Listen Mag 004 // Max Leone

LISTEN MAG A New York based online-print publication that brings your new favorite artist to the surface.

STAFF Christopher Walsh Founder chris@heylisten.org

Stephanie Ramirez Social Media Director @stephhrmz

Simran Sharma Editor-In-Chief @xosimmy

Belinda Ung Deputy Editor @belindaung

Enkhlin Tsogtbayar Creative Director @etsog Sam Morgan Creative Consultant @futuredegramps

CONNECT Instagram: @listenxmag Twitter: @listenxmag listenmag.xyz

CONTENTS

SNAPSHOT HAVIAH MIGHTY LYNN SAVARESE FISH THE KID BILLY LA SIGNY CATHRINE KHOM MAX LEONE SECRET ATTRACTION PLAYLIST HUCK VILDA RAY

004

Issue 004 is our first issue of 2020 and I couldn’t be more excited that it’s finally out! It’s been about over a year since we put out our first issue and I’m very proud of what we accomplished so far. I feel that everyone featured within this issue continues to push the boundaries of music and art through their unique styles. I’m extremely excited and honored to have Max Leone grace the cover of Listen Mag for this issue, I truly feel that he is going to shift the current standing of pop music.

Throughout this issue, there will be Spotify QR codes. To scan them, open your Spotify app, hit the search button, click the camera icon, and boom that’s it.

Until Next Time, Chris

snapshot photos from isla mujeres, a small island on the coast of cancun. photos: christopher walsh

m e x i c o

HAVIAH MIGHTY WORDS: CHRISTOPHER WALSH PHOTOS: CHRISTOPHER WALSH

Referring to Haviah Mighty as just a female rapper would be an injustice. The Toronto bred multifaceted artist is making waves throughout the music industry with her critically acclaimed debut album, 13th Floor; a project packed with ominous beats that jumps through genres seamlessly. The number 13 takes on multiple appearances in our culture, just like how the number represents bad luck, throughout her album Mighty takes on different interpolations to the number thirteen, she referred it to the superstition of buildings missing a 13th floor to turning a blind eye to racism within our society. Spread across 13 tracks, Mighty touches upon critical issues such as racism and gender politics.

Much of 13th Floor is storytelling, and Haviah Mighty is the most compelling storyteller out there, mixing mindful verses with a unique and fresh production. Her approach feels safe, conversational, and very welcoming. Prior to the creation of 13th Floor, Mighty has always been surrounded by musically gifted family members. Her family is her central nucleus and acts as her creative team, her sister Omega Mighty is featured on the dancehall track “Wishy Washy� while her little brother is her main producer.

We had the opportunity to sit down near the Seaport with Haviah and chat with her more in depth about the creative process behind her critically acclaimed album 13th Floor.

HIP HOP’S NEXT ICON Do you mind introducing yourself?

My name is Haviah Mighty, I’m a singer, rapper, and producer from Toronto, Canada.

When did you start making music?

I started making music at a very young age. I started singing at around four, I was in singing lessons until the age of 11. But I believe I started making my own music at the age of 12 when the music lessons ended, there was a void of free time and all this creativity. It was the age where I was old enough to have access to a computer and learn download files.

I read you were super musically influenced as a kid.

Yeah, my sisters are all piano players and singers. My little brother is one of my main producers. I was just surrounded by a family of creatives.

I also wanted to bring up your affiliation with “The Sorority.”

The Sorority is a cool thing. At the beginning, I was a solo artist. I became a solo artist in 2009, so in 2016. I had made a ton of creative strides but not many monetary or marketing strides. I wasn’t putting my music out and wasn’t understanding how to connect to anyone. I was a bedroom artist very much so. In 2016, I was invited to join a cypher.

There was a team called “Team Backpack,” and they used to be quite big. They had an all-male cypher group that was doing pretty well and wanted to start an all-female cypher. I did that and the video went viral. After that there was a demand for us to get together and do more things and that cypher came out at the beginning of 2016 and by the end, we actually formulated a group due to the demand. We were continuously asked to perform together for a bunch of different events and it just dawned on us to create a collective moment, to show people that there is a solidarity between women in hip-hop and that there is this culture that we can push. That lasted about three years, I learned so much from working with other women, through working in a group and seeing different perspectives as to how to write your music. We just disbanded in November 2019.

That’s amazing. I feel like there’s so much animosity within hip-hop towards women, where people try to pin one artist against one another. It’s very refreshing to see a collective safe space for women in hip-hop.

There is such a lowered sense of community with women in hip-hop. However, there is a heightened sense of community with the men, unless we’re beefing. One really cool thing about the hip-hop culture in America is that when an artist starts to get a buzz the city starts to backs them. Toronto isn’t as much like that and the women in hip-hop don’t get the same thing at times. If there are two women from the same city there’s going to be a comparison but when there are three or four men from the same city they all support each other. I don’t know why we can’t have that same sense of community with women but I think that if the women in hiphop that are getting recognition should be able to create a new format by being inclusive in those ways and just showing that they aren’t trying to be combative with other women will help shift the narrative.

