experience of being in a band and being able to put out multiple albums — to not like blow up right away, you know? Some people are really concerned about immediate hype or hype in general. It’s kinda like more about just playing some cool tunes. So we just kinda exist.
Adam: It’s been crazy how just recently we’ve been able to just “do it.” It’s easier, I guess. I don’t know if that’s the word to use necessarily.
Shane: We used to book all our own tours, do all that stuff. So other people help us out with like booking shows or stuff like that.
The way you guys perform, it’s a very shared experience. Do you feel like Sun Club is more of a collective, more than a one-person-led band? Does that influence the way you guys write music?
Shane: I definitely think that in Sun Club each member fulfills not necessarily the same role in each song, but definitely fulfills different roles. No one is just like, “the rhythm guitar player.” Someone fulfills that aspect. Like in the whole spectrum of sound, they fulfill this one little pocket of sound. Everyone just kinda has their own pocket to fill.
I love three-piece bands, I love two-piece bands, I love tiny bands. I think they’re great. I also think a lot of people think that if you have a huge band it’ll sound like crap. But really you just gotta figure out how to play together. All of us play a ton of instruments. We all play multiple instruments in the band. It’s a very eclectic experience. We all switch off singing. If there needs to be an instrument, someone’s going to play it, not be like “oh, oh, oh, I’ll figure out a guitar line.” A song’s a song, and what does the song need? And I think just having five people makes it like way easier to sound awesome live.
It gives you a lot more flexibility.
Shane: Yeah, you can be like, “oh, I think this one part should have a drum machine in it,” and Cory plays the drum machine in one part. That’s rad. If we had three people, we definitely wouldn’t be able to do that.
You’ve been playing in Baltimore for a while. Do you feel like your playing is part of a lineage of the Baltimore scene?
Shane: In the mid to late 2000s, Baltimore seemed very united, where there was one big group of people doing all of the cool stuff. Since then I feel like people are still really connected. It’s a really small town. There’s definitely like the Dan Deacon/Future Islands crew, which is very awesome, and they’re all really good. There are still great bands coming out from that crew of people, but they’re not the people living in the warehouses who are throwing crazy ragers because they’re all like mid-30s. They’ve been doing this for a while.
Since then there’s also a really cool collective called Llamadon. If anyone is fulfilling the roles in Baltimore of a really cool inclusive and also banging thing, it’d be Llamadon. It’s more like hip-hop and club stuff, which is awesome, but they’re super inclusive, and I feel like they’re doing the most. They’re not stuck in anything. They’re doing their own thing. In my opinion, that’s some of the best stuff happening in Baltimore right now that’s new. Future Islands, Dan Deacon, and Beach House are some of my favorite bands, but it’s always cool when someone like has just taken the next step.
So are you guys working on new music?
Shane: Yeah we’re playing five new songs tonight. It’s mostly new music. We’re trying to record our next album this year sometime.
Yeah? LP?
Shane: Yes. To be put out early next year sometime.
Is there anything you guys have been doing that’s influenced your writing? Has touring changed your perspective?
Shane: I guess so. Four out of five of us lived in a house for a bit, and we wrote some songs while doing that, which is cool.
Adam: And also we play in bigger places now. There are more toys that we have to our disposal. Bigger PAs, just cooler stuff that we can incorporate instead of just being like, “oh we could do this.” It’s actually like, “oh we can actually use this in the live show.”
Shane: And I don’t know how long that opportunity is gonna last [for us]. It’s not like saying we’re big because we’re not at all, but we have these opportunities just to play like shows with real sound systems, so we’re using a lot of samplers and stuff like that just because it’s cool. Instead of not thinking about it, we’re trying to take advantage of it.
Adam: Exactly.
Shane: We’re trying to work that into the next album. The first album, we recorded it live. It was a band record and we’re trying to figure out on the next album how we can take advantage of the resources we have available to us. Because the first one we did before, we had any way to release it. We had no idea how we were gonna put it out.
Is there anything else you wanna say?
Adam: Danger Boys
What?
Shane: That’s Adam and Devin.
Is that like another group?
[laughs]
Cory: Working on it.
