Beyond The Stage Magazine - June 2016

June 2016

Nothing But Thieves Elliphant | Against The current

Staff: Executive Editor Allison Lanza Online & Issue Editor Addie Whelan Director of Content Gabi Talisman Photo Editor: Bailey Flores Contributors: Addie Whelan Allison Lanza Charlotte Freitag Chelsea Gresh Delaney DeAngelis Gabi Talisman Lauren Klonowski Madeline Shiffer Maya Alfia Stone Fenk Taylor Cleek Valerie McIntyre

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Photographers: Addie Whelan Alicia Rangel Charlotte Freitag Gabi Talisman Hannah Jones Marissa Sandoval Stone Fenk Taylor Cleek

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Nothing But Thieves Photo by Addie Whelan

Contents

Issue 11 | Beyond The Stage Magazine

06 -- Lissie 12 -- Chance The Rapper is The Future 13 -- Against The Current 18 -- Tour Diary 20 -- Nothing But Thieves 26 -- EdgeFest 28 -- Album Reviews 34 -- A Conversation With Elliphant 40 -- Music in the Workplace 41 -- Jonathan Jackson + ENation BTS BTS || 3 3

Charlie Puth | Cleveland, oh | March 2016 | Photos by: Taylor cleek

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Neyo | new york, ny | april 2016 | Photos by: gabi talisman

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LISSIE Portraits by Gabi Talisman Live Photos by Stone Fenk Words by Taylor Cleek

“Ever since I was really young, I was always singing and making up songs. I think that performing just felt right. […] My mom just always said my eyes would light up.” This is Lissie, a thirty three year old singer-songwriter from Rock Island, Illinois, who we had the opportunity to chat with on the Minneapolis date of her current tour. As she recounts her early beginnings with music, it’s clear that she’s come a long, long way. “I always stuck with it and was compelled to learn the guitar, and was writing lots of songs all through high school.

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It’s just been in me. I can’t quite explain it.”

Lissie is now currently on tour in support of her critically acclaimed third studio album, My Wild West. “It came together very quickly over the course of a few months,” she reveals. “I sort of started writing some new songs in 2014 and then in 2015 I had a batch of songs and started recording and wasn’t really enjoying it. So, I decided to move and take a break from music and not make an album. Then I was just making music

for fun and I was working with a producer in LA – Curt Schneider. I just asked if he’d help me finish a few songs. […] It was pretty casual and organic and we would just sort of pop down for a day, once a week, to put down vocals and record new stuff. I’d come in with a guitar and my voice and musicians would come by and we’d track live. So once I really knew that we were making an album, I was able to pull it all together pretty quickly, I’d say. For not being in the studio from morning ‘till night, there was no schedule and I just sort of went and sang when I found the time between getting

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ready to pack up my house and move back to the West.”

Songwriting clearly comes very naturally to Lissie, a sentiment that’s confidently backed up by the music itself. “In its purest form, it just comes when it comes. Depending on what I’m going through or whatever I’m experiencing or witnessing or feeling; I’ll just find myself making up songs and grab a voice memo or a pen and paper to write down ideas and sit down with my guitar and try to just let it happen organically,” she told us. “It is all very personal and part of real life experience.

I’m pretty literal and I don’t really just make up scenarios and it’s definitely just me and my feelings.”

When tasked with thinking of a favorite song off of My Wild West, after some consideration, Lissie decided, “I’d say I like ‘Ojai,’ the last song. It just represents such a big change and transition and it’s like an ending, but it feels open ended at the same time. It’s a beginning, to sort of say goodbye to a place that’s been so dear in hopes of figuring out what your next adventure is.”

Despite a vast library of personal experience to pull from, Lissie isn’t exempt from some outside admiration and influence.

When asked about potential collaborations, “I really like Jeff Lynne a lot, from Electric Light Orchestra. […] I would love to be produced by and write with Jeff Lynne.” She added later, when asked about songs she wishes she’d have written, “I’ll go with Jeff Lynne again. There’s a song, ‘When I Was A Boy,’ off his new album Alone in the Universe. It’s pretty simple but

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it’s the sentiment that I relate to. It’s about being young and knowing that you just wanted to sing and that you wanted to perform and that you wanted to express yourself. You didn’t want to do the normal things you’re supposed to do.”

Being on tour has definitely been increasingly rewarding for Lissie and given her the recognition she deserves. When asked about some of her favorite spots to play, “I’d say Minneapolis,” she quickly answered with a smile. “People are really cool to me here. I love playing Austin. Portland is cool. My show in Seattle was brilliant. LA and New York are always fun. Minneapolis is funny, since I really started they’ve just embraced me.

[Minneapolis radio station] The Current plays me a lot. I get recognized when I’m here which is kind of weird, not in an annoying way or violating way, just in a friendly way. It’s weird because I’m also pretty popular in Norway, and it’s similar where people know who I am but they’re just like, “Oh cool, we like your music and see ya later.” It’s not like they freak out or are inappropriate. So yeah, I think Minneapolis is great and I live like only three and a half hours from here now so hopefully that means I’ll come back and play here a lot more than I normally do.”

While Lissie is already thriving, she’s constantly in motion and considering the future. There is still one particular feather she’s yet to stick in her proverbial hat, “I would love to be on Saturday Night Live. […] Just to say I did it, because I grew up watching that show and watching the old ones too. It’s so iconic.”

When prompted on future aspirations in the next few years, “I would like to know that I can go out and play to several thousand people at any point, anywhere in the US at least, so that I could also be creative on my own timeline and put out new music,” she said. “But also find that balance of maybe having kids, and having a relationship, and I want to keep bees and I want to have a garden. I want to do more being outside and being in nature and being at home. So, I’m kind of battling

with that right now. I don’t know. But hopefully my lifestyle isn’t extravagant so maybe I’ll have some savings and maintain my career at whatever level I need to exist. I know that sounds really ambitious.”

Perhaps, but ambition clearly hasn’t been an obstacle for Lissie yet. You can hear My Wild West now, and make sure to check her this summer on her European tour.

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// THE 1975 // EDGEFEST 2016 10 | BTS

HOUSTON, TEXAS // PHOTO BY ALICIA RANGEL BTS | 11

CHANCE THE RAPPER IS THE FUTURE Words and Photo by Charlotte Freitag

Both as an artist and as an entrepreneur, Chance the Rapper is the greatest threat to normalcy hip hop has seen in years.

His music is characterized by a multitude of beautiful contradictions, as it is musically complex yet effortlessly cool, innovative yet saturated with retro influences, and high-spirited yet still serious in tone. The bending of genres and expectations that occurs throughout his body of work sets it apart from those of his contemporaries.

Irresistibly optimistic, Chance’s music dares to rid listeners of any and all cynicism they possess. Even when his tracks carry heavy subtext, the sheer playfulness of his voice steers the mood away from somberness and towards hopefulness. Varied in musical influence and freeform in structure, his output attracts a broad audience of alternative thinkers.

Off the rampant success of his 2013 mixtape Acid Rap, Chance could have chosen to direct his career in the most profitable and glamorous direction fathomable, but he instead chose to continue making music on his own terms with the artists who inspire him the most.

This tendency was first made evident with the 2015 release of Surf, a collaborative project released by Donnie Trumpet and the Social Experiment. Although the project’s creation was largely attributed to Chance, he did not make himself the official frontman of the band. Instead, he used his platform to promote the work of his friends and Chicago peers, attesting to his generosity. He continues to direct the spotlight towards local artists he admires on his latest output, Coloring Book, opening his album with the Chicago Children’s Choir and concluding it with the powerful sound of seven eclectic voices harmonizing.

In addition to his incredible musical talents, Chance is also equipped with a deep understanding of how to market himself to consumers of the internet generation. Barely out of his teens, the young Chicago MC has been able to amass an incredible amount of fame – and income – without ever charging a penny for digital or physical copies of his music.

