Issue 17

Mali Koa

ALX | DREAM WIFE OCEAN ALLEY RODNEY CHROME

OUR TEAM

editor in chief creative director public relations photography coordinator photography assistant production editor marketing

gabi yost jared elliott ava butera & ashleigh haddock heather zalabak caleigh wells jiselle santos & hailey hale erin christie mallory haynes & mckayla grace

OUR CONTRIBUTORS writers

caroline rohnstock, erin christie, kylie warrix, lauren gerhausser, maryam muhammad, reegan saunders, rianne akindele, sami loy, trystan calado, zoe brian

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A LETTER FROM THE EDITOR

Hello reader!

The world we live in right now is quite bleak and can feel so uncertain at this time. There have been some events rocking our community and I want to make two things very clear, Heart Eyes stands with the victims of Sexual Assault, and we support the Black Lives Matter Movement wholeheartedly. Within the issue there is an article going more in depth on that topic on our value of the Human Rights campaign.

Nonetheless, we are very excited to release this issue after such a long time away. Just passing our 3 year anniversary we can’t wait for what the future holds for us.

Welcome to Issue 17. We love you.

gabi yost, editor in chief

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ISSUE SEVENTEEN MALI-KOA

CONTENTS interviews alx dark smith dream wife ocean alley attaboy mali-koa jake lemond

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reads kelis is the blueprint glass animals and quarantine music videos quarantunes jon henry rodney chrome new releases

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FROM THE HEART EYES MAGAZINE TEAM Because we have a platform, it is our responsibility to use our voices and stand against the injustices that Black Americans face due to systematic racism, resulting in the repeated violence and abuse directed towards them. We must speak on what George Floyd, Ahmaud Arbery, Breonna Taylor, and so many other Black Americans face on the daily, as this pattern of abuse, police brutality, and harassment won’t stop unless we do.

If your response to the uprising currently taking place is that “all lives matter,” educate yourself on your privilege. If “all lives” mattered, especially to the police, then Black people wouldn’t have to live in fear every day and George Floyd (and so many other Black Americans) wouldn’t have been murdered at their hands. All lives cannot matter until Black lives do, and this is why we have to persist that #BlackLivesAlwaysMatter and that change needs to happen to make that a reality.

We need to SCREAM that #BlackLivesMatter because Black people are constantly being killed, harassed, and abused every day due—and the past few moths is just evidence of such. It’s vital that each and every one of us white and non-Black folk use any privilege we have to stand up for our Black peers and use our voices to stand against racial injustice, even beyond police brutality, but in every aspect of our lives. Simply, we need to do MORE. Be active in fighting for the change we NEED. Right now, if you have wealth or any proximity to wealth, donate to mutual aid funds, sign petitions, and call the MN officials handling George’s case so that his murderers are adequately held accountable for their actions, as they STILL haven’t been.

You also must make an effort to learn about other recent cases, including Breonna Taylor’s and Regis Korchinski-Pacquet’s, and what you can do to help in the fight to achieve justice. It’s especially horrendous that Breonna Taylor’s killers remain free.

In addition, if you can, be active in protest (while still taking precautions against the coronavirus and monitoring your safety as well). Especially if you’re white, it’s your duty to use your privilege to stand up and SHOW UP. Protest hasn’t stopped; the mainstream media has just stopped reporting on it.

All cops are bad cops by our book, and we cannot be silent in the face of white supremacy. A badge is not a license to kill and no lives can matter unless it’s clear that Black lives do too.

We have compiled some baseline information on our website regarding who you should contact regarding this issue, where to donate, petitions to sign, protest tips and guidelines, and resources to help you in the process of educating yourself on an anti-racist level.

We encourage you to do your own research, too, especially regarding what you can do locally to tackle injustice and community-based racism. It’s important to have an awareness of global and national issues, but it’s equally, if not more i mportant to pay attention to what’s happening outside your front door and in your own homes.

It’s not enough to engage with anti-racist material and initiatives without combatting your own privilege and the instances of racism that you witness in your everyday life. Being anti-racist is an everyday commitment, not just a passing trend that you can move on from a few months from now.

It’s time to step up, and that should’ve happened ages ago.

ALX

INTERVIEW BY Rianne Akindele PHOTOS BY Alexa Jade GrosS Meet ALX, a 22-year-old artist bringing the free-flowing, live-in-the-moment atmosphere of life in Naples, Florida to the global music scene. Since leaving Naples for Los Angeles, the heart of the United States music industry, ALX has been taking music more seriously, leading to the recording and release of his debut EP, The Fantasy (released May 27th). With this EP, we see that, while hilariously witty on social media, ALX also has the musical talent to match (which seems to run in the family as his older brother, Dominic Fike, is also on the rise right now).

I spoke with ALX the Friday of a pandemic-stricken Memorial Day weekend to discuss life in quarantine, musical influences, and the importance of including Bob Marley on your shower playlist.

How are you doing today?

I’m good. I woke up today at like 5 AM and had a Redbull ‘cause I’m working on getting my sleep schedule back on track.

What have you been doing to pass the time in quarantine?

Dude, I’ve watched so many movies. In between, I’ve been recording little hooks and such—not really full songs, ‘cause I’m having some writer’s block. But yea, just been watching movies, to be honest. Like, I watched the whole Harry Potter series, the Twilight series, and I just restarted Naruto—so, you know, back on my BS pretty much.

Okay, favorite Naruto character? Also, Team Edward or Team Jacob?

Yea, Zabuza or Kakashi. And that’s easy— Team Edward. No soul wants to walk around smelling like a dog all the time.

So, you grew up in Naples and I know it’s going to be a kind of quarantined summer this year, but if you were back in Naples, what would a regular summer be like?

It’s crazy ‘cause, in Naples, like, right now, the malls are open. I don’t understand what they’re doing over there. I don’t even think anything’s different from how it was last summer. But, if I were there right now, I’d definitely be at the beach, having a drink. Like, what time is it over there now?

Like 6 pm? Oh yea, for sure I’d have a drink, and then we’d be figuring out the food situation. Probably on our way to a Publix to get some PubSubs.

Tell me a bit about Lame Boys Entertainment and Backhouse. I know it has to be pretty serious because all you guys in it have it tattooed somewhere in your body. Is it a collective? Friends hanging out or a mix of both?

Yea, so we started at Backhouse. Our homie actually had a back house and we’d go there and just invite a bunch of people over to hang and have parties. Then, we started hanging with our friend Matt Black and my friend Javonne—who actually coined the name Lame Boys. So, then I got inducted because I’m super cool and handsome (with handsome being the top requirement [to join]). I would also consider us all to be family. You know we spend so much time together; it’s like everyone I hang out with is like family to me.

When I was listening to your song, “Misses FL,” on Spotify, the Genius Behind the Lyrics feature popped up. One of the quotes said that, even though you love Naples and it’s your home, you felt like you needed to get out.

What made you feel like you needed to leave?

Oh, cool! I haven’t even seen that yet. Um, yea, girlfriend issues. Also, it was getting super boring. I was just getting drunk ev11

ery few days and [getting] into trouble, so I came up to LA to get away from all of that.

Since being up here, I’m not wildin’ out anymore and my brother says I’ve been way more relaxed too.

It also said that after you finished “Misses FL,” you just kind of sat in the studio and cried. Is that true?

Look, that was one of the most authentic cries I’ve ever had in my life. I was in my homie’s garage and the song was just playing over and over and I just started crying.

I was like, this is beautiful, man. Not even just the song, but the whole moment.

So, you came out to LA and started making music a bit more seriously. Is there anything you’ve learned about yourself during the process?

Yea, I mean. I just realized that I’m pretty cool. You know, I gained a bit of confidence in who I am and my abilities, which was nice.

Earlier you mentioned trying to get over your writer’s block; especially with being in lockdown, it’s kind of hard to come up with new thoughts every day. Are you the type of person who just sits and lets the song ideas come to you, or do you try to kind of write it out and see what comes?

Dude, I take so many showers. Like two days ago, I put a beat on and just started writing. I just hum things that might be boring or don’t really go anywhere. Originally, I wanted to kind of freestyle it out, but that wasn’t really working, so now I’m back to actually writing again. Just the act of writing is a good way to kind of force yourself into it. Like, to fix writer’s block, you just gotta write and eventually something will come.

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You mentioned you’ve been taking a lot of showers to pass the time. Do you have a favorite shower song or playlist?

Yes, dude. Legend by Bob Marley. If you start that from the top and then turn the lights off or maybe light a candle or turn your flashlight on so it’s not pitch black, you’ll have the best shower.

On your Instagram story, you mentioned that “Miss U” is your favorite song on your new EP. What about it makes it your favorite track?

Oh yea, that song is my baby. I bought the beat from someone for like $200 and I was like, “I love this song.” So, I tried to personify the song. I wanted the idea of missing somebody to be about a lady named “Miss U” originally. There’s, like, two other versions that I despise and hope are never heard by human ears, but the final product I was in love with. It just took so long to make and I still listen to it like, “This is hot!”

A lot of your music seems to be super chill, carefree, and energetic. Would you say that the music you make mirrors your personality or approach to life?

Yea, for sure. That’s probably what those songs are. I had someone ask me what the songs are about and I was like, you know I’m just talking. I guess that flows well with music, you know because it’s just you talking about life.

You mentioned Bob Marley earlier, do you have any other musical inspirations? Is there a song out there that’s already been created that you wish you could have written or had a verse on?