Adam: Yeah, working on it.
Shane: We’re trying to spread hype.
Adam: Yeah spread hype for Danger Boys.
Cory: Just put it in there, just be like “Danger Boys EP coming out 2016”
Shane: It’s dangerous… 2020
Adam: Let’s be realistic about it, 2020
Cory: 50 song album.
Adam: 50 song album in 2020 for Danger Boys.
————–
Sun Club live at Savannah Stopover, GA. Photos by Will Cuneo
Sun Club’s latest LP The Dongo Durango is available now.
Check out the dramatic new video for Mitski’s “Happy”
Listen to a stripped down version of "California" in the new Grimes video
We talked bummer-jams, Taylor Swift and snorting vitamin B12 with Diet Cig
This interview originally appeared on Unrecorded.
Around 4:00 pm we called Alex Luciano of Diet Cig to confirm our interview that evening. Our request must have been lost somewhere between their PR manager and the artists, but although they were unaware, Alex was happy to accommodate us after they finished load-in. We walked up the stairs to find her bringing in the last of her equipment, and we sat down together as we waited for Noah Bowman to join us.
As far as first impressions go, Alex makes a strong one. Her bright and bubbling personality would soon translate seamlessly to an incredibly energetic performance later that night. As the foil to Alex’s boundless energy, Noah was much more quiet and reserved. Sitting back dangerously deep in his bar stool, there’s an effortless placidity in his demeanor. There’s an ebb and flow in their dynamic: cool but not pretentious, excited but in a way that makes you feel like they’ve been here before. Over the course of twenty short minutes we learned about how little things like getting a dolly have changed their entire touring experience, and how touring has influenced their sound and their relationship with the idea of being in a band.
Unrecorded: Is this the first band you’ve been in?
Alex Luciano: It’s the first band I’ve been in ever, but Noah…
Noah Bowman: I’ve been in a couple. I don’t actually know off the top of my head, but I’ve been playing in bands since I was 12 or 13.
UR: Alex, I saw Diet Cig play in Chicago a couple of months back, and I was struck by your stage presence, so I’m surprised to hear that this is your first band. Do you have any other background in performance?
AL: When I was a kid I did like the musical in my school, but I never had any parts. I would do it every year in the hopes of getting the lead, and then would have an awkward side character and be like “Well, I guess I’m gonna be the background dancer in Grease” or something. Although, in Grease I was the Chacha girl who’s the total bitch who stole Danny Zuko, that was like my best role. [laughs] But yeah that was really all the performance background I had. And so when I started being in this band I was like: “Oh my god people are finally going to look at me! I can finally have everyone’s attention on stage.” Playing live is like everyone is forced to play attention to you for thirty minutes, it’s great!
UR: You guys have been touring off the strength of the Over Easy EP released last year. How have you adjusted to life on the road?
NB: It’s exciting. I feel like we’re getting pretty good at it.
AL: We’re kind of like learning how to tour with each other. We’ve done so many tours this year and it was so surprising. We put the EP out and then we were like “Oh my god, wait we can do this, we can tour!” Touring is like our full time job now which is the craziest thing ever. I’m still not over it. A year and a half ago I wasn’t in a band, like, ever and now it’s my job. It’s my job to be on the road which is really intense and I think we’ve slowly started taking it more seriously. We’re like “Oh we gotta get vitamins! Powdered vitamins! Shoot up a line of B12!” You know, like what can we do to make this the best we can so that we’re not like drinking every night and partying crazily. I just think we’re trying to think about it more.
Diet Cig live at Ampersand in Savannah, GA. Photo by Themba Searles
UR: On Over Easy, you sing about keeping up appearances and the concept of being “cool”. Has your growing popularity shaped the way you feel about these things?
AL: I think that I feel even more strongly now, because I wrote a lot of the songs before I was in a band and we have the song “Scene Sick”––and I mean it’s like an inevitable thing, and they’re fine, but scenes like totally suck. And I feel like a lot of people were like “you’re not even in a band in the scene, how do you even know?” and then I eventually was, and was like “Scenes really do suck!” So I think that it’s solidified a lot of the things that I was thinking before, and I also feel like I’ve figured out how to feel without being fake appearance-wise, because a lot of people are looking at us and what we’re doing and being like, “Oh Diet Cig, what’s your brand? What’s your thing?” Like, whatever. And I feel like we’ve gone through it and it’s like more cool to just be you and like stupid shit because you like it.