How do you feel about the current Toronto music scene?

I think it’s in a good spot. We’re getting a ton of mainstream recognition. There’s always been a narrative that we’re not as cool or we don’t have a lot to offer but I think that’s been proven that’s not the case now. I think we’re starting to see a little bit of solidarity. Like 15 years ago being Canadian would’ve been a setback, made you be taken less seriously and would invalidate you. But then you’d have to validate yourself by being really good. Now, that’s definitely not the case, I feel like there’s a dialogue where Canadian artists have something to offer, it’s definitely changed where I’m not afraid to do what I’m doing and not being afraid to be myself. It just feels very cool to be a part of the shift.

I wanted to touch on your album 13th Floor.

I know it touches on themes like gender politics and racial inequality. How do you feel about having such a vulnerable project being released?

I think overwhelming is a word I’d use to describe it. You’re putting out music and people kinda like what you’re doing and then they’re like what’s next. Then you’re doing all the things to keep them invested for the next thing and I think in that sense it’s a lot to remain true to yourself and in the nature of the society we’re in, it’s just hard. You can look at Triller, Tik Tok, YouTube or any of these apps and you can see what gets views. To combat that and not do what other people are doing but still hope to achieve those views feels like authentic navigation. But I think the setback that comes with that is “this isn’t the cool thing I’m used to seeing” or “this isn’t gonna make me laugh.” I feel personally good, that I’m utilizing my vulnerability to say the things that I’m saying because I feel like I’m learning as a person. I feel like I’m growing as a person, and connecting with people who feel the same things. It makes me feel like I know myself a lot better. I’ve gotten to know myself a lot better during the process of writing 13th Floor. I’ve learned more about what I want to represent and other people’s perception of my representation as well. I look at the vulnerability as a slight edge, I feel like I’ve tapped into it to use it as a strength, not that it actually is. But because you have to utilize your predisposition to your best benefit. So for me, I learned there’s a lowered expectation for women in rap through performing live shows.

I also wanted to touch upon and congratulate you on the Polaris Music Award. How do you feel about your album 13th Floor winning and having it showcased on that platform?

I don’t think I’ve fathomed it yet. It’s one of the things that gets brought up in a lot of conversations, so it’s obviously recognized. It’s increased my validity as an artist. My goal as a female rapper who sings, engineers, plays guitar, and DJs is that my fear is always being seen as “just a rapper” and the negative stigma attached to rappers. I was just worried, I’d fall into that boat, especially with that cypher being the first impression of me and they’re going to see me as a freestyle rapper. Then they’re not going to see that I’m trying to curate moments. Winning the Polaris Music Prize validated me as a musician, it recognizes your album as the best album in the country. I was the first black female hip-hop artist to win. Those things to me are validators. The Polaris Music Prize is based on artistic merits alone, not based on sales or streamable qualities, it’s based on the music. As for me, a person who’s been music-centric first this set me up for success based on being a good musician.

Who are you listening to?

Anfa Rose, I love his stuff its super moody music. Eli Sostre, I’ve been listening to him for about two years now.

His branding is very interesting almost like the early days of The Weeknd.

LYNN SAVARESE Award-winning photographer and civil rights activist, Lynn Savarese, is an expert at capturing serene, tranquil moments. Her photography style ranges from landscape photography of water and ice, which at first glance, immediately transforms your mind into a state of peace. Graduating from Harvard Law School in the 80s and making strides within the corporate law realm, Savarese found her passion in photography several years later. Her work has earned her multiple awards such as Director’s Award for PhotoPlace Gallery with her “Water 2019” exhibition. As well as being a finalist in five categories, Children, Children, Landscape, Nature, Open Theme, and People--and Honorable Mention in Self-Portrait category, for 11th edition of Julia Cameron Award for Women Photographers in 2018.

The accolades and awards are endless for the aqua-inspired photographer. We are so honored to feature her work in Listen Mag as well as have the opportunity to delve deeper into her muses and learn more about the woman behind the camera.

Do you mind introducing yourself?

I am an always-emerging photographer with a special passion for photographing water in its various manifestations; trees; bird taxidermy; kids in urban environments; and portraits of survivors of sex trafficking.

When did you get into photography?

Originally from a small town in Texas, I lived and traveled throughout the world before making New York City my home in the early ‘80s following my graduation from Harvard Law School. After careers in corporate law and investment banking and a lengthy sabbatical to raise my family and pursue volunteer work for various human rights organizations, I finally found my passion—photography—several years ago. Since then, my fine arts photography has appeared in numerous shows and publications and won several major awards. I also frequently work with social justice organizations to help further their missions through strategic photography projects, and I accept commissions for commercial projects from time to time.

What attracted you to capture different states of water? How did it become the focal point of your work?