Oh man, there’s so many I’m thinking of.

I wish I was on “White Flag” by Dido. That song—it’s from like her sophomore album— and it’s so cute. She was like dating someone- okay, well, we’ll get into that another time. But yea, Dido for sure. Or a Bieber song! I know every Justin Bieber song.

Name a Justin Bieber song right now and I’ll body it.

“you just gotta write and eventually something will come�

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I feel like all of the songs and movies/shows you’ve mentioned are from the middle school era which was such a great time.

Yea, I literally don’t listen to new music unless it’s really good. Like “Skybox” by Gunna is one of the only newer songs I’ve listened to. And my brother’s music, too, to be honest! He inspires me so much, except he’s better than me. It’s like healthy competition. You know, I’ve been watching Naruto, and [in this one episode], Itachi was talking to Sasuke like, “I wanna be a wall for you to climb over,” and I was like, damn, that’s super cute. And you know, my brother Dom’s (Dominic Fike) new music is crazy good. Like, he’s gonna win a Grammy and I’ll be there in a white tank top. It’s a masterpiece.

How did you kind of get into making music?

You know, our dad is a piece of work, but before he left, he did teach us how to play guitar.

Do you remember the first song you learned to play?

Yea, it was “Lips of an Angel” by Hinder!

You and Dom seem to be super close and obviously share music. For your EP, did you guys collaborate in any way?

Yea, not a lot of people know this but Dom is just so funny and stupid, but I still look up to him. For this EP, not really [in terms of collaborating]. We do have like one song together, but haven’t actually sat down to make a song in forever. I think that’s because he’s been working on his album, but now that, that’s finished, there will be a song with us together for sure. And it’ll be hot!

So, you have your EP coming out and the music video for “Crash;” is anything else you want to add?

ALX: $tunna gon’ make it.

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Be sure to check ALX’s new EP, The Fantasy, out now on all streaming platforms. The music video for “Crash,” the opening track on the EP, depicts a swift and sweeping love, which is perfect for the summer. You can check that out now, as well!

15

Give Kelis the Flowers She Deserves,

She’s the Blueprint.

Harlem’s own Kelis Rogers has been changing the game for 20 years, using her creativity to become a force to be reckoned with and paving the way for a unique take on female artistry in the music industry.

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Written by Maryam Muhamma Known as “the first girl to scream on a track,” singer-songwriter Kelis broke out onto the R&B/Soul scene in 1999, with a feature on “Got Your Money,” a single by Wu-Tang Clan’s very own, Ol’ Dirty Bastard.

That same year, she solidified her position in the music industry when she released her debut album Kaleidoscope (which was produced by The Neptunes, a talented duo consisting of Pharrell Williams and Chad Hugo).

Kaleidoscope, despite being mostly R&B based, contained elements from multiple genres and sounds, which made it very experimental for its era. During a time where female singers were being forced by their labels and studios to sing love ballads about wanting to please men, Kelis wasn’t afraid to highlight relationship problems and issues that often came with romance in her songs. With songs like “Caught Out There” and “Mafia” Kelis took no prisoners, making sure to be brutally honest about where her emotions stood. On her song, “Get Along With You,” for example, Kelis calls out the man in her life for taking advantage of her feelings, and betraying her, singing, “You took my heartbeat from me, this is the saddest story/ What was wrong with my love?”

Moreover, not only did her album address relationship issues, but it also dug deep on unconventional topics such as aliens, spaceships, and dreams. Kaleidoscope was the manifestation of Kelis’ individuality and nonconformity as an upcoming artist who was looking to be heard and taken seriously.

In addition to her eclectic sound, Kelis chose to look the part as well. Although fashion choices such as multicolored hair and dyed eyebrows were not the norm for Black artists at the time, Kelis dared to be different. In music videos for songs like “Good Stuff,” she can be seen rocking blue and green hair, a daring look that was reserved almost exclusively for white musicians, and that Black artists wouldn’t pick up for another few years.

Due to her distinctive style, though, Kelis was told that her music was not considered “Black enough” to be played on R&B stations—a statement which she did not take kindly to.

During an interview with The Fader this year, Kelis recalled this incident and gave her thoughts regarding it. “I never felt like that made any sense. I always felt like, You’re wrong,” she said. “How is a white guy going to tell me what’s Black enough, first of all? Secondly, how is anybody going to tell me what’s Black enough for that record, you know what I mean? I had no identity issues, so the fact

that someone felt like they’re trying to put these things on me was appalling..”

By refusing to succumb to pressure or change her sound, Kelis made her mark on the industry and became a role model for many Black women in music.

We can thank Kelis for artists like Normani, Lizzo, Dawn Richard, Alex Mali, and Rihanna, all of whom create music that often crosses and blends genres.

It’s because of singers like Kelis that these artists are allowed to have territories in multiple genres, without having to subscribe to one particular sound.

In 2003, Kelis released “Milkshake” on her third album, Tasty. The track—which was originally written for and rejected by Britney Spears—was picked up

by Kelis and became her biggest charting record to date. The song (followed by a promiscuous music video) was an ode not only to her sexual power, but the unearthed sexual power that is held by women everywhere.

Kelis has always been known for her defiance—and in the vein of not wanting to boxed in, she proved to be more than just the “Milkshake girl” by collaborating with the likes of Calvin Harris, Björk, Skream, and Duran Duran.

In 2010, she released her fifth studio album Flesh Tone, a dance and electronic album. The album was released by the will.i.am Music Group and had a host of brilliant tracks like “22nd Century,” “Brave,” and “Acapella,” which is a song dedicated to motherhood and her son, Knight, who was a newborn baby around the time the song was released.

Finally, 2014 was the year that Kelis put out her most recent album, Food, which was dedicated to her life as a professional chef and graduate of international culinary school, Le Cordon Bleu. Food was a return to her R&B roots, with soulful tracks about delicacies like “Cobbler,” “Jerk Ribs,” and “Biscuits n’ Gravy.”

Along with the many cooking references that she makes throughout the album, Kelis also includes details and small hints about her personal life and the struggles she has been through.

Throughout her entire career, Kelis has proven to be not only to be an amazing artist who has used her craft and creativity to be honest about who she is, but also a tastemaker in pop culture who people look up to for guidance. It’s time that society give her the credit and appreciation she deserves for being such an influential figure and role model. Without compromising her sound or identity, Kelis has managed to create a legacy that will impact future generations of artists to come.

17

Dark Smith Written by Sami Loy Photo by Alley Rutzel When thinking of the band Dark Smith, I think of a tidal wave—a great, gleaming wall of black ink, and layered melodies, something to absorb in a nightclub corner, a cruising car, or, as it should happen, quarantine. After listening to their 2019 sophomore album, Degressive, I found it wasn’t just the seamless rise and fall in tone— which takes one on an emotive trip from the dystopian “Waiting” to the more straightforwardly punk of “Sadfluid,” named after the band’s coined term for interchanging ‘sad-xuality’—, or even singer Danny Denial’s grade-A gothic croon that makes up the music’s best moments. It wasn’t the incisive guitar-work of Ashe Tempest, or the

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music’s rhythmic river-bed, born of bassist Lia Lovecraft and drummer Nozomi Momo. It’s truthfully none and all of these things. Rather, it’s the resulting impact.

Dark Smith’s place in Seattle’s musical sphere is a touch of the ethereal, surely. But as the past month’s social revolution (and its particular effect on the city) continues to wax and wane, it can be said that a special place in the cosmos has been assigned for the resonating line from their track, “Waiting,” “The world is ending and I’m so happy.” At the very least, I was happy to get to ask these four a few questions.

Hey guys! I wanted to start by saying how much I appreciate you taking the time to indulge this interview. How’s everyone doing?

Danny: It’s been a pretty crazy past few months, from starting

shows again to lockdown to protests in Seattle...it’s just been a lot of adapting and rolling with the tide. The band hasn’t fully seen each other since our last show, sadly, but we have some plans for later this year we’re hoping can come to fruition— namely, some new songs we recorded right before COVID-19 that we want to come out!

I’m sure it’s no surprise just how much light has been put on local artists of color lately, and deservedly so. Personally, when I found your music, it just stood out for its haunting honesty. It’s just larger-than-life. With everything happening in the city, all of its radical changes, how has your creative process been?

Danny: Thank you! My creative process is kind of all over the place; I can’t help when I’m

inspired and, to be honest, I haven’t been able to write since the start of all this. But after the last few weeks of fighting the SPD, I’m starting to be inspired by some new feelings, whether that is channeled into solo music or Dark Smith or film work, I’m still not sure yet...but I’m feeling excited.

Is everyone originally from Seattle?

Ashe: I grew up in Texas and Oregon, [which are] vastly different in so many ways. I don’t think I would have become a musician if I hadn’t moved to Eugene. I moved there right around the grunge era; that’s what sparked my interest in Seattle. I didn’t end up getting here until 2009 and I joined a band as soon as I could get up the courage.

Lia: I’m originally from a tiny, rural Kentucky town, not far from Nashville, TN. I moved to Seattle when I was very young, during the grunge years, but ended up moving back to Nashville for some time, eventually getting pretty involved in the music scene there. I moved back to Seattle in late 2016, and have never felt happier than when I drove across the Washington state line. I knew I was home- as in, back to my true home.

Danny: I’m from Los Angeles, unfortunately!

Nozomi: I’m originally from Tokyo, [but] lived in England for 10 years- most of the time in London, hence, why my accent is so bizarre now.

