Penny 2.3 ft. Dehd

W H O I S P E N N Y ? W H O I S P E N N Y ?

Founder & Editor-in-Chief

Erin Christie Contributing Writers

Jason Boyle (11, 42)

Marí Cárdenas (38)

Erin Christie (28)

Isabel Corp (30)

Chama Jemmali (17)

Giliann Karon (50)

Caroline Safran (6)

Contributing Photographers

Marí Cárdenas (38)

Erin Christie (48, 49)

Erin Dickson (48)

Aleiagh Hynds (48, 49)

Chama Jemmali (17)

Ethan Lam (49)

James Lore (48, 49)

Miranda Nicusanti (49)

Caroline Safran (6)

Alexandra Santos (49)

Elaine Tantra (48, 49)

Contributing Graphic Designers

Aubrey Calapp (42)

Erin Christie (6, 15, 27, 37, 38, 48, 50)

Maddie Grey (10, 30)

Shannen Hulley (Cover, 2, 17)

Eddy Lopez (28)

L E T T E R F R O M T H E E D I T O R L E T T E R F R O M T H E E D I T O R

Hello again! I hope all is well with you as the year comes to a close xx

Thanks so much for checking out our newest issue and supporting Penny — having loyal readers is such a blessing and it means a lot to me, and to all of us!

Admittedly, it’s been a bit of a slow year for Penny, this being our second issue of the year when we’ve historically released more within that timeframe, but I’m excited to finally have something new to share, and on the eve of Penny’s THIRD YEAR in print, no less!

For this new issue, we wanted to highlight some of our favorite new music from this year, from our cover stars Dehd, to The 1975, Wunderhorse, Vacations, and more. This has been a very exciting year in music, and it was tough to parse the vast library of new releases down to what we’ve been able to cover here. Additionally, in the last few months since our last issue, we’ve brought on a handful of new contributors, and the content they’ve been contributing has added such a needed element to the web and print! That said, there’s certainly more amazing material waiting in the wings.

In all, I think this is one of our most impressive print issues yet (and I must say, I think my graphic design skills have slightly improved, but that may be questionable), so I’m excited to hear what you think! Here’s to the new year!

Stay well and talk again hopefully soon!

Penny Founder & Editor-In-Chief

Erin Christie

Babehoven’s Light Moving Time: Babehoven’s Light Moving Time: A Practice in Healing A Practice in Healing

Words and Photos by Caroline Safran

To Maya Bon the singer-songwriter behind Hudson, New York’s Babehoven the steady tick of the clock is a big round rock in a stream, a bit of driftwood, a reminder of the current we ride, grasping at each other like debris to stay afloat. Through collaboration with fellow musician Ryan Albert, Babehoven finally released their debut album, Light Moving Time (via Double Double Whammy), a sonically smoky commentary on grief, loss, love, and hope.

The first time I played through this album, I put it on at my job (I work at an antique store). Antique stores can be chaotic in their quietude (haunted objects are loud), so the first thing I did when I got in that Tuesday was put on Light Moving Time to familiarize myself with the music I’d be talking to Maya about, and to warm up the space. I didn’t realize I would end up affixing a “back in five!” note to the door to deter customers from coming in while I let Maya’s floaty, distant melodies wash over me and lead me into a state of deep reflection on my family relationships.

In my conversation with Maya, we discussed the major themes apparent in the record: grief, tragedy, despair, and still, the human desire to keep moving forward and holding onto hope for the future. While the lyrical themes of this record largely speak to emotional turmoil, her breathy

vocalizations glazing atop gentle strumming and organic synths by Ryan bring in a feeling of lightness, hope, optimism, and trust.

Maya and I discussed the catharsis she feels when writing her lyrics On “Often, ” she describes loss, and the deep sorrow that occurs when you lose a sibling. Maya’s brother disappeared several years ago, and this has been a theme in her writing, as she processes her grief. She described how healing from this kind of loss is not a straightforward path, and requires the support of her community. The weight is lifted, and comes crushing back down, over and over. With time, you learn to cope with

the crashes, expect them, and know how to move through the rubble.

On “June Phoenix, ” Maya describes a recurring night terror in which she sees her brother at the end of her bed. She repeats a wish, a hope that one of these times, he’ll return and stay for good.

“So I will just be inside “So I will just be inside wasting all of these years wasting all of these years Hoping that maybe this Hoping that maybe this June you will reappear June you will reappear Like a free bird breathing, a Like a free bird breathing, a call through the fire call through the fire

You're a phoenix this time, You're a phoenix this time, you're a phoenix you're a phoenix

You're a phoenix this time, You're a phoenix this time, you're a phoenix you're a phoenix You're a phoenix this time, you're a phoenix You're a phoenix this time, you're a phoenix You're a phoenix this time, you're a phoenix You're a phoenix this you're a phoenix You're a phoenix this time, You're a phoenix this time, you're a phoenix you're a phoenix You're a phoenix this time, you're a phoenix You're a phoenix this you're a phoenix

You're a phoenix” You're a phoenix”

This repetition can only be described as a prayer, a mourner’s plea. She describes the yearning, the hope that maybe this time, he might appear. She describes the stagnant feeling that occurs when a loved one is taken away and a relationship is cut short; the potential energy with nowhere to go.

