A Letter From Our Presidents
Vice President: Lindsay Masterson
II For most members, End of the Line celebrates another year in the books and signifies a new year filled with endless opportunities for Green Line Records. For me, however, after four amazing years, this truly is the end of the line with the organization.
At every student recruitment event we give the same speech over and over: “Green Line Records is Northeastern University’s student-run record label. We sign local Boston artists and record, release, and promote their music…” But really, Green Line has been so much more than that to me and so many others. GLR is a community where music lovers can get together. It’s a place for people to connect to artists and, in doing so, connect with each other. Green Line has provided me with a space to learn and pursue my passion and being Vice President is one of the proudest achievements I will take with me when I graduate in May. This year was extra special. After countless zoom meetings, virtual recording sessions, and online shows, we came into this academic year with a newfound appreciation for the Green Line process and hit the ground running.
Right off the bat, our A&R department got to work. Within the first few months, we had five artists signed to the label: Mei Semones, Karissa Bone, Fruit Accident, Trash Rabbit, and Kleo. More recently, we added Mariposa to the roster. Our events team quickly took advantage of being in-person by bringing ALLIE X to campus in collaboration with our fellow music clubs. Following was DEHD w/ Hello Mary, Coco & Clair Clair w/ Turtlenecked, Dad Sports w/ Sorry Mom, The Black Music Matters Festival (with redveil, Bren Joy, IDK, and Cakeswagg), Magdalena Bay w/ food house, and Luna Li w/PomPom Squad. This year we also introduced Good Dog Licensing – a first-of-its kind, student-run music licensing venture – to the public. GDL is now the seventh official department of GLR. The recording department reinstalled Flex Sessions, which has created a welcoming studio environment for people to collaborate, learn, and grow. The design and media departments – amongst many other projects -have created this zine, which we hope will become an annual tradition recapping the years of Green Line Records.
President: Drew Quercio
I PresidentsOurE-board Heads of Recording: Kai Tsao, Simon Aber Head of A&R: Dom Pastorelle Head of Events: Jack Kerwin Deputy Head of Events: Risa Tapanes Head of Marketing & Media: Shea DeBarger Head of Merch & Design: Annie Wolfond Operations Manager: Roshni Subramonian
II Whatto expect... Each Spread in this zine was created by a member of our design team. We are excited to showcase the variety of styles, and ideas that they each came up with!
1 expect... Artist Bios Fruit KLEOMariposaMeiKarissaAccidentBoneSemones Everything else DEHD Show Review If you like __ try ___ LANY Show Review Girl in Red Album Review 18161412108642
2 2 FRUIT NEW ARTIST BIO: name: fruit <3 genre: glitchcorehyperpop,
3 FRUIT ACCIDEN
3 T
i don’t write outcast narratives, or try to sanitize my experience. i embrace my queer identity by making crazy hyperpop music inspired by mainstream sounds. i’ve been playing piano since i was 4. i was always garbage at practicing because i would rather noodle around than actually play what was put in front of me. i didn’t fare much better with singing, which i got bullied for doing in elementary school (i got into chamber choir in college, poetic justice!). from trying to figure out how to do fade-outs like i heard on my fisher-price cd player to now making beats in logic as stress relief, creating music on a computer has always been a passion of mine. i’ve grown a lot from my days of glorified voice memos and garageband song writing. i’m currently working on my second ep, “supercruel”, which will be out in Spring 2022. so yeah. that’s me. tl;dr: i’m the fruit, and the music is the accident.
hi i’mthere!fruit, and i make glitchy, queer hyperpop. my music has been described as “garbage” and “noise,” so i guess i must be doing something right. when you’re listening to my music, you should expect to hear synthpop-sounding melodies turned up to 11. if laura les and dylan brady of 100 gecs were a little less hardcore and a little more unhealthily obsessed with lady gaga as a kid, you’d end up with my i’msound.also very big on lyrics. a lot of my music focuses on the queer experience with the occasional joke or three. i grew up going to catholic school, being the weirdest of the white-picket-fence-kids.
4 Writing songs to hurt your feelings. Artist and songwriter Karissa Bone’s songs are lush, expansive, and confessional, combining vibrant pop aesthetics with indie subtleties ...like if Bon Iver met Lorde and then crashed into OliviaReleasingRodrigo.her debut sin gle “Maybe in the Summer” last August, she has been busy ever since—joining Charlie Burg’s Blue Wave Band singing bgv and playing synth, being chosen as a Quadio X FADER college creative of the year and receiving a feature in the FADER magazine, and landing her first sync placement in Starz drama Heels. She’s been writing ‘sops’ (sad bops) since the age of 7 on her trusty 1990 Yamaha Keyboard (not for sale) and has endured song writing training at Interlochen Arts Academy ‘18 and Berklee College of Music ‘22. Written by: Suzy Duong Designed by: Logan Kisiel
karissa bone
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Written By: Julia Towne
Design By: Annie Wolfond
Atticus Crowley, Alexander Dake, Delia Martin and Logan Robinson met at the prestigious Berklee College of Music in September 2021, playing in various projects that ultimately disintegrated. Their most recent project, cardamum, brought in Crowley to play baritone guitar on a 2020 tour that ultimately got cancelled due to the COVID-19 pandemic. Much like the phoenix, Mariposa rose from the ashes. Taking inspiration from a variety of artists, including Cali Cartier, The Dillinger Escape Plan, Duster, Kayla Silverman, Parkway Drive, and Pavement, they have crafted their own unique sound that merges
Artist Bio!