It was while standing on the banks of the Charles River in Cambridge, Mass., waiting for my daughter’s crew boat to round the bend in order to cheer her on to the finish line in regattas there, that I first had occasion—while I waited—to gaze at water for long stretches of time up close. I marveled not only at the always-changing abstract reflections on the river’s surface, but also the texture of the water’s skin itself, and the patterns of light skittering past—often very much like starry constellations.

What started as a curiosity became a craving—to see and capture water in all of its manifestations, and to understand better how being on, in, under, and near water affects us emotionally, psychologically, and physically. Water induces so many extraordinary emotions—from peaceful calm and soothing solace to childlike wonder, and from cathartic energy and fearful tumult to ecstatic frenzy and awe. I go to water to be nurtured, and to create images that might nurture others as well.

Do you shoot on film or digital?

I shoot digitally, with my trusty Canon EOS 5D.

Do you have any tips or advice for rising photographers who want to make it their full-time career?

Don’t turn down any opportunity to photograph new subject matter and to feature your work in as many venues as possible, even if remuneration is not being offered.

Go to portfolio reviews—my favorite is Fotofest in Houston— for thoughtful feedback and helpful guidance.

Pursue as many projects as possible, but make a point of truly “completing” each of them—as a book or box of curated images, or as final prints to be exhibited, or even as a digital slideshow. Give each project a name and a proper artist’s statement.

Expect that you will have to be your own art rep and advocate, which can be hard work and will require that you be very organized, determined, and creative.

Your website, blog, and other social media platforms can hurt you as much as they can help you, if you don’t keep them well-curated, fresh, and professional. Include images of actual installations and/or publications of your art, to show viewers that you produce not just artistic images, but that you also produce actual completed professional work.

PHOTOS: CHRISTOPHER WALSH

WORDS: CHRISTOPHER WALSH

Jacob Fisher, also known for his moniker, FISH THE KID, is an artist you need to get to know very soon. Hailing from a coastal town in Massachusetts, the rising artist feels the need to never forget where he came from. On his debut track “MOOD RING,” the young musician showcases his impeccable ability to convey emotions into words while seamlessly implementing brooding guitar riffs, beautiful vocal layering, and just the right amount of autotune to make his debut track too alluring not to woo you in. With his unique voice and ample energy, the young rockstar radiates a powerful aura of star-power. The newcomer is most definitely here to stay and we’re excited to see and follow him grow as an artist.

We had the pleasure of walking around Chinatown with FISH THE KID to learn more about his creative process and his upcoming music.

Do you mind introducing yourself?

Hi, my name is Jacob Fisher aka FISH THE KID.

Where did FISH THE KID come from?

So my last name, that’s where the fish part came from. Also where I’m from is like a small coastal town in Massachusetts and the main economy there is fishing and boating. So I felt like it was a fitting representation of where I came from, also all my friends call me fish. As for the KID part, there was a producer on Bandcamp named felly and his Instagram handle used to be felly the kid, so I think I just got it from there.

I crept on your SoundCloud and prior to making MOOD RING. You were an avid producer, what made you transition from making beats to create a song like MOOD RING? I started producing in high school, I got a beat pad. Since I got that, I have not been able to stop. The most successful thing was just to produce. I didn’t think I had a good voice and back then I didn’t know much about music theory. Producing Hip-Hop and sampling older tracks felt really fun. All the stuff on SoundCloud is basically me fucking around.

I started to work with a lot of friends when I was going to school at Parsons. I was making a lot of hip-hop and pop music but every time I felt like I had an idea of what I wanted to sound like on this production. So I got a little selfish, and it was like for some reason, I cannot give up this instrumental to someone I loved the idea that I can do everything myself. So about for a year, I stopped releasing stuff so I can figure out, how to use my own vocals over stuff that I was producing. So MOOD RING was the first song where I tried implementing my vocals. I think the best stuff I’ve been making is trying to not define what it is or overthink it. It was a huge transition, I didn’t show anyone anything and I was mad nervous, and I started to show close friends and they were like “you should probably release this.” The transition is hard because there’s a difference between producing/ making beats, full songwriting, mixing/mastering, and having your vocals on it. It was a big learning curve. I feel like I’m in a place where I have a direction with it and feel pretty solid about it.

Does MOOD RING reflect the future sound of your upcoming music?

It does. That’s why I chose it as the first song to release, it has a pretty good idea of what I’m aiming for. It has a mix of psychedelic rock, pop, hip-hop crossover. So a lot of it (future upcoming music) does sound like that. I’m leaning away from the intensity of the autotune. The upcoming stuff jumps between subtle use, not using it all, or insane amounts of autotune.

Who are you listening to right now?

A lot of Chief Keef. Like mostly Chief Keef especially his older music. Young Lean, his music is a huge inspiration, I’ve been listening to Jonatan Leandoer127. I’ve been listening to 100 Gecs also, they’re the most important thing that has happened to music in a long time.

BILLY LA PHOTOS: Kelvin Yung WORDS: Christopher Walsh

18-year old, New Zealand native, Billy La Signy is an artist who needs to be on your radar this upcoming year. With his debut album Caché, the alternative pop singer-songwriter showcases his mastery with the pen by effortlessly translating coming to age feelings into a cozy and cohesive eighttrack album. The album is filled with the feeling of nostalgic love.