This track is followed by “Often, ” in which Maya describes the sorrow, as well as the optimism that she is constantly oscillating between: “Now this isn’t so bad / I’m not hurting like I was hurting for some years.”

Lyrical symbolism of light comes up in almost every track on the record. For Maya, light is a representation of her people, the reason to hang onto optimism and hope despite the pain and loss and grief and chaos that living makes inevitable In all, Light Moving Time is an ode to family, an expression of gratitude to Maya’s people and support systems, those who can celebrate, advise, soothe, and stand by.

At the album release show on 11/5 at NYC’s Union Pool, Maya and Ryan’s friends, family, and fans gathered with flushed cheeks from the unseasonable warmth of the day and swayed to the hazy melodies. A blissful Maya Bon was a beam of light and hope, embodying the themes of the record. “I’m so happy, I’m so happy,” she said.

Keep up to date with Babehoven via their socials and listen to Light Moving Time, out on all DSPs now.

with

Altering Reality100 Electronica Artists NeggyGemmyGeorge Clantondeath’sdynamicshroud

Written by Jason Boyle Photos by Emily Hontiveros @emilyhonti

From buzzing hazes of nostalgic daydreams to deep bass hyper-pop, Neggy Gemmy never seems to burden herself with just one genre. The reasoning for this eclectic discography may be based in the constant movement of the electronic producer, from bouncing childhood homes across the southern U.S. and a collection of years in Brooklyn, to a recent move to LA. Normally, taking a stab at so many sounds might lead to only surface level success and a messy form, but Neggy Gemmy (real name Lindsey French) is able to deconstruct anything from chill-wave, hyper-pop, and indie-rock to deep club stabs, managing to insert her own style into each genre’s DNA. French proved these capabilities, guiding an intimate crowd at

Brooklyn Made on the Neggy Gemmy hype-train.

Opening the night was vaporwave pioneer and husband to Neggy Gemmy, George Clanton, DJing under his ESPRIT空想 moniker. There’s an undeniable sense of love and respect towards George from the crowd, everyone seems to have some inside joke with him. Clanton is a huge personality, always opening himself up online through weekly live streams along with French and the team at the 100% Electronica indie label, which was founded by the couple in Brooklyn in 2015. ESPRIT空想 can always be expected to be minimalist on stage, with his trusted Roland SP-404SX sampler, nothing much else crowds his DJ desk besides headphones and a lime LaCroix while he wears a denim jacket over a hoodie with his neon tipped hair.

Playing tracks and remixes off the Virtua.Zip and 200% Electronica albums, Clanton levitates the small venue with an out of body experience. “Whispers.Wav” is a track that imbues the crowd with a warming quality; it starts the guided meditative state that is ESPRIT 空想.

Clanton also remixes “Aurora Summer” a track that was originally on his collaboration album with 311’s Nick Hexum, opening it up with transportive breakbeats and lush drones over the original guitar hook. The remixed version was recently released alongside the Deluxe version of the album. Nearing

the end of his set, Clanton reaches into the crowd towards a fan with a glowing plastic bunny, a mainstay during each set of the night.

death’s dynamic shroud (stylized in all lowercase and often referred to as DDS) was the middle set, hot off the new release of their album, Darklife. It’s in their name, dynamic, from rich soundscapes to defining chopped vocals, DDS started with classic vaporwave and have only massively extended their reach from there.

their bodies passionately back and forth. Occasionally one half of the live duo, James Webster, will strum huge guitar chords on his hollow body, while on songs like “Neon Memories” off the new record, Tech Honors lends his soft-hearted vocals on top of lush vocal harmony samples.

Before Neggy Gemmy plays her closing set, George Clanton serves a reminder that 100% Electronica is a DIY label, as he’s seen moving mic and guitar stands for his wife. It’s little touches like that which make the indie electronic label seem more personal and down to earth.

Despite being an admitted outsider to the trio of acts performing that evening, as the group have a fairly unorthodox approach on writing and producing their storied sound, it’s still easy to see again that there is a highly committed fan base to death’s dynamic shroud. It’s obvious to see why, as there’s a whole world that’s been built by the trio, an adventure that you’ll likely be listening to for weeks straight after first being introduced.