Was there trouble during the band’s formation regarding agreeing on a sound? Were there any conflicting influences? You’ve said that Prehysteria [Dark Smith’s debut record] is atmospheric; Degressive, raw...Have you been thinking about the next music-baby at all?

Danny: Ashe and I started the project around the idea of “dream punk,” and I don’t think we had any fucking idea what they really meant. Genre has always been a funny thing for

us. Mostly, I think the thing we all agree on is the mood and we build from there.

Lia: The only trouble for me was when Danny tried to get me to use a distorted bass tone, lol. I’ve been pretty much anti-effects pedals my whole career, though I tried to make myself use some in the early days of Dark Smith.

I’m actually playing around with some effects again now, during quarantine, though.

Danny: I’m curious where we go next because I’m a big fan of each record being distinctly it’s own...but on that topic, we have some new songs we’re adding to Degressive for something of a reissue/reboot of the record, hopefully coming soon! Mostly because we had just a few things we wanted to add to that thesis before moving onto a new story.

On a related note, I stumbled on your mini-mockumentary, and it was a lot of fun to watch—it’s clear that you guys know how to make fun of yourselves. Do you think that that’s really helped to keep a “sadfluid” band alive?

Ashe: The best thing about the mockumentary is [that] parts of it are authentic. I think we all come from struggle to a certain level, and I feel that breeds humor and creativity.

Danny, you’ve also done some beautiful solo work in the last few years.

Aside from the obvious, how would you say your style differs? Is it a more freeing experience?

Danny: It’s definitely a very different animal. For my solo work, it’s me pulling at my own journals and innermost thoughts and painting very finely with them. It’s more cerebral and in my head. For Dark Smith, it’s all about collaboration and about painting broad strokes, engulfing the world around us, and creating something bigger than the four of us. I find that the projects provoke different reactions from people, although there are many who don’t look very closely and assume Danny

Denial and Dark Smith are the same thing. I actually feel like, of the two, Dark Smith will always be more freeing because it’s an escape from my own head and I’m getting to play in a musical sandbox with three other voices I love and admire so much.

Tell me a little about the uniqueness of this city’s scene, and your take on it. As someone trying to break in myself, would you have any advice to give?

Ashe: I really love the house scene in Seattle. It feels like a community as opposed to the venues. I feel disposable, replaceable, and almost excluded from some of them; this includes the press, as well. It’s almost like high school cliques—same level of pettiness. The house scene is inclusive, organized, and innovative. Sometimes, they bleed into each other so it’s strange, depending on the bands and venues.

Umm, advice...keep playing shows even though it’s very difficult, sometimes, for so many reasons, and be unquestionably genuine to yourself in your approach to everything... really. I’m a bad person to be giving advice after wanting to give up every other show.

Lastly.... if you could be a nut, which nut would it be?

Nozomi: I AM a nut.

Danny: Me too; the really hard kind you can’t crack.

In the months to come, it looks to be the safest bet that Dark Smith (and Danny Denial) will continue to give the Pacific Northwest its trademark dose of catharsis. We can only wait and watch for what this bag of nuts will throw our way.

19

Glass Animals and the

Art of Music Videos

in Quarantine By an Brian Zoë Bri

By Zoë

T

he music video for Glass Animals’ lead single, “Dreamland,” seems, at first, simple— simple concept, simple execution, simple video.

The video begins with a close up on lead singer, Dave Bayley: the room he’s in is bathed in pink light, footage from a childhood scene projected across his face. He is in front of a pink curtain, a cloud made of cotton above his head. As the camera pulls out, Bayley moves with it, the two steadily moving through the room, revealing more memorabilia from childhood seemingly floating in the air. Toys, balloons, a bowl of cereal, photos, and a TV set come into view as Bayley sings of childhood, memories, and dreams. He raises his arm and takes a photo of himself using an old-school Polaroid camera.

At the two minute mark, the tone shifts.

“How the hell am I going to get this up the stairs?,” Bayley sighs, as suddenly, we are in his front hallway. It is strewn with dozens of packages, some opened, revealing filming equipment. The rest of the video shows Bayley’s process as he unpacks and puts together the camera, set, camera track, and more, with only the help of an instruction packet.

This is production in the time of Coronavirus.

The Coronavirus pandemic has caused unimaginable shifts in the music industry. As the virus has made it impossible to gather, studios have closed, albums have been put on hold, and concerts have mostly ceased until 2021. At a time when the world is craving touch, escapism, and community, we are forced to restrain ourselves for the greater good.

And yet, as it always does in times of tragedy and crisis, art finds a way to innovate and flourish. Musicians have begun giving concerts over platforms such as Instagram, Facebook, and even Fortnite, a popular video game. Artists have written and produced music from their own homes, creating quarantine anthems that address the unique stress we are collectively facing.

In their typical fearless fashion, Glass Animals has managed to produce two music

videos during this time. The singles from their upcoming album, Dreamland, (and their accompanying music videos) manage to stay true to the content of the songs while also tapping into the unprecedented moment that we are in.

The “Dreamland” video spends the back half showing what it took for Bayley to create the first two minutes of the video, a sped-up timelapse putting the hard work, ingenuity, and creativity on full display for the viewer.

We see Bayley setting up lighting rigs, building a camera track, and drilling and constructing the set.

There is something intimate about seeing the behind-the-scenes process of how the music video magic was created. There is something even more intimate about the fact this all took place in Bayley’s home. The deeply personal theme of the album is mirrored in this video as it lets us into a world we would typically never have seen. In the same way that we have glimpsed into the personal homes of stars and television correspondents via their livestream backgrounds, here, we are given a peek into the personal life of a musician who has been otherwise mostly tight-lipped.

It feels appropriate that Dreamland, an album so personal and steeped in tragedy and worry, should be released during the current climate. The album is the band’s first since their drummer, Joe Seaward, was in a bike accident involving a Dublin City bus. Seaward has since relearned how to walk, speak, and drum, and has come out the other side.

Bayley has divulged that the album is heavily influenced by this event, though, writing in a statement on Instagram, “The idea for this album came at a time of confusion and uncertainty. My best friend was in the hospital. I didn’t know if he’d make it. The future was damn scary and completely unknown. During those weeks in the hospital, it was so difficult to look forwards that I found myself looking backwards. Digging around in my mind, pulling up old memories, finding comfort in them even if they were uncomfortable in themselves.”

He never could have predicted that by the

time the album was ready to be released, the things will feel safe again or if we will ever entire world would be facing similar fears of a return to what we knew. The people leaning future unknown. out their windows and filming on their On June 28, Glass Animals announced phones reflect our current dependence on that they would be delaying their album’s technology to stay connected to one another release—originally scheduled for July 10— while the empty street and bus reflect how until August. Citing the current political much our world has changed. climate surrounding the Black Lives Matter With “Heat Waves,” the band—which has movement and police reform, the band a history of meaningful and avant-garde wanted to keep the focus on important videos—delivered yet another poignant and conversations and protests happening in the memorable piece. It reflects the state of the wake of the murder of George Floyd by police. world while remaining true to their lyrics, Acknowledging the disappointment that they style, and selves. expected fans to Though it feel, the band involved more released another people than The song is about loss single, “Heat Bayley’s DIY and longing, and ultimately Waves,” and its “Dreamland” video, music video to influence of realizing you are unable to save the make up for the quarantine is still wait. strong with “Heat something…and this video is The music Waves.” You can’t about that but for art, being video for the song help but imagine shows Bayley the camera together, and human contact. walking through operators wearing - Dave Bayley his empty street, face masks as dragging a wagon they film; the filled with TVs production crew behind him. We likely minimized see people in windows filming him with their to one cameraman, one lighting technician, iPhones while he goes by. As he approaches the director, and Bayley, all keeping a six-foot a cross street, an empty double-decker bus distance from one another. drives by him with a Glass Animals poster “This video is a love letter to live music and plastered on its side. He eventually arrives at the culture and togetherness surrounding an empty theatre where he sets up the three it. It was filmed at the peak of the lockdown TVs, each one displaying one of his fellow band in my neighbourhood in East London by the members. lovely people who live around me, just using Pink lights hit the stage as Bayley and his their phones,” Bayley posted in a statement on televised band proceed to perform the song YouTube. “The song is about loss and longing, to an empty audience, finally panning out to and ultimately realizing you are unable to save the auditorium doors which close and reveal something…and this video is about that but a Glass Animals poster declaring that the for art, being together, and human contact.” imaginary show is “sold out.”

With these two videos, Glass Animals has Once a space filled with love, bonding, and once again proven their ability to adapt and acceptance, live music is currently a danger evolve as musicians and artists. Rising to the to our communities. This video speaks to occasion they have produced content that is the ache all music lovers and performers simultaneously longing and hopeful, reflective are feeling right now as we reimagine what and innovative, of the moment and for the the world, and concerts, will look like after future.

COVID-19. It summons questions of when

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Quarantunes for the Masses

By Reegan Saunders

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n a characteristic twist, life has become more unpredictable and messy than expected. Amid the Coronavirus pandemic, we are mourning the loss of Black lives, fighting against police brutality, and advocating for LGBTQ+ rights, while also attempting to find some sense of security for ourselves. We are donating, protesting, and contacting our representatives while discussing racial inequality from our bedrooms. We are taking the time to not only educate others, but to re-educate ourselves as we navigate new routines.

But, when do we take a break?