Chance’s ability to thrive in the current climate of the music industry highlights the fragile nature of traditional distribution methods. As the notion of record sales as a viable means of generating profit becomes a fading memory, artists are pioneering new ways to monetize their music. No rising artist has found nearly as much success releasing music independently as Chance. He has made it abundantly clear that he’ll never need the backing of a label, neither major nor indie, to reign as one of hip hop’s heavyweights. His business model is centered firmly around touring, merchandise sales and most importantly, fostering what he describes as a “person-to-person connection” with his audience.

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Hip hop is going through a period of renaissance, as a fresh crop of young rappers are using their music to promote positivity in their communities and speak out about contemporary issues. Chance has positioned himself at the epicenter of this movement, constantly seeking out new ways to give back to the community that raised him. His love for South Side Chicago is limitless and unconditional, serving as a source of lyrical content and more importantly, the inspiration for his charitable efforts.

Chance’s strong artistic integrity is a triumph in its own right, and his admirable D.I.Y. hustle is merely an outgrowth of it. Since the early days of his career in 2011, he has been cultivating his own sound without pandering to the typical hip hop consumer. As a result, he has created an unprecedented and purely hypnotic blend of neo-soul, nerdcore rap, jazz, gospel, and spoken word that is unequivocally his alone. By rejecting traditional methods of making and distributing music, he has spent the entirety of his career pushing into uncharted sonic, lyrical, and monetization territories. He continues to challenge music industry norms by pushing for free music to be considered for the Grammy awards, a movement which has gained significant traction ever since the release of Coloring Book. It will be fascinating to watch how he continues to shift hip hop culture as he progresses in his career.

AGAINST THE CURRENT Words by Chelsea Gresh | Photos by Gabi Talisman

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They’re just some normal kids from New York but they just so happen to be on their way toward becoming a household name. Against The Current is making moves and taking names. Beyond The Stage was lucky enough to have the chance to sit down and talk to members Chrissy Costanza, Will Ferri and Dan Gow about all things ranging from their music and recent tours to their big goals for the future.

Just over a year ago, Against The Current was supporting Set It Off on the Glamour Kills Spring Tour. Since then, the band has signed to record label Fueled by Ramen and dropped their first full-length album, In Our Bones. In Our Bones is an impressive growth in sound from their previous releases. But that’s not all. The band recently finished their first world tour, which proved to be a huge success all around.

“We got our basis starting things off on YouTube which kinda let us connect with people around the world. It’s such a universal platform,” explained frontwoman Chrissy Constanza.

Not only has the band used YouTube to garner a fanbase, but they are also very active on multiple forms of social media including Twitter and Facebook. These social media sites have helped them connect with fans on a day-to-day basis and has helped them build a massive overseas fanbase that they may not have been able to reach so quickly otherwise. The Internet plays a large role in music these days, between the easy connection with fans and the ability to spread the word of music on a larger scale than ever before. Against The Current is a prime example of a band who really knows how to use the web to their advantage.

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Against the Current recently supported an All Time Low and Good Charlotte tour overseas. “The last show was in Dublin and it felt like a headlining set. Like, everyone knew the words,” gushed Constanza. The reaction in Dublin proves how much of a fanbase the band has overseas as they witnessed a whole arena yelling back the words to their songs.

“Also, getting to play every night with such iconic musicians and bands was great,” she said with a grin. “We got to learn a lot, just from watching their stage presence and how they interact with fans. They gave a us a lot of advice and it was awesome to get to hear that.”

The release of their debut album is one of the highlights of Against The Current’s career thus far, and the band let us in on their unique process of putting together In Our Bones.

Some of the songs started out as instrumental tracks in which they came up with lyrics and vocal ideas afterward. Other songs were started with a vocal idea and from there, the instruments came in. There were even some times that the band came up with the chorus, then split up, coming up with vocal parts and the rest separately. “[The process behind] every song was really different, which I think is important,” says Costanza, “A lot of people have very rigid writing processes and I think that limits you. You just have to let it go and let whatever is going to happen, happen.” The structure of this album is something different. Listeners can instantly tell that the band put a lot of effort and took time to make sure that the flow of the album was exactly the way they wanted it to be.

In support of their debut album, the band will be spending the summer on the Vans Warped Tour across America. It is their first time doing the full tour and they are super excited. Warped Tour acts as a showcase, where bands can easily gain new fans because of all the different genres and artists the tour has to offer. “I’m excited to watch State Champs because I remember watching them a few years ago [at Warped Tour] and I haven’t seen them since. I’m excited to see how different they are now especially because they’re so much more massive now,” said Costanza. We are optimistic that Against The Current will follow in their footsteps and become just as massive.

Along with this being their first year on Warped Tour, Against The Current is hosting a workshop with The Entertainment Institute during the tour this summer. The Entertainment Institute is an organization that gives those interested in pursuing careers in the music industry different resources to learn more about how these careers work. The band hopes to inspire everyone

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plans to maximize the web in their future career plans.

If this next year is as successful as the past year, Costanza jokes that she “would have a Grammy and ride on her yacht” while Ferri would “just be excited to buy his own golf cart.” What they are really hoping for is that they can play some bigger rooms in America in the next year and would also love to play some festivals around the world. With a great debut album and their ever-growing fanbase, we don’t doubt that these goals can be accomplished in the very near future.

who takes the class, not only the kids who want to start their own band but anyone taking it-- the band explained that they plan to talk about how to start something out of nothing and hope to get participants thinking about how to make the things that they enjoy doing into an even bigger part of their life.

Another part of their class is talking about how to get started online, which is how they began their own band. Because the Internet is a huge tool in the success of nearly every career path these days, this class will definitely be beneficial for anyone who

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Speak low if you Speak love | pittsburgh, pa | APRIL 2016 | Photos by: stone fenk

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MEET CHELSEA: Hello! My name is Chelsea and I am a contributing photographer for Beyond the Stage Magazine. Since I picked up a camera, I knew I wanted to be a music photographer. I knew I wanted to tour and work closely with a band. I got the chance to go on two tours with Take A Breath as well.

What’s even better about it is that I got to be with my best friend, Allison Lanza, most of the time on these two tours. We tried to keep each other as sane as we could on these tours. Since Allison hopped on halfway through the tour, I’m going to start out our little tour diary.

April 23: Minneapolis, MN This was our first day of the Emo Is Back Tour. I remember pulling up to the venue and seeing our old friends in the band An Honest Year.

This tour was to be their last tour as a band. Everyone in Take A Breath has had their fair share of time with An Honest Year and we were sad to see them go but we were super excited to get to spend our first ever full US tour with them. I also remember being super nervous as all the bands showed up. I guess that’s what they call the first day nerves.

There were so many people I had only heard things about or exchanged a few tweets back and forth with. It was so overwhelming to meet all the people I was spending a full month with. The day went smoothly from the moment we got there. We basically got a taste of what was in store and had a little bit of a treat because there was a photo pit for me to use and a basketball court in our “green room” - Chelsea

TOUR DIARY Photos and Words by Chelsea Gresh and Allison Lanza

April 24: Berwyn, IL The tour’s “Chicago” date was at one of my favorite venues, Wire, even though it’s technically in a suburb. I didn’t actually join the tour until halfway through, but since I live in Chicago, I was able to go to this date before formally joining. I met our “tour dogs,” Bongo and Nixx, and the rest of the package this night and knew I’d instantly click well with everyone. It was hard to watch everyone leave without me, but I had to go finish my semester at school. - Allison Allison shattered my phone this day. - Chelsea I became $116 poorer on April 24th. - Allison

April 26: Indianapolis, IN The Hoosier Dome was a tiny, sweaty venue but I loved it. There was not a lot of lighting in the venue so I broke out my external flash for the first time. I was always afraid to use it because I thought I would end up annoying the band. Turns out they didn’t and I got some of my favorite pictures that night. - Chelsea

April 30: Wilmington, DE I really liked this venue, World Cafe Live. It was very well lit and the stage was very cool. It was kind of like a coffee shop setting but all the bands played full band, so we broke that stereotype. This was definitely one of my favorite shows. - Chelsea