Hard to miss visuals myriad the DDSsetwith dreamy retro 3D modeled videos as the duo are half hunched over their laptops and synths while half slamming

Bookending the night with always glistening beats and her instantly recognizable withdrawn dreamlike vocals, was Neggy Gemmy. The eclectic discography meshes smoothly for her live show, reworking some songs like “California” and organizing her setlist in the way she did, there’s a consistent flow throughout the night and it never stops being so fun. The constant within Neggy Gemmy’s music that ties it all together is best described in the hook of the aptly titled “Daydream,” “I’m feeling like a Daydream / Feeling I can touch the sky.” There is an atmospheric

quality in the literal sense, as French’s music makes you feel as though you’re on the brink of space yet still able to look down and see the world from a detached perspective. There was hardly a moment during her set that Brooklyn Made didn’t have their hands in the air, reaching for that sky.

Over the course of this year, Neggy Gemmy has released four singles that she’s playing on this tour: “Beep Beep,” “Daydream,” “Neggy Juice,” and most recently, “Twisted.” All signs point towards the release of a new record, especially since French teased another new, unreleased track that echoes high energy, bouncy dance clubs. “Twisted,” meanwhile, is a rubbery 808 rich track that takes the set in a grittier direction. The sun bathed hyperpop track “Neggy Juice” features the beloved and iconic Sarah Bonito of Kero Kero Bonito; it’s a bop that reminds you, “Gotta drink your Gemmy Juice / pop that top and get loose.”

Later, “Don’t Worry Bout the Fuck I’m Doing,” a cut from Neggy Gemmy’s 2016 Body Work and a fuck you to catcallers and sexualized stares that plague women, rightfully has the crowd proudly singing along as the lyrics backdrop the song. Undoubtedly, another highlight of the night lay with the confrontational “Beep Beep.” Coexisting with the other automotive inspired hyperpop flagship, Charli XCX’s “Vroom Vroom,” Neggy Gemmy’s take on road rage is what the Fader magazine accurately described as “Vroom Vroom on Quaaludes.” As the chorus comes in, French hops into the audience forming a path as she casually sings, “Beep Beep, get out of my way.”

Neggy Gemmy, along with her 100% Electronica label mates, create spheres that you can so easily get lost in. A lot of their sound stems from vaporwave and ethereal dance music where you need to

build a world in each song, a place where, for even just a short minute, you can be consumed by dense clouds and feel lighter than air. These artists excel at that skill and because of that, among other reasons like passion and finesse, they seem to be able to transcend any other genre they touch, taking the listener to a higher plane.

Mitski

Wunderhorse, the brand new venture led by London-based musician Jacob Slater (formerly of Dead Pretties), recently jumped onto the scene with the release of their first album, Cub, released in October this year. With regard to the record, Slater explained how lyrics are an important part of his experience with music, and listeners can appreciate the effort he puts into the craft, and the quality of the songs on the record.

In support of Cub, Wunderhorse have been touring for the last couple of months, opening for Irish rock group Fontaines D.C. in the US and UK. Next year, they have a headline UK tour scheduled for March and April, in addition to a number of dates opening for the Pixies on their European tour this coming spring. In the past, Wunderhorse have also toured with acts such as with Foals, Sam Fender, Sorry, and The Backseat Lovers.

In a conversation with Penny, Slater and his band — Pete Woodin on bass, Harry on guitar, and Jamie Staples

with touring and how tour life impacts the creative process. The recently-released music video for their single “Girl Behind the Glass” gives us a small insight on what a day in their life on tour looks like.

How does touring affect your creativity? Does it affect it positively through constantly meeting new people, seeing different things or negatively because you don’t have a routine, no structure, bad sleep patterns etc?

Jacob: Our experience, up to this point, has been kind of the latter, because of all the tours we’ve done so far and constantly being on the move, big, big drives, not a lot of free time. And it’s usually been in between tours in the past, and I think on this tour, because we’ve got a bit more time in the day-to-day, we’re going to play a song tonight, which we all wrote, like, what, two or three days ago, just because we had a day off. There’ve been lots of new ideas kind of thrown around on this tour, just because we’ve had the space and the time to do so. So it’s kind of exciting. It’s

Harry: I think it’s exciting because this is the first tour we’ve had, where we’ve been able to get together in a room and get some ideas together. Usually when we are on a US tour it’s quite hard to have any other time other than the very long drives. So that’s how we got the new song, which we probably will play most nights. It’s really hard to get time to yourself to write something, you really need some seclusion sometimes, it depends on the person. And luckily, that was the day where Pete and Jamie went out and I went out climbing and then I came back into this b&b were we were staying for the Manchester shows, and I gave Jacob some time to probably be by himself and I heard it downstairs and I thought that is a fucking song. Yeah, and then like two days later, we’re in the rehearsal studio. And all the parts just came with that.