Omar Rodríguez-López of The Mars Volta, another of their sonic inspirations, has a song of the same name that also influenced their Althoughmoniker.some members are no longer enrolled at Berklee, their group dynamic remains strong as they aspire to grow musically. With plans to eventually tour New England, the band’s debut single “Ice” will be released in Summer 2022.
After being told that they were too loud at a past show, they committed to the genre of noise rock. However, they enjoy incorporating elements from shoegaze, emo rock, and indie rock. Blurring lines between genres, they joke that they are “noise rock for college kids”. This idea of going with the flow in terms of musical inspiration is the basis of the group’s name. The Spanish word for butterfly, Mariposa is a nod to the butterfly effect, where one small change can mean the world of difference. They quip that “life is strange”, so their music will not remain the same.
elements from each of their idols.
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Hailing from Boston, Kleo’s poetic lyrics, dreary vocals and ominous production set him apart in the underground rap scene. Kleo’s musical priority is storytelling through emotional expression, whether the theme is sadness, frustration, acceptance, or relentlessness. He released his debut album Battle Damaged in the summer of 2019. In 2021, his sophomore album, 1000 Year Grief, gained the attention of Daily Chiefers and Swidlife for its ominous production and distinct vocal register. His new single My Baby featuring Proswervez, Ill Addicts, and Haley Jade East debuted on all streaming platforms on April 15th, 2022. Written by: Remi wiseblatt Design by: C Allen
Artist Bio- KLEO
12 sho revieww Design by: Ellie Fulkerson Writing by: Julia Towne Photography by: Karen Kurson
More students seemed to enter the venue during the intermission, The room came back to life with the first amplified strum of a guitar from the second indie-rock trio of the night: headliner Dehd, comprised of Jason Ballas on guitar, bassist Emily Kempf, and drummer Eric McGrady, all of whom contribute to vocals. The garage-rock style of their music was more conducive to the “typical” concert scene, complete with dancing and plenty of hair flips from Kempf. Members were notably more comfortable on the stage, confidently interacting with the audience and requesting audio adjustments. They mentioned that their visit to Northeastern was the last stop on the first leg of their tour with Bnny, as they antici pate opening for Julien Baker next month. In spite of the grueling nature of almost nonstop shows, the group managed to pull together enough energy for an impressive set.
While the lyrics were strong and the musical talent was there, their stage presence was unique and somewhat reserved, as the girls admittedly had never played in Boston. There was certainly some awkwardness in their stage presence, but a slight lack of experience did not necessarily translate to a boring or low-quality show. While the music flowed, the venue was full of good energy and danc ing which only slowed as songs transitioned. I was disappointed that they didn’t introduce songs as they flowed from one to the next, as it was hard to find my favorites online after the show. Regardless, the setlist was well-de signed, and Hello Mary are certainly stars in the making. That being said, my favorites from the group included “Ginger” and their new single “Evicted”.
Both groups displayed a passion for their work, which was discernible in the quality of their music. I have great respect for all performers and crew behind the show, and had a generally positive experience, even though there were some technical difficulties along the way. The location on campus is ideal, and the comparatively small size of the room made for an intimate show, unlike what fans would experience in a stadium tour or large auditorium.
The merch table, positioned against the wall near the stage, had items to represent both groups, and I noticed that many concert-goers made purchases there at some point in the night. The Starbucks located in Afterhours was also incredibly convenient during in termission, which is a definite benefit of theGoingvenue. into Afterhours, I wasn’t sure what to expect. I had previewed the headliner’s discography, but Hello Mary stood as a wild card. The trio, originating in Brooklyn, de scribes their sound as an ode to ‘90s alt-rock. Their music is reminiscent of Phoebe Bridgers, combining shoegaze, indie rock, and grunge via their vibrant drummer Stella Wave, who turned 21 the night of their performance, reticent bassist Mikaela Oppenheimer, and compelling guitarist Helena Straight.
