Interview w/ Seasick Mama
New York, NY 2014
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CMJ Music Marathon Music’s Sexual Sacrifice
Up-and-Coming Artist’s Unzipped 1
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Table of Contents
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THE KICKDRUMS Get to know the kickdrummer himself
CMJ MUSIC MARATHON Discovering the world’s most talented artists before their big break
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BREAKING BAND Why artists are ditching their major labels for the independents
SEASICK MAMA Marial Maher’s multifaceted creation
Miami Horror
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MUSIC'S SEXUAL SACRIFICE Does sex still sell?
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NETWORKING BLUNDERS What not to do when networking
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THE KICKDRUMS b eh i n d th e g enr e- bending one- m a n b an d By Brittany Dawson
More than 7 billion people live on Earth. For those pursuing a career in music, the odds are stacked and cause many to question whether or not it’s a worthwhile career: How can you compete with so many talented artists? Is it possible to get noticed by labels? How do you create a trademark sound? While many fight to prove their worthiness in the industry, one artist has a lot to offer and thrives in this competitive arena. Merging ‘90s hip-hop, alternative rock and indie, The KickDrums offers an array of brilliantly cultivated sounds, harmonious melodies and tracks with the potential to become instant indie classics. Looking for music’s next big artist? We’ve got you covered. World, meet The KickDrums: indie music’s biggest contender. The KickDrums is Alex Fitts, a singersongwriter and producer from Brooklyn, New York. It wasn’t always just Fitts, however. The KickDrums was once comprised of Fitts and his production partner Matt Penttila. Together, they worked with the likes of 50 Cent, John Legend and Kid Cudi. But after releasing their debut album in 2011, Fitts ventured off by himself, transforming The
KickDrums into a one-man band. With a keen eye for indie, trip-hop and dream-pop, The KickDrums comes to life on stage with the help of a talented live band. Drummer Chris Wall and bassist/keyboardist Jeff DiLorenzo blend elegantly with Fitts’ undeniable talent, making for a euphoric and dazzling sound. After being signed to Hopeless Records— home to All Time Low, The Used, Silverstein, Bayside, New Found Glory and The Wonder Years—last year, The KickDrums released his highly anticipated solo album, Thinking Out Loud. Beyond the music, this musical powerhouse lives, breathes and dreams art. Citing the ‘90s era as a heavily influential space, The KickDrums encompasses a variety of influences to produce a feeling emblematic of the hard work and fervor. There is no question The KickDrums stands impervious amid the influx of changing faces and interests in the music industry. Mark my words: The KickDrums may soon become regarded as one of the first indie classics since Real Estate or The Postal Service.
WHEN DID YOUR INTEREST IN MUSIC BEGIN? AF: I started around 7 playing piano and then added guitar and drums around 12.
YOU TWEETED THAT YOUR NEW MUSIC IS “SO FAR LEFT.” CAN YOU EXPAND UPON THAT A BIT? AF: I’ve been pushing my creative boundaries in the past few albums, but for this next one I’m looking to explore even more. The results have been sort of crazy at times.
WHO/WHAT ARE SOME OF YOUR BIGGEST MUSICAL INFLUENCES? AF: Mainly ‘90s hip-hop and alternative, but anything and everything.
HOW HAS YOUR MUSIC EVOLVED SINCE THE RELEASE OF YOUR FIRST ALBUM, “MEET YOUR GHOST”? AF: I started out using a lot of samples in my music. Meet Your Ghost was the first album I dropped the samples and played everything myself. It was a learning process transitioning from that. I’ve always loved how sampling sounds but I didn’t want to use other people’s stuff. Since then I’ve reincorporated the sampling but in a way that turns samples into keyboards. The music is back to sounding a bit “sample-y” but without using other people’s riffs. There is an art form to sampling, but for my own music I want people to know it’s all me when they hear it.
WHAT ARE THREE THINGS YOU CAN’T LEAVE HOME WITHOUT? AF: Coffee, coffee, coffee.
WHAT’S A TYPICAL DAY FOR ALEX FITTS LIKE? AF: Wake up and eat. Might work out a bit, then start working on music. I’m usually in the middle of a project, so there’s always something to finish or a new track that needs to be made. 7
WHY DID THE KICKDRUMS BECOME A SOLO ACT? AF: Matt wanted to take a more behind-the-scenes role. I thought about changing the name, but after weighing it out in my head and talking to him, I decided not to.
WHAT DO YOU HOPE PEOPLE FEEL WHEN THEY LISTEN TO YOUR MUSIC? AF: I hope it’s an escape from whatever might be bugging them, or just adding a cool soundtrack to their daily life.
DO YOU FOLLOW ANY KIND OF RITUAL OR ROUTINE WHEN MAKING NEW MUSIC? AF: Not really. I never know what is going to catch my ear and send me in a new direction. I just mess around with sounds and drums until I find something I like and want to build upon.
TELL US ABOUT YOUR LATEST PROJECT(S). AF: I have a few really cool projects wrapping up that I can’t wait for people to hear. I’m kind of all over the place right now but I'm loving it. One album is psychedelic/hip-hop, one is loud, grimy garage rock and my new album is just like… I don’t even know [laughs]—like, psychedelic rock meets DJ Shadow or something.
WHAT DO YOU HOPE TO ACCOMPLISH IN THE NEXT FIVE YEARS? AF: I want to leave a real mark on modern music. Be a part of the mainstream but uphold the art form. Interview by Chelsea Perry Photos: Andreas Hofweber
www.THEKICKDRUMS.com 8
CMJ MUSIC MARATHON Discovering the world’s biggest artists before their big break
By Brock Seng
W
hether it’s discovering a rising musician or the latest iPhone, people always want the next big thing. But when it comes to music, it’s extremely difficult to gauge whether an artist will make it big. American Idol was built around the idea that they could discover and create the next big star themselves. But other than Kelly Clarkson and Carrie Underwood, how many winners became something more than just a winner of American Idol? Enter CMJ Music Marathon, one of the most important resources in music for discovering the biggest stars before they actually become big stars. Every fall, CMJ takes over more than 80 of New York City’s greatest music venues with more than 1,000 artists and hundreds of panels, seminars and special events. And every year, CMJ Music Marathon leads people to discovering the next big thing.