NB: I agree.
UR: I picture you writing these songs on an acoustic guitar on your own. Is that how it happened?
AL: Yes, that first EP I wrote the lyrics and stuff on my own in my bedroom with an acoustic guitar. But now it’s different. I kind of write loud, like I would play live, and we write together which is really fun, but it’s definitely a change from writing those songs in my bedroom.
UR: I was curious how that had morphed as you added Noah to the picture; I remember reading you say that was the key transformation, that Noah made them “punky.”
AL: Yeah he made them fun. It’s been so much more fun.
NB: Well that’s what she said when we first started. She said “I just wanna be in a band that makes people wanna move and dance”, and I was like, “All right, well I’m just gonna be as dramatic as possible, let’s turn you up as loud as possible, give her a bunch of OCD pedals and like play the drums really loud and like let’s just see what happens,” and we kinda were like… this is cool.
AL: Because the songs could’ve gone one of two ways. They could’ve definitely been quiet bummer-jams, which I totally fuck with––I think they would’ve sounded really nice that way. The recordings are still a lot more chill than our live set, but I’m really happy that we went the “punk rock fun” direction because as much as I love a good bummer-jam, when I see a show live I’d rather be having fun and rocking out rather than feeling sad in a room full of people.
UR: There’s a communion you can have when everybody is having fun in the same room. As far as bummer-jams––I think at a lot of those shows you tend to be in your own space.
AL: Yes, it’s very isolating. I recently went to a show that was really emotional and I was sitting in front crying and I’m like “Oh my god, is anyone looking at me?” I wanted to be more closed out, I was having an emotional experience, which is like totally awesome but I just wanted to bring everyone into this big sonic group hug and just dance, be stupid! Like, we’re gonna be stupid as fuck on stage, be stupid with us.
UR: Speaking of sonic hugs––are there any specific groups you would call sonic references for Diet Cig?
AL: When we started writing it I was listening to a lot of Best Coast because I really dug that she was singing about really light fucking things like her cats and smoking weed but also had this like “punk-chick” vibe. And that was one of the first things where I was like “I can write about whatever I want and this music can still be fun and goofy”
NB: Also like Frankie Cosmos, not sonically the same but like, writing-wise and lyrically.
AL: And like, now writing, I feel like we’ve been influenced by bands like Bully who are like really rock and roll.
NB: I love Bully.
AL: They’re so great we just did a run of shows with them, and they like changed my life. Like, you are the best band ever!
UR: She [frontwoman Alicia Bognanno] is so charming, too.
NB: Yeah, Alicia’s great.
AL: And she’s just so talented, she’s like ripping all the lead guitar parts and singing and producing the entire record! She’s like literally the coolest girl and their live show is so good and so we played with them and we were like “we wanna fucking rip like that.” So I thinks that’s kind of a direction that we’re headed. We wanna keep it fun and light but we wanna like rock out.
UR: So you guys are listening to a lot of new music?
AL: Yeah, we’re not like oldies snobs. We actually probably have the worst music taste. I hate when people are like “What are you listening to?”
NB: Yeah, we’re like “we listened to a little Fall Out Boy today” We put on a Title Fight record earlier this morning. Just like random stuff, we play Taylor Swift a lot.
AL: I think that stuff is good influences though. Like Taylor Swift knows how to write a fucking pop song! So good! I’m like… “girl, I respect you, I wanna write songs like that.” So between Bully and Taylor Swift, we’re trying to write dope songs [laughs].
UR: What’s next for Diet Cig?
AL: So we’re touring down to SXSW, we’re touring with the Front Bottoms in the beginning of April ‘til the middle of May. We are also going to the UK when we get back from there to do the Great Escape fest which, will be dope, and other festivals in the UK––
NB: And then trying to finish the new record in that time.
UR: LP?
NB: Yeah, LP, that’s all we can say about it.