May 1: Pittsburgh, PA

Even though I’m from Cleveland, I’m in Pittsburgh enough to call it my hometown show. It sure felt like it. A ton of my friends from home came to the show and all my friends from Pittsburgh (naturally). The Smiling Moose can get pretty hot and sweaty and the fact we packed out that room made it hotter than I had ever felt it before. The energy during that Overall, touring is an incredible experience. While sometimes it can be nearly impossible to get a good night’s sleep in a van, and show was something else! I’m always going to remember it. - Chelsea sometimes you get stuck in standstill traffic in Indiana for five hours and then your van breaks down, making it seven hours (yes, this happened), the pros definitely outweigh the cons. Touring allowed The Studio at Webster Hall has held some pretty amazing artists. Just a me to see parts of the country I’ve never seen before all while being month before, one of our favorite bands, (and this month’s cover stars!!!) surrounded by music, and you truly do become a family when you’re Nothing But Thieves, played there. It was so surreal to be working a ven- around the same people for weeks at a time. And while it’s not glamue that I’ve seen pictures of every artist I’ve ever listened to play there. I orous, especially when touring with smaller bands, you can have the was in complete awe the whole time. - Chelsea time of your life while you’re out on the road. - Allison

May 2: New York, NY

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MEET ALLISON: Hi! You may know me as the Executive Editor of Beyond The Stage Magazine but what you might not know about me is that I’ve always dreamed of going on tour with a band. This year I’ve been able to see that dream come true and I’ve now been on three tours with Pittsburgh pop-rock band Take A Breath (who we actually had in our first issue of BTS Mag) to sell their merch! Staff photographer (and my best friend) Chelsea was on the road with us, too, so we decided to share with our readers a little bit of what went on while we were out on the band’s first full United States tour.

May 4: Clifton, NJ Dingbatz is a grungy, little metal venue in New Jersey. I drank at least 5 gallons of coffee to keep my self awake and prepare myself for an overnight drive to North Carolina. - Chelsea

May 6: Orlando, FL

I officially finished my final exams and joined the tour in Orlando.

It was so much fun to reunite with everyone, and the entire tour package stayed in the same house. We had a pretty sick bonfire and we woke up the next morning to biscuits and gravy, so it’s safe to say Orlando was a good time, except Chelsea shattered her phone that night. Another broken phone. - Allison We were jumping rope!!! - Chelsea

May 7: Jacksonville, FL

I remember getting to the venue after sitting in some crazy traffic and every single band was on edge that day. We ended up messing around in the back parking lot for at least an hour before any of us decided to do anything. I think this was the day we all really connected with each other. It was really cool. - Chelsea

May 8: Atlanta, GA

I had been to the Masquerade one other time, in Purgatory. Getting to work a show in Heaven was really cool, and I’m really glad that we got to play it before the Masquerade unfortunately gets torn down.

This was the first night I ever had venue catering! Also, a night in Atlanta means a night that I can eat Cook Out hushpuppies, which is my favorite thing about the south. One of my favorite things about touring is getting to eat at restaurants that we don’t have at home (even if it’s super unhealthy fast food). - Allison

May 9: St. Louis, MO For whatever reason, we ended up in a four star hotel in St. Louis, and I learned that four star hotels don’t usually have microwaves in their rooms. Unfortunately two of the bands on the tour had their vans broken into in St. Louis, but thankfully nothing was stolen. It definitely put a damper on everyone’s mood that day, though. - Allison

May 11: Dallas, TX

Jon from An Honest Year and I decided to get food at the venue and they had this crazy concoction called the “Waffle Burger.” Yes, it’s exactly what it sounds like: a burger between two waffles (plus a fried egg, cheese, bacon and honey) and it was the best thing I’ve ever eaten. The weather in Dallas took a turn for the worst that night and decided to heavily thunderstorm on us, to the point where the windows of the venue behind me at the merch table started leaking and drenched some of the merch. There was also slight flooding and crazy lightning, which was the scariest load-out experience I’ve had to date. - Allison

May 15: Anaheim, CA

Chain Reaction has always been on my bucket list of venues and getting to watch my best friends play to a decent sized audience on the opposite coast was something really incredible. And I’ll never forget how everyone jumped on stage during “Let’s Not Pretend” as the tour’s headliner, Best Kept Secret wrapped up the last night of tour. We got an end of tour photo with the bands and the entire crowd on the stage of Chain ReacI feel so incredibly lucky to be able to say I have toured the country with tion before we left for our after party. my best friends, doing what I love. It definitely is a lot of work, but you make so many memories and so many friends that you simply forget I jumped on stage and hit the cymbal during “Let’s Not Pretend.” Let’s that you are doing work. I cannot wait to do it again. - Chelsea just say it was pretty legendary. - Chelsea

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Words by Allison Lanza, Portraits by Addie Whelan, Live Photos by Alicia Rangel Nothing But Thieves have come a long way since July 2015, when Beyond The Stage featured the band in one of our first New Music Monday posts on our blog. Since then, we have been keeping tabs on this alt-rock five-piece who we pegged the Next Big Thing, and for plenty more reasons than just that phrase and the band sharing the same initials.

Luckily for us, it seems we were right. Since making that prediction, Nothing But Thieves have landed a number one alternative radio hit in the states with their single “Trip Switch,” completed a US tour and landed gigs on some of America’s biggest festivals including Lollapalooza. Prior to the beginning of their American success, the band doubled up, doing both a UK headlining tour and opening massive shows for MUSE at the same time.

In the midst of their very hectic schedule, Nothing But Thieves’ guitarist Dom Craik took the time to talk to Beyond The Stage about everything from the balancing act of doing two major tours at once to the band’s involvement with the creative output of music videos, artwork and more.

We began by asking Craik about some history of the band and how it began, to which he responded, “You kind of make me feel like I’m in Alcoholics Anonymous. I’m Dom, I’m 22…” he trails off. His humor pops up often, making

our chat comfortable, like talking to an old friend. “I met the boys in the band, well, I met Conor [Mason, vocals] and Joe [Langridge-Brown, guitar] when I was about fifteen or sixteen, and it was like, ‘this is nice, we can be friends, and we can write music together. Let’s hang out. Let’s see if we can make something of this band.” When it came to the demos Craik, Mason, Langridge-Brown, James Price [drums] and Phil Blake [bass] created, he said, “they were really, really bad, but we tried so hard to perfect them to the point where we were excited to really start recording them. That was about four years ago now, and then we released an EP [2014’s Graveyard Whistling] and then we released an album [2016’s Nothing But Thieves] and now I’m stuck on a tour bus in Tulsa,” he laughed. “I’ve missed a lot, chronologically, but those are the main things from the beginning until now.”

“Let’s see if we can

make something of this band.”

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The band has sworn the story behind their name a secret, though Craik chimed in naturally with a humorous story to offer us some sort of closure as to where it came from.

“We usually straight up lie about it,” he admitted, “we like to change up the story, so I’m going to give you one of my favorites.” He goes on to tell an elaborate story about Langridge-Brown and friends stealing toppings off of pizzas while working as a Pizza Hut delivery boy, exclaiming “oh, we’re ‘nothing but thieves!’” Craik wraps up the story and laughs, “You’ll never find out the real reason. I can’t tell you.

If I tell you, you probably won’t even write it down because it’s that boring.”

As mentioned before, Nothing But Thieves tackled the feat of doing two tours at one time. The band had a UK headlining tour scheduled, but right before it began, were offered an opening slot on MUSE’s massive Drones tour. Knowing

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that it would be crazy to pass up this huge opportunity but also not wanting to disappoint those fans who were coming out to their headlining tour, they decided to combine the tours as best as possible, only rescheduling the dates of their headliner that overlapped with the MUSE dates.