In most recent years, Lady Gaga, Arcade Fire, Avicii, Lana Del Rey, Mumford & Sons, Kendrick Lamar, Iron & Wine, Passion Pit, Keane, A$AP Rocky, Icona Pop, My Chemical Romance and Lamb of God all performed at CMJ Music Marathon just before making it big. All of these stars now run our airwaves, and they got their true breakthrough moments at CMJ Music Marathon. In fact, Lady Gaga (2008), Lana Del Rey (2009), Kendrick Lamar (2011) and Icona Pop (2012) all made it to the big time the same year they played CMJ, undoubtedly making CMJ Music Marathon a must-attend musical event. In 2008, Lady Gaga released her debut album The Fame to limited radio play. She was around years before then, but was told she was too “adult” for the mainstream market. She set out to prove them wrong. Fast-forward to 2008 after she played at CMJ Music Marathon, and The Fame became
a radio staple. Gaga was born, and she became a superstar almost overnight, giving her the coveted Queen of Pop title she still holds today. Without a doubt, Lady Gaga’s CMJ Music Marathon performance at the Highline Ballroom launched The Fame to popularity. Without playing the festival, it’s probably safe to assume her career would have died out like the thousands of other artists trying to catch a break.
soon after. The fame she achieved after playing at CMJ Music Marathon launched her to a successful career in music. In 2012 she released her first true album, Born To Die, and garnered immediate success and fame. Out of nowhere, Lana Del Rey became a sensation, creating her own unique baroque pop/trip-hop genre; one she probably would have never created if she hadn’t attended CMJ Music Marathon.
Shortly after, Elizabeth Grant tried having a career under the name Lizzy Grant. She released an album and tried to become something more, but failed. After a dead career she changed her name, her style and her sound and became Lana Del Rey. She recorded a brand new EP titled Kill Kill and started fresh. In 2009, Lana Del Rey took the stage at CMJ Music Marathon and independently released her “debut” self-titled album
By the time Kendrick Lamar attended CMJ Music Marathon in 2011, he had been making music for a long time, putting out mixtape after mixtape to really no avail. He got some recognition from Dr. Dre with one of his mixtapes and they began working toward creating an official debut full-length independent album. He released Section.80 in 2011—the same year he played CMJ—and Kendrick 11
Lamar skyrocketed to a world of fame. Within a year, he released his debut album, good kid, m.A.A.d city. Now, just two years later, Lamar is known as one of the best rappers in the game, even though he doesn’t rap about anything but real life and speaks out about overcoming and avoiding the gangster lifestyle most rappers present as glamorous. The Swedish DJ duo Icona Pop has also been gaining popularity, primarily with commercial deals for their songs “All Night” and “I Love It,” which is the theme song for Snooki & JWoww on MTV. Just like the others, Icona Pop played at CMJ Music Marathon just before making it big. While they haven’t yet reached the same level of popularity as Lady Gaga, Lana Del Rey or Kendrick Lamar, they are looking to be more and more like the next big thing to set foot on the CMJ stage.
The commonality with all of these artists and every other that attends CMJ Music Marathon is their uniqueness. Lady Gaga’s antics and non-conventional fashion sense made her stand out among the rest; Lana Del Rey practically cultivated her own genre of music with Born To Die; Kendrick Lamar re-imagined the hip-hop world into storytelling and Icona Pop is a band of two women in a genre dominated by male counterparts. CMJ gives unique artists a chance to have a mainstream stage and to become a radio staple embedded in all of our iPods. It’s a proven resource because it doesn’t rehash the same sounds all of the time. It changes year after year, artist after artist. Who will come out of CMJ Music Marathon on top next? Well, attending CMJ Music Marathon is probably the best way to make any kind of sound predictions, and with a proven track record of showcasing up-and-comers, who wouldn’t want to see the next Lady Gaga or Kendrick Lamar perform live before they become mainstream?
Photo By: Junia Mortimer
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What was once the moniker of a solo DJ/ producer are now one of today’s greatest burgeoning acts in indie music. Miami Horror have landed—and made a big name for themselves—in the States, and they’re about to take the world by storm. By Chelsea Perry
Australia is home to a plethora of congenial things. From kangaroos, koalas and Vegemite to the irresistible accents, it’s hard not to be charmed by the land down under. Further adding to the country’s allure is its thriving electronic music scene, where Miami Horror have comfortably secured a place for themselves in. Hailing from Melbourne, the now Los Angeles-based indietronica quartet have seen many changes since their inception in 2008. Starting out as the solo project of producer and DJ Benjamin Plant, Miami Horror is now a name maintained by Plant and his three longtime friends, Josh Moriarty, Aaron Shanahan and Daniel Whitechurch. Since joining forces in 2010, the four of them have released just one full-length studio album (Illumination) and a handful of singles, but their incessant zeal for the art of music have kept them at the forefront of the indie music scene. Fresh off their Wild Motion (Set It Free) Australian tour and having a tour with Empire of the Sun and countless major festival performances already under their belt, Miami Horror show absolutely no signs of slowing down. And with a brand new LP fully underway, there’s no telling where these Australian treasures are headed. One thing that is certain, however, is that Miami Horror remain a musical paradigm of what can happen when a little creativity, passion and dedication collide.
You guys are from Melbourne, so where did the name Miami Horror come from? Have you ever been to Miami?
Yes, we’ve been to Miami multiple times, never before the name was created though. It’s always strange to play in a city that your name has in it. The name was chosen because it seemed to suit visually with the sound of the music, there was this original intention to have both contrasting summery music and then also a darker side, which was never fully realized. How has Melbourne influenced your music, if at all?
Well the scene is usually quite cliquey and critical, which can push you, but you have to be careful to only take on board some of the criticism while staying confident in what you want to achieve. It also has a general moodiness in it, which I feel can be heard in a lot of its music output. Benjamin, why did you decide to turn Miami Horror into a band rather than keep it your solo project? That’s a pretty major change!
I was getting tired of the DJing and only playing in clubs; it felt limited in some ways. The idea was to find a way to perform the music in a more interesting and exciting way. 16
How has your life and your music changed since transitioning into a band?
Well the sound became significantly more live-influenced; it began to sound more like a band rather than a singular dance producer. Guitar was introduced to nearly every track; more experimental sounds were brought into the equation. How did you know Josh, Aaron and Dan, and why did you ask them to join you in Miami Horror? Were you all friends before?
I grew up with Dan and we had always wanted to make music together. Josh and Aaron were friends. I had collaborated with Josh, so it seemed pretty logical to come together.
When you guys aren’t making music, what are you usually doing?
Sleeping, eating, on holiday in Paris. It’s been non-stop for a while! You just wrapped up your “Wild Motion (Set It Free)” tour. What are your favorite aspects of touring? Least favorite?