Yes, it is vital to allocate any time, resources, and privilege we have to fight for major societal change, but it is also necessary to ensure that our physical, mental, and emotional wellbeing are intact. You cannot effectively participate in a revolution if your battery is low. So, how do you recharge?

As shown by an array of blog posts (such as this one from the New York Times), the masses have taken to the kitchen and to craft stores in order to occupy their downtime. And, while seven-layer cakes and home improvement projects are great on the surface, they do not count in the department of processing and recovering from the barrage of information we are subject to daily.

I find the best way to release the thoughts swirling in my skull is to write. It can be difficult to verbalize the way you are feeling right now, and writing is an outlet that allows you to collect and dispense your emotions. Now, you don’t need to write the next “great American novel,” but keeping a daily journal is a start. Take a moment to free write—whether it’s ‘word vomit,’ a poem, or better yet, a song. Those of you who have never tried your hand at songwriting may have audibly scoffed at the idea, but hear me out.

Songwriting is for everyone. It is not some superpower unlocked by those who plan to be on the top 100 lists. Do you remember how, as a child, you would make up songs off the top of your head? Maybe

you simply sang about how excited you were about wearing the color green. Additionally, can you recall the 50 states and capitals song that was engrained in your elementary school memories? You were writing and memorizing songs, then, and you can now.

Writing music is not about having extensive knowledge of music theory, but instead, learning to connect your thoughts. I recommend sitting down for 15 minutes and scribbling down a massive web of anything that comes to mind. From there, you can sort through the chaos and have some fun. (If it’s any consolation a draft of a song I wrote contained the lyrics “the moon doesn’t have any arms”).

When it comes time to figure out the tune, you can sing along to an instrumental track of your favorite song, or maybe watch a video and teach yourself to play a few chords on a guitar! And do not stress out when everything cannot find a way to fit perfectly at first. The purpose of this exercise is to cleanse yourself, not make you more frustrated. Instead of focusing on the parameters of a finished product, empty out the cluttered container your brain has become.

When all else fails, remember my personal mantra: life is unpredictable and messy. Your music should follow the rollercoaster of your personal narrative. Listeners do not need another commercial artist telling them, “we are all in this together,” so, what are you afraid of? At the end of the day, if your song does not end up where you want it to be, you will at least have the satisfaction of a clearer mind and a good laugh. And, maybe, you will have a few words you are willing to share with the world. x If you are looking for a place of inspiration I would recommend checking out these songs that were written about current events: “I Can’t Breathe” by H.E.R. “Lockdown” by Anderson .Paak “2020 Riots: How Many Times” by Trey Songs “Song 33” by Noname “Pandepic” by Whirlybird (available on Bandcamp and Soundcloud)

DREAMWIFE On the Importance of Connection, Quarantine Blues and Their New Album

Written by Erin Christie Photos by Sarah Piantadosi

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ince arriving on the scene with their debut self-titled record in 2018, London punk-leaning trio Dream Wife—Bella Podpadec (bass), Rakel Mjöl (vox), and Alice Go (guitar)—haven’t slowed down a bit (much to the delight of us, fans). From the very beginning, the band have been praised for their similarity to classic riot grrrls of decades past, whether due to their spit-fire, brazen discography or their outspoken, dare-devilish nature.

They have been lauded for their larger-than-life magnitude, their unbeatable energy, and ability to command a crowd after tearing down stages at brick-and-mortar venues and festivals such as Glastonbury, Primavera Sound, and Lollapalooza.

With the Coronavirus pandemic considered, however, the gals have put a halt on any tour plans they might’ve had in mind, rendering a large part of what they thrive off of—the live atmosphere—at a standstill for the time being.

Despite this, the band have spent much of their time in quarantine gearing up for the release of their long-awaited sophomore record, So When You Gonna…, which came out on July 3 (via Lucky Number).

As the record’s multi-genre singles revealed, the album reeks of empowerment, self-discovery, creative prowess, and ultimately, kinship between the three girls themselves. It’s clear that in the two years that have passed since their last major release, they’ve been hard at work, mastering their craft.

It’s important to note, too, that upon its release, the record was the only top 20 chart inclusion to have been made and produced entirely by womxn and released without the backing of a major label!

With So When You Gonna…’s release and the current world climate in mind, we chatted with Dream Wife over email to discuss how they’ve been doing in quarantine, what their album creation process looked like, and what they look forward to most once quarantine ends.

To begin, how would you describe Dream Wife to anyone who doesn’t know you?

DW: We’re three good friends that love rocking out together. We love to play it heavy and hard, and we love to lean into softer, more emotive places, too.

We’re a rock band with a pop sensibility and understand rock’n’roll as an extreme sport.

Which quintessential Dream Wife tracks would you recommend to new fans?

DW: Off the first album, I would maybe say “Heartbreaker” or “FUU” are good places to start, but if you wanna dive into our NEW MATERIAL, “After the Rain” and “So When You Gonna…” are probably the two extremes you’ll find on the album, but it’s a real kaleidoscope of emotions.

It depends on your mood and where your head is at, what will speak to you most.

Aside from the excitement you must feel noting the projects you guys have been working on, the music industry is obviously in a really weird place right now, and things feel very uncertain.

For right now, how are you guys doing? How have you been keeping busy?

DW: Yes, 2020 sure isn’t working out how anyone planned it!!! As a band, we have largely created an identity around being a live band and, obviously, there are no shows!! But we’ve also spoken a lot about how this body of work, the new album, is a piece of work in it’s own right and there is something really beautiful about letting the recordings live a life before we tour them. It’s a new way of understanding what we do! We’re all keeping well, making music for fun, gardening, knitting, just rolling with the punches, one day at a time.

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When I think of Dream Wife, I initially think of the very constant effort you guys have made to push a very feminist, strong-natured, empowering message through pretty much everything you do. Where does your drive in that department come from?

DW: It comes from having not been able to see the space we occupy within music. It’s interesting; I think we’re often read as more explicitly political than we actually are; we’re just three people with opinions trying to do the music industry thing our own way while also trying to open up space for others to engage in the power of rock’n’roll!

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In relation to that same drive, I’m also a huge fan of the podcast series you guys have been doing and the intention behind it. For anyone who hasn’t been able to check it out, can you describe what sort of content they might find when they listen?

DW: So, the podcast started out with us thinking about all the amazing conversations we’ve been having with our friends, peers and people we admire. The thought behind the podcast was for it to operate as a sort of skills share; to get people from artistic communities and learn about how they got to be where they are and maybe encourage people to get into something that they’ve always wanted to.

You guys announced your upcoming record, So When You Gonna…, shortly before quarantine was really set into place (at least in the US) and I’m sure you didn’t plan to release it in the midst of a pandemic either. How has the current climate changed things in regard to the release process?

DW: The timing was wild!! We had spent the first couple of months of the year mentally preparing for the conveyor belt of shows and stuff, mentally preparing to be public facing and on tour away from home most of the time. We announced [the record] on the Tuesday, made one trip out of the house for album promotion to the BBC, and two days later,

Rakel was on a plane to Iceland—because her family was appalled at how it was all being handled in the UK— and the UK went into lockdown a week later. It was when I saw that text from Rakel saying she was going home it was like, ‘Oh, okay, time to rethink what I think is going on.’ It was some serious mental gymnastics to sink into being at home!

What would you have wanted to/ had been planning to do differently?

I mean lots of shows, lots of tours, life on the road, life in the public eye, speaking to people that aren’t your best pals or family…

When going about writing this record, what was your vision holistically? (Or, how would you describe the general idea of the record in a few words?)

DW: I guess our vision was to be holistic! We didn’t really plan it out or have preconceived notions of what we wanted to make but rather tried to show up authentically and truthfully to the process. It all flowed out.

This record’s first single, “Sports!,” is incredibly high-energy and campy. What made you choose this track to introduce fans to the So When You Gonna… trait?

DW: It’s a slap in the face!

It’s high adrenaline! It’s silly!

It can be read on multiple levels! Glad you read it as campy, haha!

A lot of this record seems to touch on a variety of relationships—from platonic, to loving, to solely sexual (i.e. the overt, female sexual energy of “So When You Gonna…”).

Since, during the pandemic, most kinds of relationships are so limited, I think this record could serve as a sort of ode to what once was. What were your motivations in touching on this aspect of life initially?

DW: I mean, we were on tour kinda for a solid two years and, during that time, it was really difficult to show up and be present for our friends and loved ones.

When we stopped touring at the start of last year, it was not only a time to write, but also a time to catch up on all the connections and relationships. When we stopped, it was like realising that we had changed and so had everything else and it was time to build new structures, let go of old ones, and carry it all with a great deal of gratitude.

“RH RN” seems to speak for itself, in discussing how it’s important to take risks and live in the here and now, without fear. For anyone who is struggling with this, and possibly psyching themselves out at the moment, do you have any words of encouragement?

DW: Lean in, remember to breathe, shining lights in dark places is good for you, try dancing

Aside from discussing the external, a lot of this record seems to touch on the concept of self, too. “Validation” speaks on something that I think a lot of people (and especially a lot of women) find themselves constantly thinking about. In regard to feeling “unspecial” and struggling with this, how would you recommend healing?

DW: I would say it’s a case of taking a hard look at where you recieve your validation.

We all need validation; it’s a human need. No one is an island but, like, is the validation you receive serving you? How can you move the power more into yourself?

Feeling the dirt beneath your feet can be a form of validation; the earth is holding you and recognising your weight.