“It was very exhausting,” Craik admitted. “You’d go from the MUSE scheduled dates to what should have been a day off but instead we’d have a show on the opposite side of the country. So we’d have to fly or get on the train or drive.

Integrating the tours became tiring,” he said, honestly. “We’d be going from 20,000 capacity venues to 1,000 capacity venues, which was fine because both are really amazing to do. You go from playing for thousands of people who didn’t know who you are and you’re trying to win them over, to really, really dedicated fans who love every song on the album and sing along and skip school to be there and stick around to say hi after. So that made it all worthwhile,” he concluded.

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Winning over fans in the UK while performing in arenas with one of the planet’s biggest bands is a no-brainer.

However, Nothing But Thieves scored a massive American alternative radio hit with their single “Trip Switch” without having done proper promotion or a tour on American soil. Craik laughs as he recalls when he and his bandmates wondered, “will the American people sit down and play this in their massive SUVs and Hondas and stuff?” Realistically, he adds, “It was kind of weird, because we’ve been lucky enough that our music translates to other places as well. It’s been awesome, we’re really fortunate. America’s such a good place to tour, so it’s been really cool so far.” A few minutes prior, he mentions jokingly that he was surprised to see a Best Buy in regards to our “welcome to America” well wish.

At interview time, Craik was in Tulsa, Oklahoma and did not know exactly what to expect of the state.

Nothing But Thieves have managed to go from playing a smaller stage at Reading and Leeds last year to playing the main stage this year, in addition to appearances at festivals all over the world, including Lollapalooza, Osheaga, Summer Sonic and more.

“I think the thing about festivals that’s amazing is that we get to enjoy the festival, too. We get to go see other bands and hang around. Festivals are cool, but we always enjoy headlining shows because you just know that whatever

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happens, it’s your fans so it’s going to be a good gig. With festivals you sometimes don’t know what you’re going to get, you might be opening up a smaller stage, while at your headline show you know they’re your fans and you know it’s going to be a good one,” Craik explained.

Before wrapping up our chat with Craik, we made sure to talk a little bit about the band’s involvement with their music videos. Nothing But Thieves music videos are beautiful, extremely well thought-out pieces of art. Craik explains “[We’re involved with] even the artwork, even from the early stages. We talk about what concepts we want to go for. That side of things we really like to be really involved with, and that crosses over to videos because we work closely with our directors. We go through lots of different treatments to try to get the one that we like so we’re really happy with what we’ve got. We want it to stay cohesive and we want it to all make sense and we want people to be like, ’okay, I get this band.

They have a nice direction, it’s all married up.’”

2016 has been a busy and successful year for Nothing But Thieves thus far, and by the looks of their intensive touring schedule through the rest of the year, that streak will only continue. With a lengthy string of dates in the United States, Europe and more, if you haven’t seen Nothing But Thieves live yet, you’re likely in luck.

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Photos by Alicia Rangel

X Ambassadors

Edgefest Bastille

The 1975

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The Strumbellas

Cage The Elephant

The Struts

The 1975

CHVRCHES

Good Charlotte

Nothing But Thieves

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Album Reviews Holy Ghost Moden Baseball Run For Cover Records

Lemonade Beyonce Columbia Records Beyoncé’s latest output, an album bubbling over with cinematic sounds, immaculate storytelling and empowerment, is easily the singer’s best work to date. In both a conceptual and a sonic respect, Lemonade is far bolder than any of Beyoncé’s previous work, marking a stark departure from the predictable pop and R&B sonic quality of her past and into a thrilling, expectation-bending new direction. Characterized by deeply personal lyricism and ambling soundscapes that draw upon elements of several genres, the twelve-track LP displays Beyoncé in her most creative state. Lemonade’s multifaceted narrative can be interpreted in an infinite number of ways, though her overarching message rings clear: never allow anyone to rob you of your spirit.

The music on Lemonade is just as vivid on its own as it is with the accompanying visual component. Revealing the dark truth about the marriage Beyoncé spent her last two albums celebrating, Lemonade is striking in its honesty and evocative in its emotional content. As Beyoncé experiences the various stages of coping with her husband’s infidelity, remarkable character development occurs. With her strong, emotive delivery, the listener can’t help but feel as though they are growing alongside her. The rage, anguish and resentment she conveys in the album’s first six tracks transform unexpectedly into forgiveness and tranquility by the end of the narrative, proving her thesis that anything real can be salvaged.

The genre-bending sonic components of Lemonade set it apart from the rest of Beyoncé’s extensive catalog. Experimenting with rock, gospel, synth-pop and even country, the Houston-bred singer proves her versatility by sounding equally as at-home in each sonic space. Lemonade doesn’t highlight Beyoncé’s remarkable vocal agility nearly as much as her 2013 self-titled release does, but listeners are not left yearning for the impressive runs and high notes of her previous work. Her decision to avoid showing off her vocal ability simply for the sake of impressing her audience attests to her dedication to centering the album around her narrative and message.

Lemonade is a thoughtful, introspective and wholly engaging body of work that showcases Beyoncé at the pinnacle of her craft. When life gives you Jay Z, make Lemonade.

5/5 – Charlotte Freitag

To anybody who has ever felt a little lost, a little sad and very much ready to start loving life again, this one is for you. Modern Baseball takes their most personal experiences and turns them into an album that confronts them head on. The band has never shied away from vulnerability, and it’s exactly that fact that makes Holy Ghost as good as it is. The album is split between the writings of singer/guitarists Jake Ewald and Brendan Lukens and focuses on each member’s inner dialogue through hard times. And it’s not just a “woe is me” type of album - they want their fans to connect and respond. Starting off with the title track, Ewald sets up his side of the record with an immediate sense of loss, in multiple scenarios, that carries through the entire album. It’s a complete listening journey that accomplishes what any band or artist strives to do - it tells a real story that hits home and still manages to sound good. The epitome of that philosophy comes through in Ewald’s track “Mass,” “Hiding” and the band’s most recent single, “Wedding Singer.” And as if the music of Modern Baseball wasn’t enough, their visual concepts and music videos make the experience that much cooler.

Lukens’ half of the album touches a deeper part of the singer, one he claims is “the most honest we’ve ever been.” In a documentary released earlier this year, Lukens opened up about his struggle coming out of the band’s last tour and into this album. Lyrics of self-doubt and conflict thread through the second half of the album, especially in songs “What If ” and “Just Another Face,” allowing listeners to identify with the demons everybody fights. A touching and satisfying record, “Holy Ghost” continues the simplistic honesty of Modern Baseball’s music and gives fans even more to look forward to in years to come. 5/5 – Madeline Shiffer Download: “Wedding Singer,” “Mass,” “Just Another Face”

Download: “Pray You Catch Me,” “Don’t Hurt Yourself (feat. Jack White),” and “Freedom (feat. Kendrick Lamar)”

Washed Away Rooney Beachwood Park Music

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It’s been 6 years since Rooney last released an album and since then, many changes have occurred.

Frontman Robert Schwartzman is the only member of the band left and Washed Away is a self-written and self-produced record. Rooney takes us for a ride into new music in Washed Away, but still keeps the Rooney sound while experimenting with newer sounds that are surprising. This is a good thing, as this album will attract new fans.

The first track, “All the Beautiful People,” is a Bleachers influenced song that takes the band back to the Eureka days, but with the addition of more moderate synth. In fact, the album takes on many influences, even echoing the Beach Boys classic “Kokomo” on “Don’t Be a Hero.”

While listening to the album, you might find yourself thinking Weezer and Rooney collaborated on certain tracks of the album or Schwartzman tapped the shoulders of members of The Strokes asking, “Hey

want to make an album?” That’s because the album has a strong influence from both bands.

The Weezer influence appears in tracks “Washed Away” and “Do You Have to Go,” but some may really be convinced Weezer played on the latter track.

The Strokes influence appears in “Why,” “Come on Baby,” and “You’re All I Ever Wanted,” Both influences collide in “Love Me Like There’s No Tomorrow” and “Time Alone” resulting in what sounds as if Rooney, Weezer, and The Strokes collaborated and made the greatest collaboration ever.