Seeing people enjoy your music is really the most rewarding, and obviously the travel and experience you get to live through. The hardest is having no regimen; you start to get really confused.
Your music and even some of your videos are pretty saturated with ‘80s influences. What is it that fascinates you so much about this era?
It was an era where I guess electronic instruments and synths began to play a bigger part in music. I’ve always loved synths because of the amount of freedom they give you to manipulate a sound, and I’ve felt there was such a good range of sounds that came from them. Of course, you can do a lot with a guitar if you really push it, but I feel most synth-based music has always appealed to me a lot more and the ‘80s are pretty responsible for that. Nobody can deny a lush pad.
It’s been four years since you released your debut—and only—full-length album, Illumination. How much has changed for you guys since then, and do you plan on releasing another album or EP soon?
The next album is ready. Hopefully the labels let us release it very shortly! We’re also planning to release a four-track dance EP, which will be quite different from the album and include quite a few interesting collaborations.
Who has been your favorite artist to collaborate with? Is there anyone on your list you haven’t worked with yet that you’d like to?
I like the idea of collaborating with artists from different genres who you wouldn’t normally expect us to work with. I think it provides some really interesting ideas– definitely something I will focus on the next release. I haven’t quite made a list yet. It’s more of an idea in the back of my mind.
www.MIAMIHORROR.com 18
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MUSIC'S SEXUAL SACRIFICE By Brian Romero What did you want to be when you were a kid? Depending on the person, the answer you gave to this question can run the gamut anywhere from lawyer to ninja…or ninja-lawyer: He’s the judge, the jury and the executioner. I think I just came up with a TV show. But, I digress. Me? I wanted to be a fire engine. Not a fireman…a fire ENGINE. I also, according to my mother, wanted to marry Miss Piggy. After I grew up a little and was told by my ninja lawyer that marrying animals, puppet or otherwise, is illegal in most states (I have my doubts about Arkansas, though) and being a fire engine was not in the cards, I had to rethink my life plans. It was around that period of rethinking that I first heard Howard Stern on the radio. Instantly, I wanted to be like him. As a little kid on crutches, I was pretty much a fly on the wall of the childhood experience. Howard Stern showed me the way out; that I could use my voice and my wit to change my situation for the better. He was brash. He was offensive. He was and still is the (self-proclaimed) King of All Media. He was what I aspired to be and the person whom I most closely emulated. Today, however, is a completely different animal altogether. It’s an era where rating systems are obsolete, “parental discretion” is pretty much a term in an outdated dictionary and
money trumps morality. The business model has changed to include everyone. I mean, why pander only to an adult audience when there’s a much larger, much younger audience willing to nag their parents until they get what they want? Boom! The amount of eardrums just tripled, and so did the profits. So what if dignity and doing what’s right has taken a hit? We can buy stuff with all those profits and forget that we’ve sold our souls. Back in the day, Madonna was demonstrated against as she writhed in pleasure engaging in simulated masturbation on a bed during a concert in front of 50,000 people. Howard Stern’s sexist and borderline-misogynistic exploitation of women on his radio show led to the coining of the term “shock jock.” And, true to form, other radio junkies took his formula and repeated giving birth to other button-pushing jocks like Opie & Anthony, Don Imus and Bubba “The Love Sponge” Clem. But, these acts were largely overlooked because they pandered to a mostly adult audience. Parents simply did not allow their children to be corrupted by such things. Trust me, if I were caught listening to Howard Stern when I was a kid, my mother would have had zero tolerance. My father would have told me to “turn that shit off and read a book.”
While highly controversial in the early 1980s, Madonna is now about as tame as the Virgin Mary her name denotes. Society’s Moral High Horse has apparently scored some good shit, because he’s doing about as good a job keeping things in check as Toronto Mayor, Rob Ford. Let me see if I can add a little perspective to the situation: If I were running around a playground, grabbing my crotch and yelling overtly sexual lyrics at the top of my lungs, not only would I be labeled a morally reprehensible jack wagon, but I would probably also be put on a few lists I really don’t want to be on—the kinds that require a person to stay at least 200 yards away from most schools. But, here’s the irony: Miley Cyrus does this exact same thing on stage in front of thousands of teenagers almost every night. Now, suddenly, not only is it deemed permissible, it actually becomes fashionable and she gets paid millions for it! Do I blame Miley? No. She’s doing exactly what Britney Spears did before she went insane, shaved her head, briefly married a homeless guy, popped out some kids and Frenched an old lady on the VMAs. Miley started out as Hannah Montana, and now she’s rubbing her crotch on national TV
while simultaneously grinding twerking on Robin Thicke in a BeetleJuice outfit and licking everything. Quite frankly, I’m tired of it and I think a lot other people are, too. The whole “sex sells” mindset was successful in the past, but it’s reached its celling—like Madonna—and is drying up. Much like ventriloquism, it’s had its time in the limelight, but nobody cares anymore (except Jeff Dunham). I understand artists today feel the need to create shock value like Marilyn Manson did before them and Ozzy Osbourne did before that. As sad as it is to say, historically, you have to create controversy to be considered fresh and new and interesting. I mean, back in the ‘80s, 2 Live Crew was singing “Me So Horny,” which was very risqué. But just yesterday, Lady Gaga asked me if she could take a ride on my disco stick in a bloodcovered space costume. To be fair, I haven’t actually spoken to Gaga recently, so I can’t be 100 percent sure what a “disco stick” is, but I assume it to be a reference to my bologna pony.
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Based on what I’ve learned on National Geographic, excitement is like a heroin addiction: you need more and more of it in order to get your fix. Because of this, people are being desensitized to the increasingly deplorable things going on. But, where does it end? You can only push the envelope so far before it falls off the table. In following the natural progression, Gaga’s next fashion choice would have to be meat dresses made entirely of baby bears. Luckily for her, however, she actually backs her crazy antics up with sonically pleasurable material. Unfortunately, she’s increasingly in the minority in that regard. It’s become an epidemic in the musical landscape. The focus in music, as strange and as crazy as it sounds, used to be the music. Yes, the presentation was important, but the music was the main course. For a while now, though, it’s been all about the shock value with a tune on the side, and I think the quality of music as a whole has suffered because of it. Further evidence of this is in the spooky metamorphosis of cable television. Some of you are probably too young to remember fully, but MTV once stood for Music Television and it used to actually play music. Today, you might as well turn that M upside-down because it’s all about whores; a million different shows (The Real World, Jersey Shore, True Life: I’m 16 and Pregnant, etc.) featuring horny young chodes running around, trying to get a piece.