Similarly, “After the Rain” (which is a really beautiful track) is a slight change in pace, taking an introspective look at the relationship we have with ourselves and our emotions. In discussing such vulnerable material, do you ever have hesitations about doing so in such a public way?

DW: We need more vulnerability; we need more honestly. These things need to be spoken about. I think it’s a testament to the trust between us that we were able to hold space for such complex, heavy emotional work.

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Make sure to keep up with Dream Wife via their socials @dreamwifeband (on Instagram) and @DreamWifeMusic (on Twitter). Listen to their new record on any of your favorite streaming services now!

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OCEAN ALLEY photo by THE SAUCE | interview by RIANNE AKINDELE

Ocean Alley is a sextet of long-haired Aussies, channeling the learned lessons of life and the human experience of taking each day as it comes, and putting that into an all-encompassing sound filled with psychedelic funk, reggae, and rock. Having formed back in 2011 after meeting on the beach and attending some of the same schools on the Northern Beaches of Sydney Australia, members Baden Donegal (vocals/guitar), Angus Goodwin (lead guitar), Lach Galbraith (keys/vocals), Mitch Galbraith (rhythm guitar), Nic Blom (bass), and Tom O’Brien (drums) have since released two EPs and three albums together.

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Their latest album, Lonely Diamond, is filled with songs that both ease the mind and take you on an introspective journey. There is an organic quality that comes with the Ocean Alley sound, perhaps due to their writing process of coming together in their living rooms as friends to create— which also means never forcing anything and being honest about what does work, musically.

How are you doing? Things have been pretty crazy here in America; how has it been over in Australia?

OA: Apart from missing live shows, we are doing well. It’s crazy times down here, too, but we’ve been spending the time relaxing and doing as much surfing and fishing as we can. There’s also plenty of time to play and write music at home, so that’s been refreshing.

You guys have been a band since 2011 which means you’ve also kind of grown up together.

Have you learned any important lessons from each other?

OA: So, we met due to growing up in the same area, surfing, and going to a few different schools. From there, since we got along well as teenagers, we kind of found a passion for writing our own music. I guess, one thing we’ve always tried to remind each other of is to have fun and not take life too seriously.

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Was music something all of you had your sights set on doing?

Did you all already have musical ability before starting the band or did you pick up on certain instruments and skills along the way?

OA: Not in the beginning.

Most of us picked up music during high school and then, we just taught ourselves from there. I would say most of our development as players happened after we formed the band.

You’ve said that the recording of your latest album was pretty hectic between touring and tracking in the studio. How did that impact the final sound?

OA: We were able to leave the work we were doing and go on tour to play the old stuff, so when we came back to the studio after a tour, we had fresh ears and new ideas that we could take straight back into the process. Taking our time helped us make each track and the whole record more thoughtful, which was the major difference between this time around and last.

This album is called Lonely Diamond which, from my interpretation, is almost ironic as diamonds are some of the most sought after gems. How did you guys come up with the album title?

OA: We borrowed it from the track called “Lonely Diamond,” but they aren’t necessarily linked in that way.

We thought a cut diamond represented a multi-faceted window that had differing viewpoints of the same subject.

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This record feels like a crowning jewel for us and, hopefully, it remains an honest and true representation of our sound and ourselves.

Normally, after album releases, artists go on tour and promotional runs. This time, that’s quite different. Having this increased time to sit with the music after its release, how are you guys feeling about the project?

OA: In a way, it’s nice to have more time to make sure the live shows absolutely go off when they come back. But, really, we’d rather just be playing this new stuff now.

It will be big and better than last time around, that’s for sure.

When I listen to your music, I picture myself on an epic Indiana Jones-esque adventure. What kind of adventure would you all score your music to?

OA: I’d say a Tarantino-inspired Western.

I saw that you guys are advocates for mental health and well-being. What are some ways you guys make time to check in on yourselves and others?

OA: It’s been more difficult to do that during the last year as we’ve moved further apart, plus this whole lockdown thing. We make sure we take the time and effort to visit each other to hang out and go surfing or fishing.

When we get together to play music, it’s always special, too.

A general check-in with your mate or family to make sure they’re doing ok is a little thing we can all try and do more of.

Though the world has come to a bit of a halt, there has been an incredible push to rid the world of social injustices. With all of this going on, has it affected how you use social media to address world issues?

OA: We have always given back to our community, that’s a very important part of all of our lives. We donate our time and money to charities including One-Eighty and Cerebral Palsy Alliance and are so proud to help make a positive difference in the world. Everyone should do their best to make the world a better place. That’s what we need right now.

Thank you to Ocean Alley for having a chat with us all the way from Australia. Be sure to support the band’s latest release, Lonely Diamond, and watch the visualizer for an added experience!

MEET: RIANNE AKINDELE INSTAGRAM: @radicalrianne Meet Rianne, a music lover since birth who has now joined in on the creative documentation process through her artist interviews and concert photography.

Taking up concert photography added a different dimension to her experience attending live shows that she absolutely loves. There’s something special about having the first fifteen minutes of a show to try and capture those special moments.

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s a young Black woman, I was drawn to the narrative Jon Henry created in his photography project, “Stranger Fruit.”

Growing up, I was always taught to be wary of cops—to hold both hands on the wheel if I am pulled over; to speak clearly and, when I am looking for my driver’s license and registration, to tell the officer so they know I am not searching for a weapon. However, in the wake of the recent police-related deaths of Black men, women, and children—including George Floyd, Elijah McClain, Breonna Taylor, Brayla Stone, Tatiana Stone, and others—it is clear to me that no actions, no show of kindness, can protect us from the reality that people still refuse to say “Black Lives Matter” and that overfunded police departments reinforce our current system of oppression.

“Stranger Fruit” confronts the reality Black mothers and siblings must face when a member of their family dies at the hand of the police. How does it feel to hold your son in your arms? With this in mind, I discussed the series with Jon Henry himself to learn more about his creative process and the intentions behind the project.

To start off, I’d love for you to introduce the series, “Stranger Fruit,” and discuss where that began.

Henry: So, I’m Jon Henry. I’m from Queens, New York. The project “Stranger Fruit” began in 2014 as a response to the murders of African American men due to police violence.

Using the Pieta, Michelangelo’s sculpture of Mary mother of Christ holding the dead body of Christ, I used that as the vehicle to photograph African American men and their mothers across the country.

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Why did you choose the Pieta to portray the mother/son dynamic?

Henry: It made the most sense for me. I was thinking about this intense suffering—you know, obviously, the passion and all the stuff from the bible; the heightened moment of suffering and this incredible amount of grief. But, then, translating that to the community, it was a very close parallel for me because, when these tragedies happen, all I think about are the mothers, and families in general, but in particular the mothers. So, that mother/son dynamic is what guided the project. That’s how I landed on the Pieta in the first place.

I know in a couple of your images you switch the format—it’s a mother alone in a room. Why did you choose to change it?

Henry: I thought the project would be too redundant if it was just the mother/ son images every single time. I wanted to give the viewer something to hold their attention. So there are these images of the mother in isolation— sometimes, you can sense that there is a second presence that’s there, that’s missing; sometimes, not so much. But, basically, it’s a tie back to the mothers that have lost. How do their day-to-day activities look after the event?

What does it look like a week later? A month later? Six years later? How are you supposed to go on as normal after these terrible events have happened? So, [I used] the environment— the rooms, the open space—to help the viewer to get into the mindset of the mother.

How did you then select your subjects and your locations?

Henry: The subjects are just through the network—through friends of friends reaching out and saying “this person might be interested, reach out to this family.” Some people reach out independently via social

Written by Reegan Saunders Photos by Jon Henry

media, but most of it is through the network.

California was a bit different because I went out there for the entire month of May last year and just was on the streets, looking for people and talking to folks, going to events, and trying to make connections.

So, you traveled a lot for this project. What are your takeaways from traveling and shooting?

Henry: It’s critical to travel for the project because I’m from New York, and I could shoot the project just in New York, but this is a nationwide, if not global, issue. It’s important to get on the road and shoot with as many backdrops as possible. So, I’ve been to Buffalo, NY, Rhode Island, Alabama, Texas, Little Rock, California, Chicago, Florida, and a few other places. So, all of that helps round out the project and put everything together. There are still a couple locations I’m looking to visit hopefully this year. All of the travel has been postponed due to the virus.

How much longer do you plan on continuing this project and where do you want to take it from here?

Henry: So, this whole year basically started with trying to make this the last year to shoot.

I’ve been working on this project since 2014, so, I’m ready to wrap it all up. I really only have 3 or 4 more locations that I really want to go to. I was supposed to be in St. Louis in April, but that had to get postponed as everything came to a screeching halt. You know, Utah and Omaha and maybe one other location after that—either Nashville or Atlanta. And that’s pretty much it. And then we start working on the book, as this is destined to become a book.

That’s really cool! I noticed you use Kodak Portra 400 film, talk to me about why you chose that film. And do you edit afterward, or are these the raw images?

Henry: There’s always a little bit of editing as far as dust and scratches, and minor color and contrast corrections, but outside of that, there’s no crazy editing going on. Things aren’t being removed, things aren’t being cropped out. The simple reason for the film choice is because I’m photographing people, so I needed to be able to have a higher ISO for my film, and for 4x5, ISO 400 is the highest that they offer. So, it makes the shooting element of how deep an F-stop I can shoot at—it’s the only way.

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And so, who are your inspirations, not only in photography but in life as you are working through this project?