The album may have clear influences, but Rooney stays true to their California pop sound with the hand clapping percussion and summery guitar. In the end, the album deserves a spot on your summer playlist.

4/5 - Valerie McIntyre Download: “Come on Baby,” “Don’t Be a Hero,” and “Why”

Album Reviews (continued) Cloud Nine Kygo Sony Music After releasing dozens of remixes and tracks on both SoundCloud and Spotify, Kygo (Kyrre Gørvell-Dahll) finally dropped his debut album, Cloud Nine, on May 13th. The album features some of the biggest names in music, from his hit song with Parson James titled “Stole The Show” to brand new tracks like “Happy Birthday” featuring John Legend. With fifteen tracks, Cloud Nine is packed to the brim with Kygo’s signature “tropical” electronic sound. Each track is unique in it’s own way, some with piano features, others with flute or even tropical drums. While the electronic genre is typically associated with DJ sets, intense lighting and dance parties, Cloud Nine surrounds the listener in a different environment. With a recent performance at the 2015 Nobel Peace Prize Awards, Kygo has become an icon in dozens of countries. In his home country of Norway, Cloud Nine peaked at number one on the charts, reaching number three and number eleven in the U.K. and U.S., respectively.

Cloud Nine even impacted radio stations around the world, with summer song “Stay,” with Maty Noyes or “Firestone” featuring Australian sensation Conrad Sewell. Not only do these tracks fit perfectly for every summer playlist, Cloud Nine revisits “Piano Jams,” which each have more than one hundred thousand plays on SoundCloud. Now his Intro and Conclusion (“For What It’s Worth”) the songs have been remastered into some of the album’s best tracks. Kygo’s Cloud Nine is revolutionary for the music industry. Multiple genres are mixed into one album, collaborations were created for songs like “Raging” which brought together Kodaline, James Bay and Kygo and more than anything, Cloud Nine features vocals from some of the biggest names in music. 5/5 - Addie Whelan Download: “Stole The Show,” “Raging,” “For What It’s Worth”

PersonA Edward Sharpe & The Magnetic Zeros Community Music Group PersonA is Edward Sharpe and the Magnetic Zeros’ first album since the departure of vocalist Jade Castrinos, and the change is noticeable. The album, in general, takes a somber tone instead of the band’s usual upbeat indie-folk tracks. No one song really stands out from the rest—each track blends easily into the next.

What’s unique about PersonA is that most of the album was recorded in a single room in New Orleans. The album definitely reflects that. Most of the album sounds like the ten-member band sat down in the recording studio and improvised. It may or may not have been improvised, but it works. On the seven-minute long opening track, “Hot Coals,” the instrumentals flow through a variety of melodies and paces. Throughout the album, a random trumpet or violin will appear then disappear, replaced by another random instrument. This is what makes the band unique—the seemly improvised details that pull together each track.

While each song flows into the next, it leaves individual songs to be forgotten. While each track has it’s own special treatment with the many instruments featured, most fail to be as memorable as they could be. “Uncomfortable” is the odd one out, where singer Alex Ebert sort of sings, sort of yells the lyrics, ending with a few screams and a few random notes on a piano. “No Love Like Yours” is the most upbeat of the ten-track album, similar to the band’s most popular single, “Home” PersonA is not a bad album, though it’s not the most memorable. That doesn’t mean the album doesn’t have some great songs and a unique approach to recording music. There are plenty of songs that can accompany an indie summer playlist or fit for a summer road trip. 3/5 – Delaney DeAngelis Download: “No Love Like Yours” “Let it Down”

In Our Bones Against The Current Fueled By Ramen

Newcomers Against The Current are no strangers to the pop-punk world after four EP releases, but their debut album In Our Bones is the final piece to solidify their place in the industry. The female fronted band uses lead singer Chrissy Costanza’s powerful vocals to create an album that stands on its own, while still taking the pieces of their past that made them who they are. The title track takes a break from their usual rock sound and layers Costanza’s lighter upper vocals with a simple acoustic guitar melody. It’s a bold move for a pop-punk band, but it’s bold enough to work exactly the way they want it to.

Other notable tracks include previously released singles “Wasteland” and “Forget Me Not.” The band takes the typical values of a pop-punk song and keeps them fresh and exciting for the newest wave of fans. If anything,

this album is nothing short of a good time. With tracks like “One More Weekend” and “Running With The Wild Things,” it’s almost a call to arms for young people to enjoy the time they have right now. Being a young, female fronted band is one of the most rare things you will find in the music industry today, especially in such a male-dominated genre like pop-punk. Fans can look forward to many jam-worthy tracks on Against The Current’s set list this summer with Vans Warped Tour, but until then there’s no shortage of good times and good tunes throughout In Our Bones a must-have staple for any Summer 2016 playlist. 4/5 – Madeline Shiffer Download: “In Our Bones,” “One More Weekend,” “Wasteland”

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Album Reviews (continued) A Moon Shaped Pool Radiohead XL Recordings Radiohead’s ninth studio album opens powerfully on first single, “Burn the Witch,” a brooding, scathing, critique on groupthink and the danger that often follows. Jonny Greenwood’s col legno string arrangement is frightening, gradually ramping up to a cinematic intensity befitting of a horror film. Fans have been at least vaguely aware of the song as far back as 2000, having heard slight hints and pieces of it at live shows.

It’s an interesting pattern: ninth track “Present Tense” initially popped up in 2008, while album closer “True Love Waits” didn’t get a final studio rendition for more than twenty years.

The record progresses into second single “Daydreaming,” an initially somber piano riff that should immediately appeal to any classic Radiohead fan, complimented by a finale buried in back-masked vocals and signature digital loneliness. “Decks Dark” may be the band’s grooviest track to date, firing up the record’s energy despite pessimistic musings about a spacecraft. “Desert Island Disc” follows seamlessly with an acoustic guitar break, then dances into “Ful Stop”, a track that begins with a synthetic murmur before the rest of the band joins Thom Yorke in his infection mantra: “The truth will mess you up.” “Glass Eyes” is a tragedy soaked in social anxiety, complimented by a beautiful heartbreak of an orchestra. “True Love Waits” proves to be well worth the wait as a chill-inducing, tear-jerking, somber ballad/desperate cry for a second chance or a life long lost.

A Moon Shaped Pool is a few things: an outstandingly bold orchestral addition to Radiohead’s legendarily somber catalog, the return of an immensely beloved and innovative band, the completion of several slow burning ideas that perhaps took years to fully make sense, a heartbreaking inside perspective of divorce and the struggles that inevitably come with it. It’s also a tremendous album, fitting snuggly somewhere between all-time classics like Kid A and OK Computer as well as expected at the top of many “best of ” lists this year.

Radiohead is back for what hopefully won’t be the last time. Curtain call or not, this is a spectacularly well-earned bow. 5/5 – Taylor Cleek

Dangerous Woman Ariana Grande Republic Records On her third studio album, Ariana Grande flirts with multiple genres, creating a blend of sounds that makes up what just might be her best body of work to date. Dangerous Woman began as a brainchild titled Moonlight with the lead single originally being the singer’s previous release “Focus,” however with the title change came the dropping of said single, and to good use. The album’s lead single became the new rock-guitar driven title track, “Dangerous Woman,” which instantly became a Top 40 radio hit.

Dangerous Woman kicks off with the whimsical and romantic “Moonlight” which, unfortunately, fails to set the tone for the rest of the album. However, the album begins to impress with the title track leading into one of Grande’s more dance-focused tracks, “Be Alright” which she recently performed on Saturday Night Live.

The album’s second single and stand-out track “Into You” follows, immediately grabbing listeners with the opening line “I’m so into you / that I can barely breathe.”

Grande teamed up with a number of big names in hip-hop on Dangerous Woman, including Nicki Minaj, Lil’ Wayne and Future. Between her experimentation with dance music, hip-hop collaborations and her incredible vocals, it is immediately clear upon first listen that this isn’t just another pop record.