MUSIC'S SEXUAL SACRIFICE
Look, I’m all about mixing things up and creating a scene, but I tend to keep adult things for the adults while dealing out the fart and poop jokes for the kids. A lot of artists today don’t follow this path. The current formula is one set up for a blitzkrieg-style “shock and awe” campaign of sex and excess; hit everybody of every age, gender, sexual orientation and race with the craziest shit they’ve ever seen, but fill their earholes with mediocre melodies. It’s all fun and games until I see an 8-year-old twerking in the frozen food section of the grocery store. While my example above illustrates that sex certainly has not stopped corrupting, I do think it has stopped selling in music for the most part, and that’s a good thing. This method has been working, and has created the illusion that we’re listening to great stuff. But time is running out, because it was built for an extremely finite (but intensely potent) time frame. It’s a very nearsighted approach which cannot stand the test of time the way a Beatles track can. In 50 years when I’m old as hell, I will still be able to turn on Aerosmith’s “Dream On,” which is already more than 40 years old, and get blown away at the crescendo. How many artists from the past few years can we really, truly say that about? Not many. Sex is fun and it does sell to an extent, but I think we as a fan-base are in post-coitus. It’s time to click on the TV, eat a sandwich and pass out.
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Br eaking 56
Ba nd By Xavier Vega
Ditching the majors for independence It’s no secret that many big-name artists are trying to break away from their current labels. Earlier this year, reports surfaced about Childish Gambino complaining about his label directly on Twitter. Angel Haze tweeted "Fuck you" to her label, and MIA threatened to leak an album in protest against her label. Sky Ferreira also openly complained about her former contract with EMI, saying that she was tired of "55-year-old guys telling me what people my age wanted to hear." Until recently, artists could do something stupid in public and have their publicists spin things as best as they could, but attacking their own label is incredibly bold, considering that those are the [dirty] hands that feed them. While I respect many of these artists, they need to realize that they are in a privileged position in order to be making these statements. These people are already rich and famous, thanks to help from the industry. There is no denying that labels can be sleazy with their ambiguous contract clauses, but the numbers prove that signing up with a major label is what gets someone famous. Yes, indie labels can sometimes make a star, but more often than not, they don’t.
So, how far can record labels go before they push an artist to their breaking point? Those 55-year-old guys may not be as hip as the rest of us, but they have resources that smaller indie labels do not. With all due respect to Donald Glover, no one would know who Childish Gambino was if he hadn’t already been famous as a stand-up comedian/actor. Childish Gambino would either need a lot of luck to get big or some help from a label. Take Miley Cyrus, for example. Her image is completely manufactured to get a rise out of people. The girl is an evil little genius who baits out the hate, which, in turn, increases her fame/infamy. That is what corporate can do for you if you play along. Basic research will show that Cyrus’ manager, Larry Rudolph, was the same guy who turned Britney Spears into the snake-holding, “I’m A Slave 4 U” vixen. Prior to that, she was pigeonholed as a bubbly innocent schoolgirl. Basically, big labels and big business set you up for success, not for artistic perfection.
Love it or hate it, pop sells and makes the industry a ton of money. If an artist truly spends a majority of their time on their work, they will need a strong label to help them out with the other stuff: media connections, concerts, tours, funding; everything that leaves most artists—except the business-minded—in the dark. Big labels will often pair new artists with a well-established star from their stable of contracts, allowing new artists to tag-team with someone else before releasing their own work, hoping to build up buzz before releasing an album. Fame works like a virus, and people quite literally have to share the wealth in order to stay in the spotlight. Going further, these 55-year-old guys may not be directly connected with the people who listen to music, but they have raw numbers to back them up. Business folk only think in increments of three months, in what quarter reports will say. Talent is an endless resource because there will always be new stars to work with, so all they care about is maximizing profits, not about an artist and their work. To reach this end, business folk look at trends. They don’t risk money on something crazy, but they’ll throw money at something
that is proven to work. Businesses sell a product, not an art. Many people will tell you that Apple didn’t invent the MP3 player, they just waited until someone else did all the research, used that to create their own version and then did a better job marketing it with the money they saved by not inventing the damn thing. Why drain money into an uncertain project? Big-name labels can afford one hell of a brainwashing department too, and it’s quite easy for major labels to give people exactly what they want. A prime example of this is John Lennon. Paul McCartney was once quoted as saying, “Somebody said to me, ‘But the Beatles were anti-materialistic.’ That's a huge myth. John and I literally used to sit down and say, ‘Now, let's write a swimming pool.’" Even artists have to construct something that demonstrates an understanding of the audience. Do artists pander to their audiences, or say exactly what they want to say? Do artists do what they do in order to get famous and make money, or to simply make beautiful art? Those two things are incredibly different.
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A major issue with music is that, because it is art, some people just won’t get it. A lot of people don’t like Picasso and his abstract art, and some people still don’t get EDM. Arguably, the perks record labels can offer are not worth sacrificing the art. But what about reality? Isn’t it nice to not have to worry about how you’re going to live from day to day? Indie labels do have success, but when you measure indie labels to the majors, the major labels outdo them. For every indie success are several lukewarm indie productions. Major labels use their connections to score, and while indie labels have good intentions, they just don’t have the best results. Who do you want on your side in a fight? The big bully jerk, or your best friend who stands at 4’9”? And what about the Internet? Do artists even need labels at all now that we have social media? Again, unless artists are very business savvy or already have strong industry connections, they need people to fund their tours and concerts, to get them a good venue. They need media appearances and they need a way to make merchandise. According to The Guardian, Daft Punk’s hit “Get Lucky” got 104,760,000 plays on Spotify, but the two members only got $13,000 each for it. Damon Krukowski of Damon and Naomi even wrote a story on getting paid only $16.89 after his song was played 1 million times on Pandora.
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Now, none of this matters if an artist isn’t concerned with fame and fortune, but you’ll notice that the aforementioned artists are already rich and famous. Wanting out of a million-dollar contract seems a little like a first world problem. Everyone has to pay their dues in order to be successful, no matter what field they’re in. When an artist has to temporarily relinquish control of their music to a label in order to make it big, they’re paying their dues. Once they’ve done that and have contracted the fame virus, they can earn their independence. Big-name artists complaining about their labels just want to have their cake and eat it too. The lucky few aside, fame and fortune require a compromise in what an artist originally wanted to portray, and what a label approves of. Unfortunately, staying true to one’s self rarely gets people to the big time. There will always come a time when someone is pushed to his or her breaking point, though. They are no longer interested in the money, and freedom is no longer for sale. Personal integrity, happiness and general satisfaction cannot always be bought. Just ask any washed-up rock star who spends their days drugged up and depressed because their money couldn’t buy them real friends.