14 If you like... LISTEN TO... Follow the path from your go-to artists to discover which Green Line Records artists you should discover next! Money Machine 100 Gecs Claws – Charli XCX mos thoser – food house Doomsday – Lizzy McAlpine Motion sickness Phoebe Bridgers Is there something in the movies – Samia First Class – Rainbow Kitten Surprise I used to hate my body but now I just hate you – Fenne Lily Angel of Small Death and the Codeine Scene Hozier Pursuit of Happiness (Nightmare) –Kid Cudi, MGMT, Ratatat PRIDE. – Kendrick Lamar Redbone – Childish Gambino Posing for Cars – japanese Breakfast Landmines St Vincent Sometimes – Faye Webster Written By: Julia Towne Design By: Annie Wolfond
15 Fruit Accident Mei MariposaKarissaSemonesBoneKLEO
On
As Jake Scott opened first, he had the responsibility of getting the crowd enthusiastic for him and the following shows. He played one of his most well-known songs called “Favorite T-Shirt,” however the response from the crowd was lacking for most of his other songs. The people around me all agreed that he was a great artist, but not as well-known as the next acts. Jake Scott had a large stage presence, which made even people who were not fans engaged in the act. Though I enjoyed his performance, his music did not resonate with me as much as the following artists.
tour Lany
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Over an hour passes and both artists are done with their opening shows, and chants begin to see LANY on stage.
Paul Klein’s trademark unrelenting energy was the high light of the show. His reluctance to go with the motions of a generic composition of a show was noticeable. People who were newer listeners and big fans of LANY all seemed to be magnetized to the energy that the show brought. Paul had the largest stage presence out of any shows I have seen. Just as Harry Styles is known for his small dances on stage such as his “shimmy” as his way to express himself on stage, Paul Klein has fun on stage in a similar way. It is obvious that he wants to focus on his music, interacting with the crowd, and dancing with his emotions in the songs rather than on staged choreogra phy. Though many artists do not do this, fans fed off of his enthusiasm and passion through his movement.
Keshi is an artist that I have never heard of before, but I have listened to him many times since his show. His stage presence was not as evident as Jake Scott, but his vibe was completely different. Keshi’s music is more alternative/r&b, and some people that I talked to said that they came to this concert because of him, not LANY. His music reminded me of artists like The Week nd, however he performed a few original remixes that gave his show a different type of energy. It was clear that Keshi had many eager fans in the audience, and he did a great job at making the concert feel per sonal. He talked to the audience, and even asked what songs his fans would like to hear. Keshi’s music was unlike Jake Scott’s pop-esque music, but I think that most people in the audience preferred his music.
On Friday, October 12, thousands of fans gathered in Boston University’s Agganis Arena to see Jake Scott, Keshi, and LANY as the main show.
Red lights flashed all over the stage for a few minutes when the show was about to begin, and the audience grew anx ious with anticipation. Out of the side stage, Paul jumped out of the curtain, jumping from stage right to stage left. Not only was his energy massive, but the crowd only grew loud er with every step he took. Performing mainly their newest album gg bb xx, most fans knew all of the songs. The setlist was incredible, and the songs with the greatest audience response were “care less,” “dancing in the kitchen,” “never mind let’s break up” and “ILYSB.” He transitioned from the higher energy songs like these to more emotional songs like “somewhere” and “Malibu Nights.” Most of these transitions followed up with Paul playing piano or guitar to supplement his songs, further showcasing his immense talent. You could feel the dramatic shift in the audience as Paul played his guitar during “Malibu Nights,” and many people, including myself, began to tear up. Paul’s emotions lived through his song, and the audience’s screaming of lyrics turned into soft hums. After that song, he picked up the pace with his guitar on “ILYSB,” with prompts on the screen for the crowd to sing the chorus with him. Paul Klein and the rest of the band made it incredibly easy to stay engaged in their show and change responses instantly depending on the mood of the Insong.my opinion, LANY sounds better live instead of through their released songs. Paul Klein is the type of artist who needs no autotune or editing, and the lack of backing track proves his talent as a singer. Like Keshi, Paul made the con cert feel personal, as he mentioned to the audience that he wanted everyone to “move up” because he did not care how much you spent on tickets in order to enjoy the show. Naturally this caused chaos, as the people who were in the stands ran down to the floor only to be disappointed by the guards saying no to entry on the floor. On the other hand, I was in the floor 2 section, and all of us jumped the barrier with no problem. Most of us ended up right in the front, with a view of nearly 20 feet away. To make the show feel more unique, Paul later ran out into the audience with no security to sing one of his songs, stating that he just “missed us.”
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This concert is a prime example of how the best shows do not have to be the most expensive ones. The end of the concert followed with the crowd chanting “LANY!” as an encore because of how much everyone enjoyed it. Spending less than $50 to experience a concert that was almost 3 hours long was by far the best decision that I could have made. This was the first concert that many people have been to since COVID, and I could not imagine it starting any better than it did by attend ing LANY’s concert.