The album’s standout track hits about halfway through. “Greedy” is the catchiest song on the record and showcases Grande’s almost-unmatchable vocal range throughout as she sings “I ain’t talking money / I’m just physically obsessed / and I’m greedy / You know that I’m greedy for love.” If this song isn’t a massive radio hit within the next two months, it’ll be a travesty.

It’s no secret that Grande has one of the best voices in pop music, and she was able to pull off her attempt at creating a body of work that shows maturation and growth in her artistry. However, Dangerous Woman could improve with the elimination of a song here and there, in turn creating a more cohesive record that is playable from front to back. 4/5 – Allison Lanza

Download: “Burn the Witch”, “Decks Dark”, “True Love Waits” Download: “Into You,” “Greedy”

Misadventures Pierce The Veil Fearless Records

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During the first listen of Pierce The Veil’s Misadventures, it seems to be an average Pierce The Veil album; amazing poetic writing styles, lively guitar parts, harmonic vocal tracks and of course the production being by Dan Korneff who also produced the bands last record Collide With The Sky. After listening to it for a second time, it really stands out from the rest of their work. They have had a history of being “emo” and heavily poetic with their lyrics, but this album really steps it up.

The opening track “Dive In” shows even more vivid imagery than ever before. Phrases like “Now I wanna be the tattoo ink that swims down through the needle in your skin” really capture the listener’s attention. Then “Texas Is Forever” kicks in with a fast guitar riff and a fast punk beat like “The Boy Who Could Fly” off of the band’s second record Selfish Machines. After that, we hear their first single from this record “The Divine Zero” which opens up with beautiful line “Maybe I could swim into your thoughts like

your drugs do / paralyze your body.”

The album takes a calmer turn with “Floral & Fading,” then kicks back into “Phantom Power and Ludicrous Speed.”

Next comes the third single off this album, “Circles” which seems to be a fan favorite from this album. After that, the very catchy “Today I Saw The Whole World” is followed by “Gold Medal Ribbon” and “Bedless.” During “Sambuka,” Vic uses dark poetry such as “Tell me what you want until it hurts / I’ll hang myself in lights / and I will glow for you” which is beautifully dreadful. The album comes to an end with “Song for Isabelle” which uses lines from Ahmad Lewis’s Back In The Day. Overall, the album was a great listening experience, and the only downside to it (if any) was that it sounded a lot like their previous record Collide With The Sky. 4.5/5 - Stone Fenk Download: The whole album

Album Reviews (continued) The Shadow Side Andy Black Republic Records

The Human Condition Jon Bellion Capitol Records

Andy Biersack has led his hard rock band, Black Veil Brides, all over the world and built an enormous fan following. Now, he has decided to pursue pop-rock with his solo project, Andy Black. The Shadow Side taps into a lighter side of Biersack that can’t be seen through Black Veil Brides. For those who don’t typically enjoy Black Veil Brides’ sound, Andy Black might be right up their alley. With it’s catchy melodies and synthheavy influence, the project hints at the nostalgia of the early pop-punk days.

The Human Condition, the first full length album and label release from genre bending artist Jon Bellion is everything his fans could have hoped for. From opening track “He Is The Same,” an ode to his family, his music, and himself never being allowed to be changed, to the final song “The Hand Of God (Outro)” where he’s joined by an entire choir to finish his message from the beginning (no matter how famous you get it’s about family, faith and friends) the album is a masterpiece.

The album opens with “Homecoming King,” a song that would not be out of place on an Imagine Dragon album; the dramatic beginning of the track draws the listener in, and Biersack’s soft vocal leads into the chorus with a passion that continues to grow and creates a track that listeners will be singing along almost immediately.

The album was written, recorded, and produced almost entirely by members of Bellion’s collective Beautiful Mind, his group of collaborators who he has worked with since he met them in college, now an album, a national tour and two mixtapes ago. While many artists have collectives, they rarely create such fruitful collaborations as Beautiful Mind does, and while that reason can only be speculated on, watching the group collaborate on different tracks on The Human Condition via the album credits alone is incredible to think about.

Directly after, Black’s debut single “We Don’t Have to Dance” begins and it becomes obvious that this is the breakout track of the album. It still holds a dark side, but is intermixed with a triumphant pop sound that, despite the name of the track, will make listeners want to dance.

As the album moves along, the pop is a continued presence--although it appears more in some songs than others. “Beautiful Pain” and “Put the Gun Down” both start out as more dramatic buildups that lead to synth pop havens with honest messages.

The anthemic track “Drown Me Out” is the closest to a Black Veil Brides song on the record with it’s heavy hitting percussion and crowd-pleasing vocals. “Paint It Black” isn’t a tribute to the Rolling Stones, but it is an emotional track about letting it go and starting over that’s sure to please.

It’s easy to spot producer John Feldmann’s touch on this record. Biersack collaborated with Feldmann among other pop-punk band staples such as Rian Dawson of All Time Low and Joel Madden of Good Charlotte to create a great pop-rock album that offers a look back into the glory days of the scene. 5/5 – Lauren Klonowski Download: “Stay Alive,” “Beautiful Pain,” “Drown Me Out”

The last four songs on the album, “Morning in America,” “iRobot,” “Guillotine” and “The Hand of God (Outro)” have incredible flow as to how they are laid out as individual songs, beautiful in their own right, but as a group have an entirely different flow. The first, “Morning in America” is boisterous, almost sing-songy, about everyone hiding their problems, and pretending that if no one has them, our family and friends certainly don’t. The contrast is incredible. The mechanical, cold sound of “iRobot” is the sound of heartbreak for the modern age: cutting, cold, and from a server. “Guillotine,” one of the first songs released off of the album is the best ode to everything crazy and out there your partner ever does, but still loving them for it released in a long time. Finally, The Human Condition finishes with “The Hand of God (Outro)”, a work of art that goes so above and beyond to not only wrap the album as a cohesive unit, but also in the process bring you back to all of the songs you heard before it, and reassure you that your life is going to turn out beautifully (and it all happens in under six minutes.

Bottom line: The Human Condition has been worth the wait, but you should not wait to listen to it. 5/5 - Gabi Talisman Download: “Morning in America,” “iRobot,” “The Hand of God (Outro)”

Drake has always been known for his poignant music the combination of his use of voicemail samples, direct contemplation, and moodiness create a sense of relatable sadness and distress. Drake makes music for crying and we all know it, so he’s gone ahead and created another album full of that.

Views Drake Young Money Entertainment

Drake makes it known that he has a lot of trouble with women, missing his ex and whatnot, but Views gets in touch with a deeper side of him (if that’s possible); we see a side of Drake that shares his personal regrets on songs like “Keep the Family Close,” as well as a lighter side of him that’s always been there, bragging about his accomplishments on songs such as “Grammys” and “Hype” (which doesn’t seem hard for him to do, considering his immense success in nearly all areas).

Drake has not changed much since his mixtape days, but that doesn’t mean he doesn’t show progression in his music. With an album consisting of 20 songs totalling around 80 minutes long (which, after a while, seems like a chore

to listen to), we’re bound to see some variety; Drake’s pop side comes out on the crazily popular “Hotline Bling,” we see an R&B flare on “Feel No Ways,” etc. The album includes comical elements which are probably unintended (such as the gem of a lyric “Why you gotta fight with me at Cheesecake / You know I love to go there / Say I’m actin’ lightskin, I can’t take you nowhere” on “Child’s Play,” as well as the album cover which has been meme’d to oblivion) but manage to uplift the album from it’s sometimes depressing moods.