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ARTISTS: UNZIPPED
THE BEACHES This morning I woke up and the first song I put on was: [Leandra] “Infinitesimal” by Mother Mother [Kylie] “Is This How You Feel” by The Preatures [Eliza] “Chocolate” by The 1975 [Jordan] “I Would Do Anything for Love” by Meatloaf Best track recently released: [L] “Not About Angels” by Birdy (Sorry, I'm still crying over The Fault in Our Stars and Birdy is just fab) [K] “Just One Drink” [E] “Lazaretto” by Jack White [J] “Cecilia” by Born Ruffians My favorite original track of my own: “Zsa Zsa” We're most influenced artistically by: [L] Metric [K] Jack White [E] Jack White’s drumming [J] David Bowie In our rider you'll find: [L] Guinness and three orange tabby kittens carefully placed in a basket with bows on their paws (furreal) [K] salt and vinegar chips [E] Prawn Cocktail Crisps (in the UK) and 20 fruit trays (because we like to torture Jordan who is afraid of fruit) [J] beer if we are in Quebec or England; water and Coca Cola if we’re not in Quebec or England We spend on average infinite hours creating and perfecting any original track. When we're not listening to music, making music, or performing, you can find us: [L] Studying for my classical piano exams [K] watching Netflix [E] at the beach tanning and swimming and getting an ear infection (if you’re Jordan) [J] at the beach Best piece of advice you have for young musicians: [L] “Just play, man!”- Esteban Carvallo [K] Keep writing your own music and have full control of your creative project for as long as possible [E] The word “young” shouldn’t mean anything to a musician. When you love music, age has no meaning [J] Everyone was young once. One day you won’t be young anymore.
King avriel This morning I woke up and the first song I put on was: “Feels Like We Only Go Backwards” by Tame Impala Best track recently released: “Stay With Me” by Sam Smith My favorite original track of my own: I honestly like all of the tracks on Thesis equally. It’s too difficult to choose one, because I see them as being inextricably linked to one another. I'm most influenced artistically by: My dad. He always encouraged me to be vulnerable and honest as a young writer. He also taught me the value of patience and revision. He would push me to rework lyrics and melodies until they were as strong as possible. To this day, I still tweak songs up until they need to be turned in. In my rider you'll find: Raw almonds, peppermint and orange essential oils, green tea, a fruit platter, all white fresh cut flowers and lots of SmartWater. I spend on average days, weeks, or months creating and perfecting any original track. When I'm not listening to music, making music, or performing, you can find me: Writing short stories or poems, watching TED Talks, studying or running Ocean Ave. Best piece of advice you have for young musicians: Be authentic, become resilient as quickly as you can, embrace uncertainty and fear (it means you’re growing), seek advice and opinions from people you trust, learn to listen to your gut and never do anything with your career that doesn’t feel right.
GETTING TO KNOW SOME OF MUSIC’S
GREATEST UP-AND-COMING ACTS
Syre & Fresko
BAD COP
This morning I woke up and the first song I put on was: “Helena Beat” by Foster the People
This morning I woke up and the first song I put on was: “Mom Jeans” by Heyrocco
Best track recently released: “Gonna See Miracles” by us!
Best track recently released: "Middle Child" by Public Access TV.
Our favorite original track of our own: “Plastic Dreams”
Our favorite original track ofour own: On record, "One In The Same," but live I really like to play "Shot Gun," which is a tune on our upcoming EP, “Wish You Well ... and Goodbye.”
We're most influenced artistically by: Coldplay and Nirvana In our rider you'll find: Tequila shots and a giant bag of M&M’s! Mmm, yum! We spend on average 100+ hours creating and perfecting any original track: When we're not listening to music, making music, or performing, you can find us: Hitting the gym (as in, standing outside the gym and gently hitting the wall), crying in a corner from the emotional roller coaster of a previous The Walking Dead episode, or perhaps hitting the beach (except in this case, we're not hitting it, we're just there). Best piece of advice you have for young musicians: Give up now! Haha. Just kidding. In truth though, perfect your art, commit to daily practice and always remember that while you take your music seriously, don't take yourself too seriously. Life is too short to not laugh, even if it is often at yourself!
We're most influenced artistically by: A multitude of music: Joy Division, MC5, George Harrison, James Brown and Triple Six Mafia amongst others. In our rider you'll find: Jameson, a pack of Garcia Vegas, hummus and water. We spend on average 3-300 hours creating and perfecting any original track: When we're not listening to music, making music or performing, you can find us: Hanging around the south side of Nashville and putting out records on my label, Jeffery Drag Records. Best piece of advice you have for young musicians: Be patient, only do what you love, harness your craft, never let anyone tell you “you can't" and make the music world a better place after you leave than when you came in!
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ARTISTS: UNZIPPED
POWERS This morning I woke up and the first song I put on was: [Mike] "Freak Out" by Chic [Crista] "Move On Up" by Curtis Mayfield Best track recently released: [M] "Take Me To Church" by Hozier [C] "Heat" by Jungle My favorite original track of my own: They're all our babies and we connect to each of them differently. We will say the best is yet to come. I'm most influenced artistically by: Beck, The Beatles, Kanye West, New York in the 1970s, Stanley Cubrick and Wes Anderson films. Love. In my rider you'll find: [M] Dark chocolate [C] Veggie trays I spend on average anywhere from 20 minutes to two years creating and perfecting any original track. When I'm not listening to music, making music, or performing, you can find me: [M] Watching survival shows [C] At the gym or sleeping Best piece of advice you have for young DJs/ producers: Be nothing less than honest, be kind and work hard. Don’t be afraid of being different.
ASTR This morning I woke up and the first song I put on was: “All For You” by Janet Jackson Best track recently released: “Everything Nice” by Popcaan Our favorite original track of our own: “Part of Me” We're most influenced artistically by: Changing seasons, travelling, heartbreak, isolation, observing life in NYC. In our rider you'll find: Dark chocolate, coconut water, popcorn, tequila, apple cider vinegar, fruit/veggie crudités and tortilla chips. We spend on average many moons creating and perfecting any original track. When we're not listening to music, making music or performing, you can find us: Cooking, doing yoga, buying records, shopping, waiting at an airport terminal somewhere out there. Best piece of advice you have for young musician: Be patient, don't let failing stop you and stay true to your heart.