Henry: As far as the project goes, there’s a laundry list of inspirations— of course the classical inspirations of Michaelangelo, Titian. But, there are also a lot of contemporary artists who have helped shape the project—Renee Cox being one, Dr. David Driskell being another, Andres Serrano, Kehinde Wiley... these are all artists who have helped greatly shape the project in its own way.

And, of course, there are so many other artists who have had a hand in me looking at the way that they work and then using that in my practice.

So, my last question is what advice do you have for young Black creators trying to find a way to share their voices?

Henry: Your voice is incredibly important.

And, whatever it is that you are interested in, follow through with it. Now is a time where people are paying attention.

I don’t know if that’s the right thing to say, but 15 years ago, because social media wasn’t as big a thing, it was hard to really get these voices out. But now, especially with what’s going on in the past few months—really the past couple years, with people really pressing for representation and inclusion—those stories are really important, and now you can really get that work out there. So, it’s just important to be true to yourself and to photograph or document whatever you are interested in. It’s always going to have your own flair to it and it’s always going to be authentic coming directly from you.

Jon’s project has been shot and displayed across America, and you can find the images on his website (jonhenryphoto.com) and his Instagram (@ whoisdamaster).

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Untitled #35, North Minneapolis, MN

B A O T Y AT

interview by LAURA GERHÄUSSER photos by MAYA RICHARDSON

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tta Boy are back! After releasing their first-born, Out Of Sorts, back in 2012 (with no expectation of success), the LA-bred band—made up of Eden Brolin (vocals), Freddy Reish (guitar), Lewis Pullman (drums), and Dashel Thomspon (keys)— earned a lot of love on Spotify and other streaming services.

Despite their rising success, they took an eight-year break from music soon after.

Personally, I’m excited to have the music out there, and it was so much fun to record.

We got it done right before quarantine started.

The recording itself?

Before the release, I sat down for a chat on Zoom with Eden and Freddy to discuss the reasoning behind their eightyear-long hiatus, the process of getting the album together, and what’s in store for them next.

Freddy: The mixing. My last day in the studio was a Thursday and then, the next day, everything started shutting down.

Eden: I’m excited and it’s one of those things- cause we’re kind of strange as a band. For the last record, we just put it out there without any sort of expectation. Music has always just been a fun thing for us to do; it hasn’t been terribly consistent. We just felt out when it was going to happen again and then, it happened. So, I think releasing it just sort of as-is, and letting people that want to listen to it, listen to it, and letting people find it- I like that it has stayed [in] this low-pressure situation.

It’s not long until the second album is coming out. Are you excited, nervous?

Freddy:: I guess I’m excited...

Freddy it’s been a long time since our first album came out and then, also, with all of the protests going on in the US, [the release of the album] doesn’t feel as important.We had lots of talks as a band to push the release day, but then Eden brought up a good point the other day—that there’s no point in waiting until things are back to normal. The protests are going on because things shouldn’t go back to normal.

It is quite unusual for a band to release their first album and then, 8 years later, release the follow up to that. You guys started as a high school band, so is the first album a collection of what you were up to in those days?

Freddy: We started in our senior year of high school. As far as the first album goes, the song, “A Dog’s Adventure,” was Lewis’ jazz-band composition. We all had to write compositions for our senior project and that song was his. Eden hadn’t put any lyrics to it at that point; we hadn’t even considered taking it on as a band. We graduated from high school in 2011, we recorded the album in 2012, and when

Thankfully, on June 26, the band finally released their long-awaited second album, Big Heart Manners. Warm, compassionate indie-pop meets country sounds that wrap you in a cozy blanket on this wonderful compilation of feel-good-songs.

Eden: It’s just always been kind of nice to be like, “Do you want to do this?” And we got really lucky ‘cause we had friends and family supporting us financially and emotionally. But, at the same time, as much as I missed the boys over those eight years, I’m happy that it happened this way, as strange as it is. I just think it’s kind of a funny story, and I like that it’s part of our lives and story.

Is that also the plan for the upcoming album? To just see what is going to happen?

Freddy: I think the whole idea behind the band is this low-pressure situation. We’ve talked about it- our intentions are to just disappear for eight more years. We were talking about touring before quarantining happened and we’ve had people reach out to us and talk about touring the album. Right now, we’re not in a position to do that, but we definitely wanna play shows.

What was the first initial spark to start making music together again?

Eden: Okay, Freddy doesn’t get enough credit for that part! Because he’s been asking at least once a year if we’d be willing to get started againeven the most minimal thing...

My own relationship with music was very iffy. Freddy kept coming back to it and asked us consistently. Lewis, our drummer, said,“You know what we should do guys?

We should record another album!” And we were like,“Yeeeah, let’s do it! Why didn’t we do that before?” That was when we started to share more music and to get the

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That was when we started to share more music and to get the ball rolling on setting dates on going to the studio.

How did the songs come about?

Freddy: Each song was pretty different. Sometimes, two of us can go off and work on a song. Eden, with both albums, came with about three songs that [were] just done. And then, the rest of it is just me, Dashel, and Lewis struggling and asking Eden if she likes the chords we’re playing.

Eden: We just toss ideas around and the boys are sharing musical ideas with me and wait for me to have something to sing to, which is a slow process for me, for sure. The aspiration and short timeline put a comfortable pressure on it. I think that was kinda nice ‘cause a couple of neat ideas came around.

In the song “Lucky,” you sing about “Big Heart Manners,” which is also the title of the album. Does that have any specific meaning for you?

Eden: I love that song, ‘cause we all wrote it together and it was awesome. Freddy, you came up with that title, didn’t you!? It’s just another saying for good manners. Even if people treat you like shit, as a person, you’ll still turn around and do the best you can, by just being kind- acting with your heart, rather than your brain and ego.

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Do you have any musical inspirations before writing and recording? Can you share the last couple of albums you’ve been really into?

Eden: I think it was Lewis who started a Spotify playlist with stuff we’d been listening to.

He’s really good at sending us songs with specific sounds that we could try with our own songs. He’s the first to throw in influences directly; it’s so helpful.

Freddy: We just test out a lot of different sounds. We hear the lyrics, and then we’re just figuring out the best way the song is going to sound, and the most fun we would have playing it. But, I don’t think the point of our band is to be defined by our sound; I don’t think we wanna be trapped in that.

All of your songs’ titles on the album are one-worded. Did that happen organically or was it part of the plan?

Eden: When we were working with the original song titles, I just didn’t like the way it looked. When we decided to order the tracklist, there was just something about the length of the titles that was just really bothering me for some reason.

Freddy: Most of them were one-worded already, anyways. Six of them, I think.

And then it was weird having every other one [be] more than one word. We had a lot of working titles, as well.

“Broke” was called “Eden’s piano song” and “Night” was called “drone thing.” We’re also going to have vinyl with Lewis’ handwriting on the back and it looks amazing.

Interview by Caroline Rohnstock Photos by Josh Nesden and Rosanna Jones

London-turned-Sydney-based singer-songwriter, Mali-Koa, has been steadily making a name for herself due to her powerful songwriting skills and music videos. Since she released her debut single, “Honest,” in 2018, listeners have been enchanted with her voice, stunning melodies, and lyrics. Her songs often come from a place of vulnerability and invite listeners to be honest about their emotions.

Touring with acts such as Nina Nesbitt, MAX, Tessa Violet, and Etham gave Mali-Koa the opportunity to share her talent with the world. Her 2019 single, “Sorry,” has currently reached over 3 million plays due to its genuine and inspiring message. Its music video is also impactful, exploring the power of apologizing to important people in one’s life.

In addition to her strong singles, Mali-Koa recently collaborated with hitmaker JP Cooper on his single, “All this Love,” and has a cut on G-Eazy’s Platinum album, The Beautiful and the Damned. With two new singles—“Some Things” and “Me Before You”—on her repertoire, Mali-Koa is successfully continuing to share her unique voice and style of songwriting.

One of her latest singles, “Dancer,” for example, is a refreshing pop song, complemented with uplifting lyrics about self-belief and confidence. The music video for this single is an elegant spectacle, showcasing Mali-Koa’s graceful dancing alongside a group of interpretive dancers. With songs and music videos this striking and impactful, as well as an already large following, Mali-Koa is well on her way to stardom. That said, I got the chance to ask Mali a few questions about her singles, designing her music videos, and plans for the future.

Your single, “Dancer,” has a beautiful message! What inspired its theme?

MK: The day I wrote “Dancer,” I thought to myself, “Stop trying to write songs to prove something to yourself or to others.”

I had been making music for years and managed to slowly construct these limitations around myself—it’s the same sort of pressure, criticism, and comparison that I know everyone can relate to. I was very aware of those voices internally and externally. “Dancer” is about taking that all on, and moving through it.

The music video is empowering and such a graceful display of dancers.

How was it to experience the song coming to life in this way?

MK: Being able to see someone interpret my song into movement was so incredible! Darcy Jane Wallis nailed it in every way—the choreography felt both honest and authentic, whilst, at the same, time fluid and cool. Whenever I’m doing a video, I want the concept to feel purposeful and add another layer of meaning. I think the choreography really helped me to show everyone the ‘feeling’ of the song; it was an important visual element.

Your new single, “Some Things,” explores the concept of change.

What advice would you give to anyone out there who may have felt some challenges when experiencing change?