It’s difficult for Drake, as an artist, to keep his music interesting and moving forward while retaining the elements he’s always been known for, but with Views, he’s managed to do it in a way that make his songs universal and enjoyable for all, even if there are some flaws. Views is undoubtedly one of Drake’s most engaging and accessible albums, and bound to be the album he’s known for when it’s all said and done. 4/5 - Maya Alfia Download: “Still Here,” “Grammys,” “Controlla”

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Underoath | cleveland, oh | april 2016 | Photos by: taylor cleek

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The Front Bottoms | Los Angeles, CA | April 2016 | Photos by: Marissa Sandoval

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Time alone isn’t a luxury, it’s an absolute necessity.

No one can attest to this platitude better than Elliphant, a 30-year-old singer who has spent significant time travelling the world by herself. Her whirlwind journey abroad has brought her to Jamaica, Thailand, and India among other places, where she has been able to discover “what [she] actually [is] without any witnesses,” an experience she says was vital in shaping her artistic point of view. She credits her deep sense of self-awareness to her extensive time wandering the world alone, which facilitated personal growth without the influence of family or friends.

After spending several years travelling and developing a strong sense of self, Elliphant began to express her unique vision through music. An unprecedented blend of pop, EDM, reggae, dancehall, and hip hop, her sonically arresting tracks

are a direct outgrowth of her exposure to hundreds of global subcultures. No genre is broad enough to encompass the expansive array of cultural nuances of her music, sparking comparisons to her genre-defying peers such as M.I.A. and Diplo, the latter whom she has worked with extensively.

Elliphant has not only earned a great deal of acclaim for her boundary-pushing music, but also for her vibrant accompanying visuals. Often travelling to the same countries she explored in her youth for video shoots, she brings the varied influences of her music to life through stunning cinematography and nods to the traditions of the cultures she draws inspiration from.

With her latest release, an album entitled Living Life Golden, Elliphant makes an explosive North American debut. We got the chance to chat with her about finding inspiration, working with Jack Ü, the globalization of pop, and, of course, aliens.

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Elliphant: It’s definitely a summer album. It’s full of sunshine, and I called it Living Life Golden because I feel as if it’s a golden album. It’s full of reds, yellows, sunshine and positivity. It is moving around a little bit, but I still kept a common red thread going through all the songs. If you’ve been into listening to my EPs and EDM collaborations, maybe you’ll be a little bit surprised by it; the sound goes very poprocky in some places. I think it’s a kind of good statement for the shuffle generation. It’s a vibe all the way through, and it goes from mumba tone vibes to classic rock vibes.

filled up with cheesy pop melodies. When I fell into dancehall about ten years ago, I got the kick that people got from pop when I was a kid. I liked the positivity and the easiness. It became a little bit of a lifestyle; I went to a lot of dancehall clubs with my friends. How it became part of my music is a different story. I was waiting for an Indian Visa in Bangkok, and I ended up hanging out in a reggae bar where there were some people singing every night. I wanted to impress a cute guy, so I went up to perform. I was showing my skills of what I knew in dancehall, although I still knew so little. He wasn’t impressed at all, and one night I just took my power. I just went up, sang to him in the mic, and freestyled to a reggae track. Everyone was like, “Wow, this is so good.” That night, we went in to friend’s bedroom to recorded some music. They put up a Soundcloud and a MySpace for me, and that’s how it happened. People started sending me tracks, very old school, roots reggae music. When I had the opportunity to jump in and really do some real music with real producers and professional recording, it was just the way I knew to express myself. If that would have been a rock crew, there in Bangkok, maybe I would have been more rock. If it was a hip hop thing, maybe I would have been more that direction. I really appreciate Jamaican patois, it is a very creative language. You are able to use it to create your own vibes and your own words and ways. It’s only in reggae and hip hop you can do that, where you don’t have to say things how they’re supposed to be said, and where I can mix some Swedish and some English. I really appreciate that. I would never claim myself to be a reggae artist. I just have a lot of love for the good vibes and the sunshine.

BTS: What does your creative process usually look like?

Do you usually write to pre-existing music or do you write first and create the tracks around what you’ve written?

BTS: How would you describe your experience working with Skrillex and Diplo?

BTS: What sparked your interest in making music?

Elliphant: I’ve always been creative, and I was always using different kinds of tools to be creative, but music was the last one that came into my life. It was random. It’s been a little bit bubbling in my life, but it wasn’t a vision or a dream. Making music was more about conquering my fears of going onstage and singing in front of people. I never thought it was going to turn out to be something this big and totally take over my life.

I don’t really have a genre, but I’m creating it right now, because I feel like I’m making very provocative pop music. It’s hard to put it in a box, because it’s all over the place. I think it’s what the world is ready for right now.

I never had a vision of what I wanted to be musically.

It’s just a result of randomness and openness, really.

BTS: How would you describe the sound of your new album to our readers who haven’t listened to it yet?

Elliphant: On this album, Living Life Golden, I did many of the songs in the studio together from scratch. All the songs are made in one day, maximum two. They were all created during the time I did a session, over a period of two and a half, three months. I was constantly out meeting new producers.

All of the songs that I’ve been releasing on the two EP’s and this album come from the same period of time. Most of them are just made from scratch that day in the studio.

That’s not probably how I want to work in the future; I want to feel like I can record a song and go back to it later and resing it when it’s in my head. Most of those songs, I’m singing from reading it from my phone, because I just wrote them. It would be really cool to take more time with my next album.

BTS: Dancehall and reggae elements seem to be a recurring theme in your music, how were you first introduced to Jamaican music?

Elliphant: I was never into pop when I was a kid, I was very pretentious. I only listened to Bob Dylan, Jeff Buckley, and other artists like that. I missed out on happy music and getting

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Elliphant: Both Skrillex and Diplo are very genuine people that are 100% passionate about what they’re doing. They don’t have a life outside their music. They live for this. They’re uniting the world with music right now; it’s very beautiful.

They are the first commercial DJs and producers to bring people from South Africa, from Iceland, from Sweden, from everywhere up to a commercial place. I appreciate them for being so real in what they do. I love them both very much.

BTS: In terms of songwriting, where do you usually find inspiration from?

Elliphant: I find a lot of inspiration from evolution and space; the fact that we are trapped in these bodies but we are a life, intelligence that’s been here forever and is going to be here forever, and it’s hard for us to understand that. This is what I think about all the time. I try to comfort myself and others and try to ask questions more than answer them. I’m not an answering artist. I don’t like to say “this is how it is.” I’m constantly questioning everything. I find a lot of inspiration in questioning life.

BTS: Would you say there’s any noticeable difference between the music industry in Europe, where you started your career and in America, where you’re working now?

Elliphant: I think there were more differences before. Right now, the music industry is going very universal. Everything is branded. Something that you would look at as a sell-out ten years ago is completely normal today. It’s actually almost cool today. The youth who’s growing up with this product placement culture are used to this; they don’t see it as something pathetic, but I do. I really want to separate music and products.

BTS: What is the best piece of advice you have ever gotten?

Elliphant: I met a shaman the other day, and he told me I have a very full power. One of my strongest characters that I still carry around with me is the spirit of a warrior who’s really old and angry. The shaman gave me the very good advice to be aware of this warrior inside. I think all of us have one. Every time the warrior takes control of you and becomes angry, before it puts the seed in you, you need to cut it. For me, it’s so important; I can’t let the anger take over because it’s messed my whole journey and space up. I know that if I let that warrior be angry for one minute too long, he’s going to take over me fully, and I’m going to be that angry person. I need to feel him and choke him, every time he’s even close. That’s really important, but at the same time I need him on stage. I need him in my life, that’s why I came so far in my life, because I have this warrior, but I also need to keep him in a leash and keep him controlled.

BTS: Was there ever a moment where the warrior got completely out of control?

Elliphant: All the time, absolutely all the time. Four days ago, last, he was out of control. I was with this production crew, and I had a show, and the warrior just took over me.I said things I don’t even remember saying. I was going crazy. He’s full-on.

Yesterday he took over a little bit also. Even if I’m aware of him, and I just told my manager about him, that same second, he was in there. He’s very sneaky. He’s taking over me all the time; he’s very stressful. However, he’s still my inspiration.