GETTING TO KNOW SOME OF MUSIC’S
GREATEST UP-AND-COMING ACTS
Ásgeir This morning I woke up and the first song I put on was: “Lilac” by Brian Eno and Karl Hyde Best track recently released: “Hunger of the Pine” by alt-J My favorite original track of my own: “In Harmony” I'm most influenced artistically by: Justin Vernon In my rider you'll find: Five postcards from the city we are playing in, with postage back to our families in Iceland. I spend on average 15 hours creating and perfecting any original track. When I'm not listening to music, making music, or performing, you can find me: In Hvammstangi, my hometown, hanging out with friends Best piece of advice you have for young musicians: I didn’t really get much advice when I was starting out, but from my experience, try to just be yourself and don’t think to much about what people think about you.
RUN RIVER NORTH This morning I woke up and the first song I put on was: "Taste You Like Yogurt" by Whatchya feat. Flula Borg and Flynt Flossy Best track recently released: "Queen" by Perfume Genius. Just found out about this dude, and this track is beautifully done. Our favorite original track of our own: "Beetle" is a good representation of our sound—elaborate pieces melding well together alongside a strong melody and imaginative lyrics. We're most influenced artistically by: Tones from vocals to train noises. I like to see how far we can stretch things as a band. In our rider you'll find: Altoids We spend on average many hours to years creating and perfecting any original track. When we're not listening to music, making music, or performing, you can find us: Shooting photos. Joe climbs whenever he gets a chance. Sally, Daniel and Jenn like to visit coffee shops. Alex likes to sit. Anywhere. All the time. Best piece of advice you have for young musicians: Explore different music and discover what makes you feel honest. Once you're there, strengthen it through focused practice. If you struggle with something, it's usually a good sign that you will come out a better musician afterwards.
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ARTISTS: UNZIPPED
Elizabeth Rose This morning I woke up and the first song I put on was: A new demo I'm working on for my album! Best track recently released: “So High” by Doja Cat, not sure how recent it is though My favorite original track of my own: “Sensibility” I'm most influenced artistically by: A whole mix of things; from fashion to photography to the everyday people around me, and my dreams play a big part too. In my rider you'll find: Pineapple juice! I spend on average 558383875829191 hours creating and perfecting any original track. When I'm not listening to music, making music, or performing, you can find me: Thinking about all of the above Best piece of advice you have for young musicians: Don't try to make music to follow a trend or certain sound, it's already been done. Put your time and energy into creating something that's original to you.
SILENT RIDER This morning I woke up and the first song I put on was: Honestly, I go most days without listening to any music beyond whatever project I'm working on at the moment. Best track recently released: "Overgrown" by James Blake Our favorite original track of our own: For me, my favorite track is always the newest. I rarely listen to a song once it's done. We're most influenced artistically by: Radiohead. The reasons are endless but their members are talented beyond comparison and it blows my mind that they have been so important and relevant for so many years. In our rider you'll find: We've yet to ever get a rider, just a couple drink tickets at a show occasionally. To be honest, I don't know what I would ever ask for beyond some food and drinks. We spend on average a massive amount of hours creating and perfecting any original track. When we're not listening to music, making music, or performing, you can find us: Eating, drinking, sleeping or attempting to socialize in a meaningful way. I also like to watch videos of puppies and baby hippos and those documentaries about odd animal friends (orangutan/dog, elephant/dog, etc.) Best piece of advice you have for young musicians: In truth, I don't think anyone in this business is qualified to be giving advice. There are a million different paths to success and everyone has to pave their own. When it comes down to it, this world is pure and utter chaos so you just have to dig your feet in, hope for some luck and push as hard as you can.
Elizabeth Rose
GETTING TO KNOW SOME OF MUSIC’S
GREATEST UP-AND-COMING ACTS
WALKING SHAPES
BASECAMP
This morning I woke up and the first song I put on was: “Highway Star" by Deep Purple. The song is amazing and the video is right up there with it. If you haven't seen it, it has a glitchy, wizards in the clouds vibe.
This morning I woke up and the first song I put on was: “Air” by Mike Mills
Best track recently released: "Red Eyes" by War on Drugs. These guys are top-notch and their new record is killer.
Our favorite original track of our own: Our favorite original tracks are probably the ones we are working on now for our new EP.
Our favorite original track of our own: “Winter Fell” is probably my favorite track we've released to date. I feel like the band really came together in a special way on this recording and feel like we'll be heading in a similar direction to this in the future. We're most influenced artistically by: Bela Bartok, a brilliant Hungarian 20th century composer In our rider you'll find: Whiskey, wood glue and the third edition of Where's Waldo? The Fantastic Journey. We love that book. We spend on average 10 minutes to two years creating and perfecting any original track. (I think the idea of "perfection" when musically speaking can be a little silly, but writing or recording until you feel good about sharing a piece with the world can happen in one take or over months and months.)
Best track recently released: “The Antidote” by Taylor McFerrin
We're most influenced artistically by: Future stuff In our rider you'll find: Jameson and Super Water We spend on average 167 hours 14 minutes and 37 seconds per week creating and perfecting any original track. When we're not listening to music, making music or performing, you can find us: Tending to our zen creek Best piece of advice you have for young musicians: Surround yourself with people that are better than you.
When we're not listening to music, making music, or performing, you can find us: Talking about how I should probably be making or performing music, or trying to organize a game of tennis. I love tennis in theory, still waiting on my racquet to show up. That reminds me, I need to renew my Amazon Prime membership Best piece of advice you have for young musicians: Dan Smith wants to teach you guitar, but I advise you not to call him because he is too busy putting up posters. 33
ARTISTS: UNZIPPED
ZELLA DAY This morning I woke up and the first song I put on was: "You're Gonna Make Me Lonesome When You Go" by Bob Dylan
HOLYCHILD This morning I woke up and the first song I put on was: "Hot Knife" by Fiona Apple
Best track recently released: My jam, "East of Eden"
Best track recently released: "Hey Mami" by Sylvan Esso
My favorite original track of my own: I don't have a favorite. Too boring? Maybe. They are all my little song babies; I'm not allowed to pick favorites.
My favorite original track of my own: Ah! So hard to answer! Right now it's "Pretend Believe," but it always changes.
I'm most influenced artistically by: My hometown. I still live there in my dreams.