MK: I realized when writing “Some Things” that change ​was one of those unpredictable things in my life. When coming to the end of a relationship, certain aspects of change were obvious and others were more subtle. Sometimes, the shift doesn’t happen for a long time and you wonder if it ever will. In my experience, it almost always does, haha, but it’s an interesting thought. I read once, “If you want to change, you have to be willing to be uncomfortable,” and that’s really helped me along.

You filmed and directed the video for “Some Things” yourself—how did you find the process and would you do it again for your future videos?

MK: Stressful, do not recommend- kidding...well, I’m sort of kidding. Doing this video proved to me that I’m capable of making the best of a difficult situation, whilst also giving me a renewed appreciation for the other people who usually help me with visuals. Other important things I learned through the process include: -The longer between filming days, the more obvious brown roots are against your grown out platinum blonde fringe -Throwing your phone at a wall is not helpful when trying to use the same phone to film -Having to do makeup and hair during a pandemic is a resentment you will have to become OK with -You absolutely can make a video with little-to-no budget, but it might just push you to the latter side of a mental breakdown (but it’ll be worth it) Both “Dancer” and “Some Things” are singles taken from your upcoming debut album. What has the journey been like creating the album and what can your fans expect from the album?

MK: They can expect more stories of love and lost love, and a few more reflective and personal moments. As this project is my first, a big part of it was wanting to share a few important stories that I felt I’d grown from.

Your song, “Sorry,” is very impactful (especially considering the music video). Discovering the power of saying “sorry” really strikes me; I love how there are many different people portrayed in the video that are discovering that power. What was the process like creating this song and music video?

MK: Making​“Sorry” was such a great pleasure for me; [it was]

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so amazing to see a small idea from the studio turn into something so impactful. The song was the first layer—a simple story about lost love—but the video looked at the themes and lessons of love in a bigger context. Sometimes, something or someone has taught me something subconsciously valuable that I can use in other parts of my life.

Your songs sound like they’re coming from such an honest and vulnerable place. How do you channel that into your writing? What does your songwriting process look like?

MK: I​want to always try to say something with my songs. I appreciate the ups and downs of life, so it only ever felt right to be as honest as possible. I usually write ideas down at home before sessions. I recently started reading more poetry and have been writing a little bit, which is a new

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thing for me. I also consume a lot of current music so I am really inspired by other genres and writers. My strength is in melody, so I gravitate towards that first. I’ll usually have an idea of a title or something to start with or grow from, as well.

Do you have a certain lyric or song from another artist that inspires you to write?

MK: If​we’re talking songs I wish I’d written that inspire me to try and tell a story better, I think “I Can’t Make You Love Me” by Bonnie Rait, “Dreams” by Fleetwood Mac, and “Jealous” by Labrinth.

There’s also a quote from Paul Simon that says “It’s very helpful to start with something that’s true. If you start with something that’s false, you’re always covering your tracks. Something simple and true, that has a lot of possibilities, is a nice way to begin.” I’m always learning about the best way to tell a story.

What musical influences have inspired your sound and style of songwriting?

MK: I am a massive fan of Bon Iver and Francis and the Lights.

I love the narrative songwriting and storytelling on the first two The Script albums or Mumford and Sons’ Sigh No More or Delta.

Also, Coldplay and Chris Martin; One Republic and Ryan Tedder.

Sia is someone I really admire as a writer and artist, too.

Do you have a dream person you would like to collaborate with?

MK: Sia or Chris Martin. I once got on a plane with Chris Martin from London to LAX—I was very tired and did not look good and, obviously, he couldn’t see me in my “prime pop get-up.” Anyway, unfortunately, I didn’t get a word in but I was definitely sending out all my good karmic energy so I am looking forward to that collaboration.

What did you learn during your experience touring with artists such as Nina Nesbitt and MAX? MK: It’s fun to perform with other artists; it’s cool to see new faces and fans! A lot of my learning was about taking my songs acoustically and trying to create a memorable set and experience for anyone watching. I haven’t performed any of the new stuff from the album yet so I’m really excited to do that as soon as gigs are happening again.

What can we expect from you in the future?

MK: Less offensive hair regrowth, continued home Zoom calls in my pyjamas, lots of new music. I’m looking forward to performing and meeting some new people when this all blows over!

Be on the lookout for Mali-Koa’s new singles, “Some Things” and “Me before You,” to add to your quarantine playlists! Her debut album is also on the horizon; expect lots of new music with her unique voice and songwriting style!

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THE RODNEY CHROME EXPERIENCE Written by Trystan Calado Rodney Chrome, a 20-year-old Black queer artist that grew up in Little Rock, Arkansas, currently resides in New York City, where he attends New York University.

Through his art, Chrome unapologetically breaks boundaries, taking aspects of timeless R&B and sprinkling in electronic influences to create a sound that gives you a glimpse into a futuristic, chromefilled world.

Before pursuing music, Chrome grew up expressing himself via dance at a company called “Dance Dynamics.” Dance rehearsal was a highlight for him; a safe haven. However, he always knew he had a special place for music.

“For my 12th birthday, I got my first microphone,” Chrome recalled. “And, every night, I would sneak into my mom’s closet [to use it]—’cause mine wasn’t big enough to record.”

Music became a fun pastime through which he could express himself by writing songs and simply communicating his love for singing by using his little mic.

His mother recognized his passion for music blossoming, knowing deep down that he was becoming an artist in his own specific way.

“The art of understanding who you are within a world that throws every societal pressure at you, to conform an image that limits your full potential as a queer individual.”

After discovering his love for music and allowing that love to grow, he began to recognize his potential as an artist, to a point where he knew he had to make music what he did for the rest of his life.Then, Rodney Chrome was born.

There is an abundance of artists that can make you feel infinite, and listening to their music can inspire you in ways that help articulate your taste and build who you are.

For Chrome, Beyonce is one of those artists, and her self-titled album was a monumental influence on his early career. “I’m a very visually driven artist,” Chrome says.

“So, studying [Beyonce’s] videos such as ‘Haunted,’ ‘Ghost,’ and ‘Superpower,’ made me feel a rush I couldn’t explain, but now, I understand it was my body gravitating to what would be my calling.” You can see her influence in his craft, but,

in general, the visualizations and photos that connect with his music are very pleasing and always carry such a bigger meaning.

With finding inspiration at such a young age, too, one’s identity plays such an important role in determining the stories and experiences one decides to share with a bigger audience. For Chrome (being a Black queer artist), the communities he is part of are like family, groups of like-minded individuals that can navigate with him through a world that is not the most accepting of artists like him. That said, his identity is evident in his craft.

After long vicious days in class, Chrome finds relief in heading to his friend’s dorm and sharing various beats they made, collaborating and freestyling to see the various lyrics they can spit on

the spot, evident of the fun songwriting can be for every artist. In these accepting, loving environments, Chrome feels comfortable with the ability to express himself, which helps elevate him into the best musician he can be.

“It’s so beautiful when I can just vent to my friends about the same struggle of feeling like we’re all running in the same place or no one hears us out and them knowing exactly how I feel as a Black creative,” Chrome explains. “We all hold each other accountable and make sure that none of us are slacking, and that we are always moving toward something much bigger than ourselves.”

Last month, Chrome released his first studio album, QUEER PRESSURE. This album gives a glimpse into his struggles as a Black queer individual in the South.

“It’s the project that I wish I could’ve heard as a kid,” Chrome describes.

“I wanted to open the dialogue of every emotion associated with the anxiety and pressure for these unheard voices, while creating a record people could listen to and acknowledge that someone finally understands where they come from.”

Chrome is very expressive lyrically, and his music carries raw emotions and ideas (including themes regarding sex, love, and insecurity) that can resonate with the Black queer community. Through his lyrical genius, Chrome takes your hand and guides you through his experience with baby smooth melodies and dreamy vocals that make it feel as though you are watching a nostalgic VHS tape. He gives you no choice but to dissect every emotion that is carefully tucked into every bar with soft, yet harsh tones regarding the world he wakes up to every day.

Throughout QUEER PRESSURE, Chrome utilizes an abundance of voicemails that recite stereotypical phrases many queer youth might hear from people close to them.

Being a Black queer musician, Chrome has faced various obstacles his whole life and including such real conversations about the struggles Black queer artists go through in this album really makes it a mirror for his Black LGBTQ+ audience. It’s as if the album is a trail of breadcrumbs and they’re slowly picking up pieces of themselves as they listen.

The vulnerability Chrome shows is one of the most admirable qualities an artist can have. In facing these harsh realities, this isn’t just helpful to those who can relate to his struggles, but it’s eye-opening to those who are not able to relate.“So many times, I lacked self confidence because, growing up, I never felt like I had someone who looked or expressed themselves like I did within not only the industry, but my community,” Chrome says. “I know that the music I am making serves a purpose for so many people who look and feel like I do. I come from Little Rock, Arkansas, I am Black, and I am also queer. That mixture in America is one of the least successful combinations that you could be given to someone.”

Rodney Chrome is an artist that puts a magnifying glass on the Black queer expirence. Through beautifully transitioned songs, he is giving pieces of himself to a world that may not be able to understand him. His music, in that sense, feels like a love letter to his Blackness and his queerness—as if he is taking various entries from a lifelong diary of hurt, pain, and love to help his listeners if they also have that hollow feeling of not seeing themselves represented in a world full of potential. QUEER PRESSURE, in that sense, is an album for Black queer children all over the world, to remind them that there is always a place in music for them.

“I know that I have to keep creating so that one day, the same kid that feels the exact same feelings of denial that I once did has someone like myself to look up to and say ‘you know what, life might be tough right now but if Rodney Chrome can make it to where he is, then I damn sure you can do the same.’”