Caché is reminiscent of an adolescent counterpart of Kanye West’s 808s and Heartbreak through the use of tremendous autotune and the vulnerable song writing presented throughout. A standout track is “Super Seventeen,” the repetitive hook consisting of “I just wanna go home” paired with the almost glitch-like sounding outro that feels like heartbreak of an unrequited love.

In his first interview ever, we had the opportunity to speak with the legend in the making about who he is and what makes Cache the extremely vulnerable piece of work that it is.

A SIGNY

Do you mind introducing yourself?

Yes, of course. Hi my name is Harry, but I go by Billy La Signy, my middle names. I’m an alternative pop songwriter and producer currently based in Wellington, New Zealand and I’m very happy that I’m being interviewed right now, it’s my first one and it’s exciting.

When did you start to make music?

I started to learn to sing and play the piano when I was like 6 or 7, but a really defining moment I remember that started my dream of being an artist was watching the Never Say Never Justin Bieber movie when I was 11 or 12 and being so star struck by it. I think it was then that writing songs for a living became something I began to romanticise a great deal. I might say 2017 was the beginning though because I know that was when I wrote my first song, after I had my first kind of brush with “love” or “romantics” or whatever you wanna call it at that age. I was 16 so I didn’t really know much and I wasn’t intending to really push myself as a songwriter yet. I’d say that came around August of 2018.

Let’s talk about your debut album Caché! How did it come about?

I was at a point in my adolescence where I felt like I was really craving for something to be motivated by, I had just turned 17 and really thought if I wanted to make this songwriter dream a reality I would have to just start before I got too old and it became too late and life got away from me. So I spent the next year from August 8th, 2018 to August 9th 2019 literally learning music production and arrangement in Logic Pro x from the ground up. Looking back I don’t think I have ever been obsessed with anything more than I was during that year I was so committed to getting on a self-sufficient level of music that it felt like an addict to it, but I loved every hit. I decided very early on that I wanted an album to tell my stories and my experiences within moving to NZ and existing in this new ecosystem and way of life, navigating trying to find footing in high school and finding loyal friends and going through all the other romantic crap I got caught up in.

Caché means ‘Hidden’ in French and the idea that I was making this ‘Hidden’ album and doing all this work behind the scenes to no reward was really fun to have as my secret. I was building this simple but beautiful tapestry of my life within high school and nobody had a clue. Essentially at the same time as learning production, I was slowly creating a very narrowed down list of songs that each existed as little vignettes into moments in my high school experience and in August of 2019, 6 months after leaving school I knew it was finished, I got some final mixing and production help from my good friend Tom Verberne and I put it out. I look back on it very fondly as my first little project, but it’s also very satisfying to see how far I’ve come since then. I’m proud of it.

When it comes to making music what gravitated you towards your signature sound?

I think it came around pretty naturally, I’ve always listened to a lot of experimental pop and that’s always been the field I want to sit in, that has definitely influenced my style. I also feel that my first album barely scratched the surface production-wise, in really expressing my personality as a whole. The production on all the new songs is a lot more high energy and a lot more experimental which I’m really happy about recently I was watching a JPEGMAFIA video and he said that music doesn’t actually have any rules and that has done a lot for my music production and since really thinking about that concept my music has naturally taken on a really exciting, unpredictable nature and I’m really enjoying the freedom of not limiting myself as much anymore. I like the idea that I have a signature sound but I definitely always want it to change between projects as well that’s one of my big things, I always want to change, I never want to be boring.

I also want to dive into Antithesis.

I really enjoy the track and felt that you portrayed the concept of polar opposites very well. What does this single mean to you?

This single as an entity on its own is really precious to me, it was the first song since the album where I feel like I wrote something so focused and precise in the storytelling and subject matter. The first verse as well is extremely personal which is why I’m so glad that the song got so much positive attention because the song meant so much to me.

Bouncing off of Antithesis, does this track reflect the sound we can expect in an upcoming project?

I’d say yes and no, Antithesis is part of my next EP which should be coming out in a matter of months. It really stands as an outlier when it comes to tone or mood on the project as a whole but I love it as a tone changer in the trajectory of the EP. The project is very intense and high energy and Antithesis is the lowest energy song on it. So expect bigger and more exciting tracks from here on out that’s all I’ll say!

What’s your favorite song off of Caché?

That’s hard. It’s like choosing your favorite child! I would probably have to say Super Seventeen it’s just a great mix of experimentation and really fun vocal riffing which I really enjoy.

Can fans expect a few live shows or another project soon?

New project in the pipeline! Lots of singles coming in the first half of this year, I don’t want to put a month on the release yet because it will definitely change. I will say one of my goals for this year is to play more live shows and really try to get more listeners in Wellington and maybe Auckland, so look out for that!

Who are you listening to right now?