Written By: Shea Debarger
If this question sparks any confusion, it’s meant to. It acts as both the seemingly straightforward question and a coded question: are you queer? It’s the latest iteration of coded identifier language for the LGBTQ+ community, following ‘friends of Dorothy’ and ‘does she play softball,’ citing other queer Marieidentifiers.Ulven, the person behind the stage name girl in red, is a Norwegian in her early 20s. Despite her youth, she’s incredibly insightful about her mental illnesses and her sexuality. From girl in red’s 2018 debut “i wanna be your girlfriend,” she has spoken candidly about sapphic love. With their first full length album, If I Could Make It Go Quiet, girl in red presents a fresh take on authenticity, prioritizing telling her truth over romanticizing sapphic love. Marie’s rise to stardom has been understated, slowly taking over space in the queer community and then a full takeover of the mainstream. Ulven herself says the catchphrase took hold almost overnight (Garcia-Navarro and Sarmiento, 2021). This album largely is a confessionalstyle indie bedroom pop with such descriptive lyrics they paint a picture of the situation at hand. Oscillating between ballads with delicate
Do You Listen To Girl In Red? Album Review
Design By: Annie Wolfond
Coming out of society’s pause for the COVID-19 pandemic, people are confronted with topics such as mental illness and anxiety, normalizing the conversation of admitting that you might not be okay. Ulven declares that “she isn’t doing so well” time and again across this album. Mental illness is something that has been long hidden from the canons of what’s socially acceptable; Ulven’s contribution to this conversation is “Serotonin”: a loud, unapologetic statement describing her intrusive thoughts. Queer visibility is also a priority in today’s political climate; many states are politicizing LGBTQ+ identities and forcing silence and heteronormativity. Florida’s Don’t Say Gay bill has passed; legislation that–among many others–punishes people for challenging heteronormativity and talking about the LGBTQ+ experience (Blair, 2022).
For girl in red to even make music as a lesbian is an act of defiance. girl in red’s nonchalance towards coming out coincides with the Queer community’s further understanding of sexual fluidity, and questioning the need to come out (Brown 2013). Disclosure of one’s sexuality has been an integral part of the LGBTQ+ community, because of the assumption that everyone is cisgender and heterosexual unless they announce that they aren’t.
Marie has stated that her music is meant to be for everyone (Vaynshteyn , 2020), and interestingly enough, this album doesn’t include any specific references to her being queer, just relationships in general. While her fame is based in being recognized as a queer musician creating music about her experience, the actual content of the lyrics and music is
Throughout history–especially in recent history–existing as a queer person has been criminalized. Hate crimes against the queer communite still happen, remembering the 49 lost to the Pulse Nightclub shooting in 2016 (Zambelich and Hurt, 2016).
19 of the album and offers a more hopeful and self-aware tone. The bubbly synth sounds of “midnight love” are the first turning point of the album. The song talks about wanting to be your partners number 1 and standing up for yourself in your relationship; a theme that can be applicable to both heterosexual and LGBTQ+ relationships. Similarly, “.” is about wanting to speak up about your feelings (Garcia-Navarro and Sarmiento, 2021).
In direct opposition to the American conservative view that queerness should not be a topic of discussion, Marie Ulven seeks to sing about her queerness the way that straight people sing about it: like it’s normal and not that big of a deal.
The impact of girl in red is one that promotes visibility and the singer has been credited as the inspiration for other queer people coming out. Ulven has strict boundaries on social media in an effort to protect her mental health, and preserve the positivity she feels at live shows (Savage, 2021). Despite the boundary, girl in red has never felt hesitant of sharing her vulnerability (Aquino, 2019).
Marie’s unapologetic authenticity is relatable to other queer people, and has ushered in another wave of love, acceptance, and pride in the LGBTQ+ community.
Girl in red album review
continued
20 piano parts and indie pop/rock dependent on guitar licks, If I Could Make It Go Quiet is not meant to be a cookie cutter chart topper. It has something to say.
Whereas “Rue” is a stripped down confessional about the Euphoria character of the same name; offering thoughts on drug use and the numbness associated with Thedepression.firstfour songs on the album encompass a more manic feeling: sensory overload, infidelity, and sex. As the fifth song on the album, “midnight love” raises the tone gender neutral and non-specific.
Authenticity to her own life experience has been heard and felt by other queer people, identifying with her songwriting themes of unrequited love, mental illness, and hope. If I Could Make It Go Quiet features a continuation of these themes throughout. Songs like “Serotonin” and “Rue” present two sides of Ulven’s depression. “Serotonin” throws the listener into the deep end of sensory overload and intrusive thoughts, and has a chorus that sweeps over everything and washes over the listener. Despite the mature content, this song was the standout single of the album (Savage 2021).
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