Track 01: The Regrettes - What Am I Gonna Do Today?

With a song that asks the question many of us are faced with every day now, The Regrettes prove that they can make magic even when distance is involved. “What Am I Gonna Do Today?” has an incredibly dreamy sound that brings an element of tranquility.

Although the song was written before the pandemic hit the States, its May release offers some relatability and comfort. The song, music video, and cover photo were all taken care of remotely, so it goes without saying that the band is unstoppable.

By Kylie Warrix

T

o many, music is an escape, and let’s be real, these past few months of quarantining and social distancing have got everybody itching for a getaway.

Although traveling isn’t the easiest of things to accomplish right now, many artists have been releasing music during these times which helps make staying at home a bit more exciting.

So, sit back, relax, and read this list to try to find some new inspiration for your next athome dance party.

Track 02: Aminé - Riri When Aminé dropped this song on May 28, I knew I had to stop what I was doing to give it a listen. Every single song he releases is almost guaranteed to end up in my library, and “Riri” is no different. With this track, Aminé immediately packs a punch as the bass kicks in right after the first (iconic) line, “You love Rihanna, but you ain’t a savage.” The song only gets better as it progresses, so when you’re looking for something fresh and fun to add to your playlist, definitely keep “Riri” in mind.

In preparation for his new album Limbo— which comes out on August 7—Aminé also recently put out a song featuring Young

Thug called “Compensating.” Both songs are extremely promising, so be sure to save the date and give the album a listen when it’s released!

Track 03: Boy Pablo - Hey Girl This song completely captures the warm and laid-back feeling of summer. “Hey Girl” is all about the initial nerves of falling in love, and although lead vocalist Nicolas Muñoz is “scared as hell,” as the song expresses, the instrumentation is super upbeat and genuinely fun to listen to. Crushes and new feelings can be a bit tricky to navigate, and the lyrics do an excellent job of portraying just that. The music video, released June 17, is just as light-hearted and takes a rather comical approach. Open up your windows, breathe in the summer air, and turn up the volume for this one. “Hey Girl” will definitely be a summer staple!

Track 04: Spencer. - I Had A Dream Released on Juneteenth, Spencer.’s “I Had A Dream” is short and sweet at just under two minutes long, but it’s still enough to completely captivate listeners. The sound is so soothing, yet so groovy, which I absolutely love. Another aspect I love is the fact that all proceeds made from this song are going towards the Boys & Girls Club of Rochester. On top of that, the Friday

it was released, Bandcamp donated all of their share of proceeds to the NAACP in honor of Juneteenth. Therefore, buying Spencer.’s track on its release day—and any other song on the platform, too—meant supporting good music and a couple of good causes! It was a win-win.

Track 05: Julien Granel - Bagarre Bagarre Are you in the mood to be transported to a cool, trendy nightclub somewhere in France? Well, this track does just that.

With an addictive beat that makes you want to get up and move, “Bagarre Bagarre” is the perfect song to lift your spirits.

French artist Julien Granel dropped this upbeat dance track on June 11, prior to the June 26 release of his EP of the same title. Holistically, the EP offers four more songs that are just as fun and energetic, so if you like what you hear in “Bagarre Bagarre,” you will not be disappointed. Don’t speak a lick of French? Don’t sweat it! Music transcends all language barriers, so don’t be afraid to branch out.

Although we are living in a period of uncertainty, taking a moment to check out some new music can help shake things up and make time go by a bit faster. Keep on jamming, dancing, and singing along—but most importantly, keep on staying safe!

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JAKE LEMOND

D

uring this age of Covid-19 where live music is not an option, newer artists are getting their time to shine as all music lovers search for their newest quarantine obsession. One of those artists happens to be up and coming singer songwriter Jake LeMond.

Hailing from Michigan, LeMond has had a lot of experience performing with bands from the area and is now taking an exciting turn into the realm of solo music. With lyrics that seem so effortless yet so personal and rich vocals that easily soothe any listener’s mind, it’s easy to see why he is gaining such traction.

Between the craziness of quarantine and releasing new music with another project, I got to chat with LeMond about all things solo music, touring, and much more.

You recently put out a stunning music video for your newest single “Illusion”. What was the process of recording like? Can you give us any exclusive behind the scenes moments?

LeMond: Thank you! That was my first time ever making any kind of music video so I was very weary about even doing one in the first place.

It was shot with Matthew Pemental, Ariona Kalaj, Cameron Morin and Dylan Grantham, and I basically met Mathew and Cameron that same day. Mathew pitched me the idea while I was on tour and then we sent each other some ideas back and forth for a month or two. The whole thing ended up being shot morning to night in Ypsilanti, Michigan with the exclusion of the supermarket scenes which were done in Ann Arbor. It was shot with basically no budget so we had to ask all of these places if we could just go in and film for free and they

BY HAILEY HALE

ended up giving us as much time as we needed for the most part. We all had a great time and I think that really shows in the video. The only other exclusive behind the scene moments I can think of would be me getting a parking ticket that day, and leaving a pair of pants and a t-shirt backstage when we filmed the talk show segments. I sadly still think about those clothes.

I know that you’re currently in a few bands aside from this solo project so, what does it mean to you to have music released under your own name as opposed to releasing music with others? How does the process differ?

LeMond: I’ve spent the last two years on and off the road with Michigander and Hala, while I love touring with my friends, it feels great to finally be putting out music under my own name. With both bands we’re just friends traveling the country together playing music, sharing beds, driving all day and doing whatever we can to keep ourselves busy in a van. When it comes to my own music though I’m not on anyone’s watch but my own, which can be a good and bad thing. I tend to question and over analyze everything when it comes to my own music so that sometimes means it takes awhile for something to actually make its way out into the world. A couple things have been pushed back as far as recording goes because of the lockdown but I’m getting a plan together for more releases this year.

You opened for Mt. Joy in February at their Michigan show, which is huge, how were you feeling in that moment? How did that come about?

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LeMond: Yeah, that was a great show. We got to play at Dimnent Chapel which was built in 1929, it was pretty breathtaking in there and it’s probably the best I’ve ever heard myself onstage. Michigander had the chance to open for Mt. Joy quite a bit so that’s kind of how the connection was originally made. I also released my single Illusion a week or two prior to getting the show which received some traction on Spotify and was added to a couple big playlists which I think also helped. The very next day I ended up getting to see them open for The Lumineers in Detroit which was pretty surreal seeing a band I just opened for now playing an arena. Everyone in Mt. Joy and their crew is great though, and I’d love to do more with them in the future.

Since you haven’t done a full tour as Jake Lemond, can you pitch to the readers what a tour of yours would look like?

LeMond: I’ve really thought about this question a lot while on the road with other people.

Touring can mean so many things these days, it can be weekend runs, a month, a few months,

sometimes even longer. Who knows what touring will even be like after all this or when it will all pick back up again. I don’t quite have the platform that the bands I play with have, so a Jake LeMond tour would probably start off as short runs in places like Detroit, Chicago, New York and Columbus then build from there. I was talking to a few friends in those cities about playing this year but that’s currently on the backburner at the moment. If your readers were to see me live though they can expect to see me on stage with a bunch of close talented friends having a good time and hopefully putting on a memorable show.

Listening to your music I’ve noticed that your lyrics are very personal, how does it feel to put yourself out there like that? Was there ever a moment of fear before a release and if so how did you overcome it?

LeMond: Writing music is really the most natural thing for me to do, so it feels great to write a song and even better when I know it’s finished. A lot of my lyrics tend to be very personal, but I write what’s on my mind at the

get things out and let to e m r fo ay w a is ng ti “Wri king the process.” in th er ov t no le hi w go things

time without worrying too much about what people will think. If I did worry I would probably drive myself crazy. Writing is a way for me to get things out and let things go while not overthinking the process.

festivals I would watch some of my favorite bands play. The crowds always seem like they’re really present which is somewhat rare these days, and I’d like to think it would live up to my expectations.

If you could describe your music to new listeners in 3 words what would they be?

LeMond: I’m honestly not very good at doing these sorts of things. Whenever I show my dad a new demo he always says it’s “alright” so I guess that would be one. But on a serious note, I don’t really know. You mentioned that my music is “personal” so I would say that would be another one. I’ll let the readers come up with a third.

Lastly, is there any new music or projects that we should be keeping an eye out for? If so can I get a hint as to when it will be released?

LeMond: Yes! There will definitely be more music from me. During lockdown I’ve been able to finally write and demo more which has been great. I plan on releasing another single or two and that should work its way into an EP, that’s the plan at least. I’ve also been working on music with my girlfriend as Hickey Eyes and we’ll put out a single in June. I’ve even gotten to write on some stuff for other people that should be coming out this year, so I’m looking forward to that too.

I know you were supposed to play SXSW this year, and it’s a total bummer that that couldn’t happen! But, if you could perform at any festival anywhere in the world, which would it be and why?

LeMond: Yeah, I was really bummed about that. We were going to be playing a lot of other festivals this summer that were on my bucket list too, so I’m really hoping we’ll get to do those next summer. But if I had to pick one it would probably be Glastonbury. When I was younger (and even now) that’s always been one of the

With the promise of new music and shows that will be unforgettable on the horizon, it’s safe to say that Jake LeMond is definitely an artist that you should keep a close eye on. Make sure to check out his newest single “Illusion” available to buy or on any streaming service now, as it truly is our newest obsession.

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