What I’m listening to always changes but right now it’s the new Ryan Beatty album, this sick remix of Molly by Playboi Carti from destxmido, Jack Larsen, I’ve been relapsing back to the old Justin Bieber records lately - they are always classics, the ‘How to Train your Dragon’ original soundtrack by John Powell and the instupendo remixes to name a few.

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CATHRINE KHOM

Cathrine Khom is the founder of independent online-print publication Local Wolves. Graduating from California State University, Long Beach with a degree in health care administration in 2016 this powerhouse CEO has been shifting the standard within indie publications since 2012 while attending school full-time.

Now working full-time in the health care industry during 9-to-5, Khom still manages to shift the industry with jaw-dropping shoots and carefully placed minimalistic designs throughout each issue. While working full time, Khom manages a team of staff members and contributors from all across the globe.

We sent Cathrine over a disposable camera to capture what makes her who she is. As well as having the opportunity to speak with the young mogul about what motivated her to start Local Wolves along with running the global media company empire while balancing a full-time job.

WORDS: CHRISTOPHER WALSH PHOTOS: CATHRINE KHOM

Do you mind introducing yourself?

My name is Cathrine Khom, founder and editor-in-chief of Local Wolves Magazine. I’m currently based in Southern California and CSU Long Beach graduate (Go Beach!) I work my 9-to-5 job in the health care industry and devote the rest of my time to Local Wolves as well as other creative projects. To me, it’s the best of both worlds because I get to help others on a daily basis and work as a team to make things happen!

What motivated you to start Local Wolves?

When I was younger, I always dreamt of moving to a different city like New York for college because I felt like LA or my hometown didn’t have the spark for me to consider to stay. I spent a lot of my weekends by watching The Hills and I was always fond of Lauren Conrad’s journey in the fashion world. I thought it would be impossible for an Asian American girl like myself to land an internship gig at Teen Vogue.

I suppressed the idea and focus on finding a career that provided financial stability which is on every twenty-something’s high priority list. In high school, I was immersed in the music industry specifically live concert photography. I decided to create Local Wolves, as a music-based blog for the Los Angeles/Orange County music scene. It motivated me to not only publish live concert reviews but explore the unknown and seven years strong, you can tell the progress thus far and we’re still learning as a magazine, every day.

How do you balance your time between Local Wolves and your full-time job? And what are some of the main challenges with that?

I’ve learned to accept that if I can’t respond to every single email in my inbox, there is always tomorrow. I’m still in the process of blocking time to devote to Local Wolves and dedicated my other days to focus on my health so gym time, creative projects such as my blog and videos and so forth. I’ve been using my planner on a weekly basis, which helps me visualize my game plan for the week. I work on the computer all day from my desk at my full-time job so when I come home after a long day at work, sometimes the last thing I want to see are emails or just sitting in front of a screen. Maybe I’m the only one that feels this way of creative burnout? I try to check my inbox during my breaks, which helps with any urgent issues.

I overcame a challenge with distinguishing workdays and off-days so my weekdays are dedicated to my full-time job and Local Wolves and the weekends are my off days, which the time can be given to working on projects that are non-LW related.

“Learn as much as you can, be curious and ask questions!”

Do you have any tips for anyone wanting to start their own brand?

The message behind your brand is the key foundation to what its all about. In April 2012, I started Local Wolves as a music blog with no intention of creating a magazine. With any time that was left in my hands, I self-taught myself how to use Adobe Creative Suite (InDesign, Photoshop, Lightroom and now, Premiere Pro). The internet is a great source to find the information that you’re looking for and if you’re lucky, there might be a few YouTube videos about it. Learn as much as you can, be curious and ask questions! Someone is bound to help you and if you don’t, there is always another opportunity that arises as it just takes patience.

Who are you currently listening to?

I’ve been listening to Black Swan by BTS a lot. This song hits home to me as their music resonates with me as we all go ups and downs in life. The passion for doing what you love will never fade away. When you pour your heart into your passion, the hard work will pay off and it’ll show to the world that you did THAT. I spent the past year focusing on my full-time job but I felt a part of me was missing, which was the magazine, collaborations and just creating in general! The visuals, choreography and message behind Black Swan is a much deeper meaning, but it was definitely a song I needed during the time and place of my life. I also love listening to podcasts: Thick & Thin by Katy Bellotte, Armchair Expert with Dax Shepard, Zach Sang and all of Eric Nam’s podcasts + DIVE Studios to be honest.

MAX LEONE WORDS: SIMRAN SHARMA PHOTOS: CLYDE MUNROE

POP’S NEWEST

FACE Max Leone is the next generation’s super star in the making—with his undeniable talent, his naturally creative and cool persona, and a drive that can only be deemed as inspiring to fellow up and coming musicians.

the opportunity as he recalls the experience. “It’s been amazing so far. I kind of just moved to LA without really knowing anyone and for that to happen so quickly, as soon as I moved out here, is the ideal situation for me right now. It’s amazing.”

Although the 20 year old’s journey might seem like it has just begun, music marked its permanent stamp on him at a very early stage. “I started taking guitar lessons when I was seven years old and shortly after I started writing songs,” he says of his first interaction with the musical world.