BTS: Do you think music is the easiest way for you to express yourself to other people?

Elliphant: Music has been the only way where I didn’t have to force my art on people. I’ve been a very aggressive creative person in my life and I’ve made a lot of projects with photography, painting, sculpture and other mediums, and that was a harder place. I needed to really push my work on people, and pay people to put my paintings up, or go to galleries where I had to pay people to show my photography.

Music was the first time I was like, “Wow! People just want it. I don’t have to pay them to listen. They’re just going to listen and they’re going to want more.” That’s my motor, that’s my fuel.

As long as there are people who wants Elliphant, I’m going to give them Elliphant. If they don’t want Elliphant, Elliphant is out the door. I don’t have that deep love for this particular music; I just have a big appreciation for being central and being involved. I’ve been able to comfort and be there for people, even if I’m not physically there with them. I think that’s amazing, and that it fits my spirit very well. If they don’t want me, I’m not going to struggle. Their love is my fuel, 100%.

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Wolf alice | pittsburgh, pa | april 2016 | Photos by: stone fenk

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Spill canvas | PITTSBURGH, PA | APRIL 2016 | Photos by: STONE FENK

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According to The American Institute of Stress, numerous studies have shown that job stress is far and away the major source of stress for American adults. When you are working full time, jobs can be very high demanding. According to AIS, having a lot of demands at once has been associated with increased rates of heart attacks, hypertension, and other disorders.

Statistics from the NIOSH Report highlight that 25% of workers view their jobs as their number one stressor and 29% of workers felt quite a bit or extremely stressed at work. So is there really a way to reduce the stress among employees in the office or workplace?

In today’s world, it wouldn’t be rare to ask someone “what helps you relieve stress?” and have their answer be “music.”

Many people listen to music to help them to relieve stress and anxiety. Music Therapy is even used to help people who have Alzheimer’s Disease and Autism. It’s clear that music does help in some way, but the question is would it help people in the workplace?

Author and musician Michael Tyrell created the seven CD collection of different music frequencies and simple tones that make up a powerful yet healing soundtrack. Tyrell’s actual discovery of Wholetones came when he took a trip to Jerusalem with a friend. “We ended up in a coffee house and I looked at the corner of my eye and there was a gifted musician, playing piano and staring at me. I thought it was a little awkward and finally I looked away and just closed my eyes and focused on his music,” said Tyrell. “And after his set, he came and he said to me ‘You know, this is going to sound bizarre, but I spent my whole life working on one thing and I feel like I’m supposed to give you my life’s work.’ And I said ‘Well what is that one thing?’ and he said ‘Well, first of all my name’s David,’ which I thought was extraordinary. Secondly he said ‘I spent my entire life decoding some of the songs in King David in the bible.’”

Explained Tyrell. After that, Tyrell ended up with manuscripts from the musician when he returned to the United States.

Eighteen years later, he began his research and creation of Wholetones.

According to Tyrell, Wholetones would ideally be useful for someone who is going through stress. “We know stress is a killer. We know that in every level.” When Tyrell and his team conducted a study of over 10,000 responders upon the release of Wholetones, 96% of the responders said when they played the first disc of Wholetones, called “Open Door,” with a frequency of 396hz, they found themselves relaxed. According to Tyrell, participants who had been using sleep aides like melatonin and

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Words by: Valerie McIntyre Ambien to get sleep saw that even their sleep improved too.

“Music is important, but frequency is more important. It’s what gives us words, information, and it’s what causes our brain to have thoughts,” explained Tyrell.

So here is some advice to those who want to use music to help their stress levels: it is better to listen to calming soothing music without the lyrics. “An exchange of words demands of response,” Tyrell said.

Here are some tips for you on how to use music as a stress reliever: • • • • •

Stick to Instrumental music Listen to music during exercise If you are allowed to: listen to music while you work Listed to music during traffic Consider purchasing Wholetones

As Michael Tyrell said, “it’s beyond the music.” Music can be very beneficial to the human brain. To listen to samples and read more about the story of Wholetones, go to www.wholetones.com.

Jonathan Jackson + Enation Photos by Hannah Jones | Words by Madeline Shiffer

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To anyone in the music industry, a group of enthusiastic, question-bearing fans is nothing short of expected. But for the three-piece band Jonathan Jackson + Enation, it’s an energy that brings forward a passionate performance from each musician on stage. A pair of brothers, a good friend and fifteen years have come together to form Enation amongst multiple career intersections and musical endeavors. The band sat down with Beyond The Stage to discuss influences, television and everything in between.

After starting in their parents’ basement as kids, lead vocalist Jonathan and drummer Richard Lee Jackson, along with bassist Daniel Sweatt, began to evolve their band into a purely unique sound. Jonathan, also known for his role in the Emmy-nominated show Nashville, says the band’s style is difficult to pin down since it “ranges from alt-rock to more singer-songwriter, almost indie, alternative music”. The last five years or so have solidified the band’s standing as a trio and have made it easier to “understand what we each do,” the band’s agreeing members told BTS. In terms of Hollywood versus reality, Enation is the perfect representation of the process of both. Jonathan’s experience in both television and music gives the entire band an appre-

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ciation and understanding for how they want their career to operate. Fortunately, he says “playing a musician was surreal [and] the show does a pretty good job at portraying what it’s like for a young artist to do what they do in the industry.”

Enation’s diverse fan-base makes for some interesting moments within a Q and A session. Questions ranged from the band’s songwriting process to Jonathan’s inevitable fate on Nashville, with a sprinkling of requests for General Hospital merchandise to be signed. The band’s reach amongst multiple pop culture outlets mirrors their fluid identity. “At the end of the day we just feel like our music fits that independent ethos,” says Sweatt. That independent ethos has given Enation the opportunity to create their own path through writing, recording and touring. Recently, they have been lead back to the independent production route, and not having a label isn’t a setback, but a gain. “It’s nice to be in the driver’s seat,” says Jonathan, “and it also gave us more of a direct connection with the fans.”

Those fans are the heart and soul of Enation’s latest EP, Blame-Shifter. The band created a Pledgemusic campaign to create something entirely out of their own creative visions and supportive fans. In the midst of Nashville t-shirts, Gen-

eral Hospital posters and an incredible passion for music, Blame-Shifter was released in May. “The fans are helping this come into existence,” says Jonathan, “we want to make something that is going to mean a lot to them.” And it clearly meant a whole lot. Over 800 people raised 105 percent of Enation’s original goal through Pledgemusic. “Once we were done, they immediately got the album, so we got immediate feedback on what they were part of,” says Jonathan, hiding none of his enthusiasm and appreciation in his answer.

And with fan-support as strong as Enation has, their journey is far from over. Their music and fans have taken them on a cross-country tour that spanned throughout the month of June, hoping to reach as many people as they can. And because of those fans, they have no plans of stopping, Jonathan explaining, “we try to live in where we’re at...When we’re dreaming out loud, it’s generally in the creative aspect. What kind of record do we want to make? What kind of tour do we want to have? What kind of impact do we want to have on the fans?”

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LApsley | chicago, il | may 2016 | Photos by: addie whelan

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Courtney Barnett | minneapolis, mn | april 2016 | Photos by: gabi talisman

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What’s On Our Playlist?

1. Honey - Moose Blood 2. I Am A Nightmare - Brand New 3. Vertigo Flowers - Nothing 4. Burn - The Temper Trap 5. Baby Don’t You Lie To Me! - The Fratellis 6. Victorious - Wolf Mother 7. Whirring - The Joy Formidable 8. This Is What You Came For - Calvin Harris + Rihanna 9. On Blue Mountain - Foxygen 10. Burn The Witch - Radiohead 11. Piano Player - The Hotelier 12. Make Up Your Mind - Florence + the Machine 13. Bad Habits - The Last Shadow Puppets 14. Couldn’t Believe - Broods 15. Final Song - MØ bTS | 47

Kings Theatre | Photo by Gabi Talisman