I'm most influenced artistically by: F. Scott Fitzgerald, Fiona Apple, Outkast, Thelonious Monk, Jergen Teller
In my rider you'll find: Nothing yet. What the fuck is a rider? Haha. Eventually, fuzzy socks will make it on there. I spend on average minutes to months creating and perfecting any original track. When I'm not listening to music, making music, or performing, you can find me: Chillin’ with my dog, having a surf or going to Pop Physique. Best piece of advice you have for young musicians: You are lucky to be you because there is only one you in the whole world. I am a young musician; we are all in this together brining our sounds into this place. Be honest with yourself and find out what you are good at, whether it be writing lyrics, performing or programming. There's a million different ways to go, find your path and make shit happen.
In my rider you'll find: Organic fruit, please! I spend on average 100+ hours creating and perfecting any original track. When I'm not listening to music, making music, or performing, you can find me: Eating fruit, exploring cities, being a dreamer. Best piece of advice you have for young musicians: Listen to everything, try out everything and trust your intuition.
*Zella’s debut self-titled EP is out now via B3SCI Records
The Zombie Kids
GETTING TO KNOW SOME OF MUSIC’S
GREATEST UP-AND-COMING ACTS
HARD TARGET This morning I woke up and the first song I put on was: “Fight This Feeling” by REO Speedwagon. #swag Best track recently released: “It’s On Again” by Alicia Keys feat. Kendrick Lamar My favorite original track of my own: Damn, that’s hard. It always changes. Maybe the song about my daughter, "Waiting," or "Notice Her" I'm most influenced artistically by: My daughter
night drive This morning I woke up and the first song I put on was: “The Electrician” by Scott Walker Best track recently released: Favorite this week is “Behind Your Shades” by ANORAAK Our favorite original track of our own: At the moment, an unreleased track called 'Arboria' We're most influenced artistically by: An inescapable desire to reconnect to the outer limits
In my rider you'll find: Captain Morgan
In our rider you'll find: All the red M&M’s the other bands didn't want
I spend on average 2-3 hours creating and perfecting any original track.
We spend on average 40 hours creating and perfecting any original track.
When I'm not listening to music, making music, or performing, you can find me: In a comic book store. #geek
When we're not listening to music, making music, or performing, you can find us: In transit, somewhere in Texas
Best piece of advice you have for young musicians: If you’re willing to sacrifice a good five toy 10 years of your life (maybe more), without seeing any results or money from chasing this dream, and you still want to chase it, then you’re making the right choice.
Best piece of advice you have for young musicians: Completion is key.
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Marial Maher’s multifaceted creation
SEASICK MAMA By Brittany Dawson
The ever-so-illustrious Marial Maher, the avant-garde singer-songwriter from Brooklyn, is making a name for herself as Seasick Mama. Marrying indie-pop with jazz and easy-listening elements, Seasick Mama is an organic artist whose penchant for creativity further solidifies a place in the music industry—forever. Beyond the microphone, you may have seen Seasick Mama’s immaculate modeling portfolio, which is yet another example of her unequivocal understanding and appreciation for art in all mediums. Seasick Mama’s sound is precocious and innovative; she eloquently encompasses a variety of genres all the while creating a trademark sound. A fervid passion to create art that transcends all barriers coupled with an unwavering ingenuity separates this NYC-indie powerhouse apart from the rest. Unlike many indie artists on the scene, Seasick Mama takes every opportunity to grow as an artist, quite literally in all uses
of the word, using life’s ups and downs as inspiration. In fact, a breakup led Maher to utilize the situation, channeling it into an unforgettable artist name that fits. And thus, Seasick Mama was born. Some of music’s highly esteemed producers and artists have taken notice of the musical tycoon-to-be that is Seasick Mama. TV on the Radio’s David Sitek, the talented Peter Wade from New York-based electronic band MNDR, and Sam Farrar from Phantom Planet helped flesh out a new sound on her Tip Top Shape EP. As Myspace so accurately stated, “The singer/ songwriter takes the spotlight as stylish dive in demand.” Seasick Mama is, by far, one of the most refreshing additions to the scene. Get ready world, Seasick Mama is on the prowl.
Where did the name Seasick Mama come from? MM: Seasick Mama came from the song “For the Turnstiles” by Neil Young. The lyrics go as follows: “All the sailors with their seasick mamas, hear the sirens on the shore. Singin’ songs for pimps with tailors, who charge $10 at the door.” My boyfriend [at the time] re-used the “seasick mama” lyric and wrote it in song for me. The meaning continues to change, but I believe it means a loyal woman who is in love with a risk-taker, a pirate and a true adventurer.
Where did you grow up? Do you think that place sparked your interest in music? MM: I grew up in Rhode Island. The place didn’t spark so much my interest in music as much as my father did. I grew up in a small town, where kids my age at the time (18 or so) were getting into a lot of trouble with drinking and drugs and sneaking into old dingy bars. I think my dad wanted me to find something to keep me on the right path or, at least, if I was going to be hangin’ in bars, at least be singin’ in them. I first started singing with my dad in local bars, just getting on stage for two or three songs in the middle of the set. He definitely eliminated my fear of being on stage and encouraged me to pursue music. Thanks, Pop!
What was your first “OMG” moment in your career? MM: My first “OMG” moment in my career was shooting the music video for “Man Overboard.” I had just gotten signed to the indie label called No Shame. We shot the music video in the Dominican Republic. It was directed by Jay Bulger and I got to ride a horse really fast through sugar cane fields in my underwear…I mean, OMG! Also, just realizing that my “career” was finally working makes me say “OMG” every morning.
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Aside from making music of your own, tell us about some other projects you have going on. MM: Sticky Audio Labs has been a long-time “family” for me. It’s a recording studio in Union Square, NYC. I started as a receptionist there and left to write my first album. Now, as I am working on my THIRD album, I “help around the house,” so to speak. I also model here and there, but it’s only because I like documenting time. I want to be able to show my grandkids how hot Grandma once was. I also love taking photos and eating really delicious food.
What are some of your favorite aspects of the music industry? Least favorite? MM: Favorite aspects of the music industry would be live performers. Least favorite would be contracts.
What has been the biggest bump in the road for you thus far in your career, and how did you learn to overcome it? MM: The biggest bump in the road thus far in my career is my learning curve. I wish I knew industry standards, and I will overcome it by kicking ass.
What’s the biggest piece of advice you have for other women trying to make it in the music industry today? MM: You can do everything YOURSELF!
First thing that comes to mind when you see/hear the word “music”? MM: Beyoncé
Which one of your songs has been the most personal for you? What was it about? MM: “Old Man Blues” is about my dad and “Rules Don’t Apply” is about my mom.
www.SEASICKMAMA.com Tell us, what does one have to do in order to get kicked off of Facebook? I didn’t even know that was possible! MM: I did this modeling campaign for a makeup company called Ardency Inn. I was wearing a see-through blue bra, and my nipples where visible.