“I started writing acoustically and I did that for a while until 8th grade or freshman year of high school, I started to learn about production and started teaching myself to produce. I would just make remixes for Soundcloud of songs I liked—a lot of EDM stuff that I liked. And I was still writing songs acoustically so later I started to combine the two; I would write the song on the guitar and start producing it out.”

As ideal as the young singer/songwriter’s situation is, there is certainly an equal amount of hard-work being put into his rise to future stardom. Within the last three months, Leone has put out two promising singles, both standing solid in creating their own kind of vibe and mood.

“I don’t really have a specific formula I use every time,” he explains, referring to the song making process. “For a lot of the songs, the melody and lyrics come at the same time. I feel like most of the songs I write I’ll just be mumbling some sort of melody and the lyrics would just come in a freestyle kind of situation. Which is kind of fun, it is like, stir of the moment and natural when that happens. But if there’s a song or topic I want to talk about then the lyrics come first.”

From the guitar lessons to the Soundcloud mixes and Ableton, Leone says after high school music had just naturally become his path for the future. In just the past year, the rising pop star has already signed with Darkroom, the record label behind the current ruler of Pop and a generational talent, Billie Eilish. Leone is nothing but grateful and appreciative of

For his debut EP, that will include both of his singles, “First Grade” and “Cautious,” the singer confirms there is no specific tone that encapsulates the whole project.

“But I would say that all the songs kind of fit into the same world in terms of the underlying emotion and message behind them. I would say every song has its own vibe.”

Besides the vocalization and production of the records, Leone also shines through in his entrancing visuals, which he calls a collaborative effort between him and the talented Clyde Munroe—whose skills have been used with names like Tove Lo, Selena Gomez, among others.

“We kind of come up with everything together, we work very closely,” he says of the creative direction with Munroe. “For the First Grade video, she came to me with this ethereal, very dreamy concept with a lot of artificial lighting and dark contrasts. So that became kind of the main theme of the video, to make it unrealistic almost. Like it’s taking place in a dream world.”

Making the decision to transition from Portland, Oregon to Los Angeles, California was not only life-changing for the aspiring star, but also one that has significantly connected him to profound opportunities and relationships. Now, he eagerly awaits the roll out of his debut EP and is excited for the world to finally hear the songs he has been nurturing and mastering over the past year. “My first EP, which is going to be six songs, we are working on finishing that up in the coming months,” he says of the anticipated project. “That and all the content that will come with it. I’m really excited.”

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Let’s start with the name, what’s the story behind Secret Attraction?

At the start my sound was more synth wave-inspired I feel. I was inspired by a lot of 80’s films I watched growing up and I wanted to make music that I would feature in a movie if I ever made one. So I mostly wanted to come up with a name that sounded like the title of an 80’s film.

“Secret Attraction” was like, yeah this is pretty fitting for what I make. It sounds like the title of an 80’s/90’s film so I stuck with it. Over time I even tried to change the name seeing as how my sound slowly started to change.

How does your process work? Do you have a producer? Is it collaborative or solo?

I write, produce, and mix everything you hear. There are some days where I wish I had a band to help with the creative process so that things don’t seem so forced at times if that makes sense.

I think one day it’ll get there but for now I’m content. I can go days without writing anything and it makes it that much harder to jump back into the swing of things once I feel ready to write again, that’s what keeps this so challenging for me. When I’m not making music I’m still in my head going over that last loop I left off with days ago. I think thats just the artist in all of us. Makes going back to what we left off with that much more exciting. It keeps me moving forward that much more as a solo artist. There’s always something new to learn by myself there’s something very rewarding about.

Your sound has many influences, some prominent ones from what I’ve heard are 80’s synth-pop, chill-wave, and some indie R&B. Talk a little about your influences and why you decided to draw upon them to create your current sound.

I think it’s heavily influenced by new wave, R&b, shoe-gaze...

Growing up as a kid I will always recall waking up in the mornings to my mom playing Sade, Eurythmics, Janet Jackson, Simply Red, Everything But The Girl...I can go on. I loved it. Vh1 pop up video used to play every morning before school so I kinda heard it all as a kid. I was totally introduced to a lot of artists who later became my favorites thanks to my parents. That’s what totally shaped me musically growing up. It made me who I am today in a sense. It wasn’t till high school that I got into the music that would later inspire me to want to actually write music someday.

What are some common themes in your lyrics? Why do you choose to focus on these topics?

I tend to sing about things we can all relate to. falling in love, heartbreak...most of the time I don’t even write these lyrics down, I’ll try to do one or two takes and that’s it *haha* it’s whatever comes to mind at the moment. I’m a lazy songwriter I admit. That’s an approach I’ve decided not to take this time though with recording my new album. I get into the habit of always repeating the same things over and over. I get too comfortable with never needing to write more than I should and trying to move on to the next song.

Where will Secret Attraction go from here?

Any upcoming projects, collabs, or even a totally new direction?

Its been a year since I released my first full-length album, “Blush.” Right after I began to work on the follow-up. I never intended on releasing anything right after Blush so soon but I was sitting on a demo that I knew would change my sound somewhat forever. That’s when I realized what I wanted to truly produce more of going forward. I always threw those dream pop shoegaze type elements in my earlier records before adding more guitar.

Any dream collaborations?

First-person that always comes to mind is Petra Collins. As far as visuals go. Been a fan of her work for a while.

Who are a couple of artists you think people should be listening to but aren’t?

I think a lot of people are starting to pay more attention to my good friend Diamond Cafe more than before which isn’t surprising to me.

What do you hope people take from your music?

That you don’t have to stick with a certain sound/genre in the beginning. Have patience. It took me a while to figure out which direction I wanted to take with this project. I feel more comfortable and more myself with everything now and I’m still growing which makes this even more exciting. It makes the creative process that much easier.

HUCK WORDS & PHOTOS: CHRISTOPHER WALSH

Brooklyn born musician, John Wolfe, known for his artist moniker, HUCK, creates seamless soundscapes using playful electronic beats and his powerful, soulful voice.

Bridging the disconnect between bedroom pop, psychedelic rock, funk, jazz, and R&B, HUCK’s music can be best described as floating on a cloud; it’s almost impossible to box his sound into one specific genre. On his debut, the self-titled 14 track masterpiece, the rising musician interpolates whimsical elements of 8-bit sounds and lush funky arrangements to create an inviting and warm atmosphere that feels all too familiar.

We had the opportunity to speak with the curator of vibes during his soundcheck at Rough Trade in Brooklyn about how he goes about making his signature HUCK sound.

Do you mind introducing yourself?

I’m Huck. I’m from Brooklyn, New York, born and raised. Musician, producer, singer, and artist.

Do you feel that growing up in Brooklyn has influenced your sound?

I think primarily the exposure to things that sometimes don’t reach the limelight. Some of my biggest inspirations have been friends of mine who are doing great things musically. There is so much going on and you’re surrounded by people who are trying to push themselves. I feel like that hits me and makes it that much more special.

Do you separate yourself from your artist persona? Like is John different from Huck?

It took a long time for me to be comfortable in the way that I now think Huck is just John. In the beginning, there was so much pressure as a musician to really breakthrough and not just be musically talented but also have a persona that goes along with it. For a long time, I was trying to figure out what that was for me. The more you try to chase something that isn’t you, the more inauthentic it’s going to seem.

How did you come to find and develop your sound?

It’s always been just what I’m feeling. Some of my tracks are things I wrote when I was 18 and have developed over time, but my sound is me digesting my influences and trying to explore and push the boundaries a little bit. As long as it sounds cohesive and you think “Oh, that’s a Huck song,” then I’m satisfied.

When I started Huck, I was on a big D’Angelo and 90s R&B kick. Before this, I was playing punk music in high school. There’s stuff coming out and in the live shows that definitely emulate that. Nunca Mas, which is jazzy because of all the chord progressions, I wrote that on an acoustic guitar when I was really into folk music.

I’ve just had different moments with a lot of different types of music and I like to dive headfirst into them.

If I’m really into a song and it sticks with me, I’m the type of person to put that on repeat and listen to it 300 times until it’s worn out. I do that with my own music when I’m creating it and love it.

How do you feel that your creative process has changed from your last two projects?

It’s always evolving. Working independently, it’s always a learning experience. Whether it be a keyboard shortcut in your DAW, a new piece of hardware that’s hitting right, or a plugin, it all starts with doing shit myself. I bought Logic and learned what kind of sounds I wanted to go for. It started from plugging in a microphone and learning how to make it sound better and better.

I’ve always been fascinated by tape and now I’m finally starting to use a little bit. I’m constantly on YouTube watching music creation videos and looking for bits of inspiration. Whatever sounds good and will fit in my very small bedroom is the way it goes.

What’s your favorite song you’ve put out so far?

Probably Nunca Más. I’ve played it with an acoustic guitar, a full band, and a stripped-down version. It’s something I often look back to when writing lyrics because I feel that the strength is in its lyrics--it’s essentially a story.

The first time I played it was at a house show in New Paltz where I went to school. I got a call that day and my friend asked if I wanted to play the drums for him.

My friend was playing the bass at the time. None of my friends had heard the song before. I just whipped it out and wanted to go for it. There was a video taken of that night--the feeling was so strong and we were all so in sync with each other, so when recording, I tried to match the instrumentation of it.

What do you hope to accomplish personally or professionally this year?

I have a new album that I’m working on and I’m very happy with how it’s sounding. I’ve always wanted to put out an album that’s start-to-finish. It sounds very natural and I’m proud of that. The self-titled project is a bunch of songs from different times.

I try to keep expectations there because it’s a good driving force, but I try not to get lost in them because it can be very paralyzing. I’m trying to do what feels good. I have a lot of collaborations that I’m working on that will come out this year, which is something that I’m excited about. I want to make stuff that feels good to me and play more shows. I’d love to go on tour but I’m waiting for that right opportunity.