What’s next for Seasick Mama? MM: I am writing my third album, which will be influenced by the disco era. Be ready to dance! Interview by Chelsea Perry
As a model and a musician, how do you think the music and fashion industries are intertwined? MM: Without music, the fashion industry would have no sense of style.
Photos by Jason Fitzgerald Styled by Phil MUA by Heather Lucas
Amateur Networking Blunders By Jorge Brea and Chelsea Perry
Music conferences are always a load of fun. You get to meet old friends, new friends and also learn about some interesting and exciting new technologies or companies, all of which are vying for your focus and, of course, your business. When you attend music conferences like CMJ, ADE, SXSW, WMC, etc., there should always be an objective to try and strike up as many relationships as possible and network your ass off. You may not be able to close a deal while you are there, but meeting and putting your face out there is a sure-fire way to getting people to remember you, potentially laying the framework for a business opportunity. As a music fanatic and business owner myself, I’ve been fortunate enough to be able to attend several music conferences, including WMC, SXSW, CMJ and ADE (and many more in-between that would probably start to confuse you since they are all abbreviated, in which you may think I am apart of WWE or something). During my experience and travels to the various music conferences, I’ve seen a lot of rookie mistakes made by people attempting to network. 40
With another season of music conferences underway, here are some things you should avoid when trying to build relationships with people in the industry:
Not planning in advance You need to do your research before you even set foot on a train or plane to get to an event. Most events not only have great websites that detail the various events happening, but chances are you can also get a good idea of who is attending, allowing you set some goals that align with your ambitions.
Neglecting the panels Although the panels themselves don’t provide significant opportunity to network, there will always be people to chat with before and after them, most of whom probably share similar interests to you. After all, they are attending the same panel you are. You never know, you could be sitting next to a solid artist or executive that can help guide you and your brand. Not to mention, attending these panels also helps you get your money’s worth.
Lacking the ability to multi-task I know first-hand how difficult it is to budget your time and money when attending events by yourself, but it’s crucial to figure out a system that allows you to multi-task and handle things independently. Setting up meetings at the same location can potentially allow you to knock out three or four meetings within a two-hour block. You don’t want the experience of traveling to be overwhelming. If you are there for business, you should try and set a specific amount of time to dedicate to one place so you can enjoy a little bit of the sights and sounds afterward.
Overlooking the parties This one should be a no-brainer for anyone attending a music-based conference. When you go to these conferences, check out the bands at the local pubs or bars and set some time aside to meet some of your new friends at an event that they may be going to. Even if you are trying to strike a serious business deal with someone, it’s ok to sit back and have a casual drink with him or her at a party. Get to know them on a personal level rather than blabbing on about business. Doing so will build confidence and, at the same time, expose you to more sides of that person, potentially helping you make the right decision in working with them or not.
Touting yourself or your brand too much Keep meetings informative, but avoid talking yourself up too much. Ask people questions about themselves and give them a chance to speak. Don’t blow your shit up and act like you’re doing groundbreaking things nobody else is doing. If you try to tout yourself as the best, chances are you’re actually the complete opposite.
Arriving late—or even on time—to panels When it comes to panels, events and anything else that may be going on, you should try your absolute best to arrive 15 to 30 minutes early. Gatherings get packed and lines are inevitable, but arriving early will help get you in quicker. If you do happen to get stuck in a line, chat with people around you. It’s a great way to kill time, get to know folks and potentially strike some sort of impromptu deal. This is networking at it’s finest.
Forgetting business cards If you’ve paid for the tickets, the airfare, hotel and other travel expenses, then please, for the love of God, bring some professionallooking business cards. Even better, plan ahead for the future and figure out ways to make your business cards stand out. Giving someone a solid business card will definitely make a lasting impression on the person you give it to. At the very least, it will get you kudos for your hard work and investment.
Canceling meetings If you’ve set time aside for a meeting, try not to cancel. Going to conferences can really throw people’s schedules off, but canceling on someone you’ve made plans to meet with will pretty much kill any possibility of working with that individual in the future. If you can’t even be responsible enough to show up, do you really think you’ll be seen as someone who can accomplish anything else you’re proposing?
Not having an EPK handy If you are an artist and you want to get things done, show up with a USB that has a professional electronic press kit, your best songs and any other relevant information about you. Having a USB is something quick and easy that you can hand out to a record label, another fellow artist, booking manager or anyone else you may meet along the way. CDs are a bit passé nowadays, so handing out a USB is a great way to make an impression and also give people information they may have forgotten about after talking to you. Of course, you can have fun with this. If I were to pop in a USB drive and see free songs, an EPK and perhaps a video to make the experience more personal, I would at least contact the artist to give them props on their marketing method. That is, of course, if the music doesn’t suck.
Failing to follow up So you’ve spent a lot of money, gotten drunk and jammed out with your new (or old) friends, met new and interesting companies and are jet-lagged from the events you’ve participated in. Now what? FOLLOW UP. You have a stack of business cards, so do something about it and hit people up while the event is still fresh in their memory. Keep in mind that they may not remember you, so be sure to give people a brief introduction on yourself when you toss them a quick email or phone call. Show some gratitude, too. People are taking time out of their busy schedule to possibly talk to you, so it’s beneficial to show your appreciation by sending them a note that says, “Thank you for your time.” Anyone can apply these basic methods while networking, no matter how successful they may be. The most important thing to take away from this, however, is being courteous and showing respect to your fellow peers in the music industry is.
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Leave it to the Threaded Vibes team to dream up some of the fiercest festival looks for this fall.
Creative Director: Elayna Bachman Photography: Fred Love Stylist: Hayley Mitchell Model: Kortnye Hurst Hair: Niccole Swan Make-Up: Elayna Bachman
Silk Feathered Headpiece by Roxana Lynch Sequin Jacket by Maje Sunglasses from Alessandra Gold Layered Amethyst Necklaces by Jewels By Dunn Leather Gaucho Pants by Alessandra Gold
Top by Alessandra Gold Necklace by Jewels By Dunn Boots by MiuMiu Ankle Boot Bracelet by Roxana Lynch
“Lady Liberty” Headband by Roxana Lynch Handbag by Alexander Wang Nippies by Bristols 6 Denim Jacket by Alessandra Gold “Show The World” Mesh Skirt by E Marie
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