Who are you listening to right now?

I’m listening to a lot of artists I’ve been working with-FIG, Sedona, and Kevich. Moses Sumney’s new album [græ: Part 1] is incredible. My friend put me onto Musiq Soulchild, which I’ve definitely heard in the past but now I’m diving in. A friend of mine who I met recently in LA, marinelli, just put out a song called “Turtleneck Sweater” that’s been on repeat a lot. This one song off the new Mac Miller album that was produced by Disclosure called “Blue World”. My friend who goes by Ezzy put out a song called “Quincy”. And the new Phony Ppl song [“Fckn Around (feat. Megan Thee Stallion)”].

PHOTOS: Kelly Arnett

WORDS: Enkhlin Tsogtbayar

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Hailing from Guam, Vilda Ray is an artist/producer/songwriter currently based in Los Angeles specializing in R&B and Funk. With her latest EP, Said What I Said, she makes us move, groove, and reminisce about past lovers. In her Q&A with Listen Mag the rising funkmaster goes into depth about what makes her signature sound.

Can you introduce yourself?

I’m Vilda Ray. I’m a songwriter, a producer, and I just write music.

Can you walk us through your songwriting process?

I always start with the music. Lyrics never come first.

I usually start with chords and now I’ve been trying to write uptempo/pop stuff, things to dance to. Lately I’ve been trying with drums and that’s just completely changed the energy of my music. Drums & percussion add the pace for everything, whereas the chords will add the mood. So I’ll do the music first and then the lyrics come later. I try to do everything within a span of three days so it’s fresh in my mind and I actually finish the song [rather than] leaving it out and get everything done within three or four days demo-wise. I use my home for production purposes and then for final recordings I’ll rent out a studio. Everything starts with me and I’ll have my band help me out and play the parts I unfortunately can’t play well.

When do you know you’re done with a song and satisfied with it?

You just kind of know. It was hard to tell at first because when you first start writing you’re like “oh i can add this and take away this.” So, when you keep thinking about it and you keep trying to put the puzzle together, you never actually know when to stop. When I can consistently go back to it and be like “that feels like a finished product” and everything ends where it needs to end and hits where it needs to hit. I can listen to it over and over and not want to change anything, but then again you have to stop and step outside of yourself. I write my stuff, but I’m the artist too and sometimes I look deeper into it: is that the artist talking or the songwriter, who makes the decision?

Could you tell us the story behind your single, “Locked You in the Room”?

It’s based on a true event. This was like two years ago, I think the anniversary is coming up!

We had construction done in our house and we had these doors put in. One of the guys put the doorknobs in backwards and put the lock on the outside. So one day I was with my ex and doing it as a joke, I locked him inside.

His phone was in the other room so I was like “since you’re in there might as well just look through your phone.” I wasn’t planning on it though, it was just a joke and I already knew I was gonna find shit on there, we had already been going through it already. And I found a bunch of shit! I was pissed, I let him out, and we pretty much broke up right after that. But as a disclaimer: whoever is reading this don’t do that to anybody! That’s fucked up!

Since that song is based on a real experience, do you find it cathartic to put that into music?

I wrote that song way after it happened, but it was funny when I was writing. That actually happened to me, I’m not making any of it up.

It’s kinda psycho that I locked somebody up and it’s funny for me because I’m like “dude you’re crazy, but he’s crazy too and you’re both kinda nuts.” It was nice getting back the humor of it all and instead of seeing it as a sad and fucked up time in my life. Everything I wrote on “Said What I Said” were all things that were happening at that time. “Eight Minutes” is about the same person. That person was so close to me, eight minutes away. That was me talking about how hard it is to get over somebody even though they’re not good for me and now I’m reminded of them all the time because I drive by their house all the time. So everything I write happened to me word for word and it helps me get over it a little bit.

I know you’re a big Prince stan, are there any other musicians/non-musical influences that have been reflected in your work?

I have a trifecta of artists that I like (Prince, David Bowie, and Janet Jackson) and I try to honor their sounds.

It’s been like that since middle/high school and I studied them so much. Still do to this day. They’re such vast artists that I’ve really dug into them outside of their music life. David Bowie did theater, he did mining, basically was just on some other shit! I went to the David Bowie Is exhibit in Chicago and that inspired me to think of music not just as music but as art and a lifestyle. All these artists were born creative, they just do weird shit. And when I saw that exhibit, it pushed me to be like “if you’re gonna be an artist, be an artist in the true sense where everything you see can be used as inspiration. Either you’re using it as inspiration for yourself or you’re using yourself as inspiration for other people. It made me look into art, reading, and movies. And those three artists have made me be an artist in a true sense.

What are you listening to right now?

I’m obsessed with Stevie Wonder,I love little Stevie.

Jamiroquai, Andre 3000 on repeat, and Average White Band. I think those are what I’ve been listening to this week. I go through a lot of phases.

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