Jacob: Everyone wrote their bits and then 24 hours after that we’re playing it live at a show which is great, the process has never been so fast before.

Pete: I think it definitely helps that when we’re on tour, and you’ve got music in

your band and stuff, everyone’s kind of listening to similar stuff and showing each other different tunes. So the music taste becomes a lot more centralized. We’re all listening to it at the time so then stuff gets written that’s maybe a little bit like that. And then we’re all kind of in the same headspace. So it’s much easier to think of parts and just to go what feels natural at the time I think in terms of instrumentation and arranging them around the song.

Is there a specific place in the whole world where you would like to tour particularly?

Harry: There’s aspects of a UK tour which are nice because you’re closer to home. There’s more time for me personally to go climbing on days off which is what keeps me sane. So that aspect of the UK tour is pretty nice. But then on the US tour you get

it, I don’t know whether that’s because it was sort of part of my life at an early age but yeah, definitely. I think we do need to make more adventures.

Pete: My dad is a massive Fela Kuti fan. So I was listening to a lot of African jazz music growing up. Afrobeat I guess as well. So the complex, rhythmic intricacies of that music I find are a big influence.

Go all the way down the West Coast of America through Mexico down through South America down to Chile. We’d never leave the coast. If it was up to me. But we probably wouldn’t play any gigs either.

What about musically, do you have any international musical references? Let’s say outside the US and UK?

Jacob: Yeah, definitely. I probably don’t know enough about it. Because it is probably something I need to dive into more. But yeah, I guess, weirdly I’ve always come back to this composer called VillaLobos when I was brought up and taught classical guitar, and that kind of music. I always kind of find myself leaning back to

Harry: I think for me personally, I’ve just been really comfortable with UK and US songwriting. Yeah, it’s just been something I’ve always, like, naturally gravitated to. Something I used to love when I was a kid. I used to have a bunch of these cassette tapes and like, it was before I was old enough to really understand what music meant. And, there was this Meat Loaf cassette tape and it had this sort of hard sound that I always gravitated towards. I did grow up with a lot of classical music as well.

Jacob: Yeah, this is so much music, isn’t it? I guess if you sort of like, listen to quite a lot of one thing, at an early age, you can spend your whole life digging through just that genre. So yeah, maybe it’s good sometimes to be like, okay, maybe I should just listen to something totally different for a change.

Do you feel like the genres you would usually listen to change or develop? Or would you listen to pretty much the same music since you were younger?

Jacob: It’s definitely changed. What I listen to is quite often gone off on quite big tangents. But I always seem to come back to people like Joni Mitchell, Neil Young, Bob Dylan and such, they’re the constants. Just because it is what I like. It’s just hard to beat those guys in terms of just pure, simple songwriting. Like you’re just spoiled for choice. Leonard Cohen, Joni Mitchell, Neil Young, Bob Dylan, you can’t beat that stuff, for me personally. A lot of Nick Drake as well.

Pete: I think I was just as a kid very interested in the hardest rock guitar riff that could ever be heard. And then I guess gradually as I got older, I paid more and more attention to songs and lyrics. Yeah, I didn’t not necessarily gravitate straight towards listening to words, I was more of

listening to the music of something and trying to play it back or whatever. But yeah, as I got older, it’s been a slow kind of shift into listening to songwriters. Yeah, opposed to great guitars.

Jacob: That’s an interesting point, actually, I think yes. As I’ve gotten older, I started off listening to words much more. I mean, I have always liked lyrics and storytelling, but it was sort of the sonic qualities of the music that came first when I was younger, that hard hitting thing. But I think now I definitely will immediately go to words. Regarding the creative process, do you sometimes force yourself to go outside your comfort zone? Do you just do things and hope for it to happen?

Jacob: You work and work and work out and you graft and then after loads of blood, sweat and tears, you go ‘ah shit’, and you abandon ship and you think, I’m never gonna write anything. And then out of nowhere a week later, it comes. It almost feels like you didn’t write it. And who knows whether the work you did last week had anything to do with the song you’re writing. I don’t know, there’s a magic to it. I think Tom Petty said somewhere “it’s a light, but I don’t want to look directly into the light” and I totally get that. You only see

it out of the corner of your eye, you can’t get it by looking straight at it, I don’t think. And I don’t want to fully understand it, I want to keep the magic to it.

Do you usually read books? And if you do, does it inspire you in your daily life? Do you have a book that particularly had an impact on you?

Harry: You can read, like most books within a couple of weeks or something like that. And that’s a piece of work that’s taking someone maybe a few years. So you get all that knowledge just like that, to some degree. I wouldn’t read a book and then I’d be like, Oh, I’m gonna write a song or I consciously think I’m gonna write something now. Some people are good at that. Some people are really good at choosing what they want to write about, have a really clear idea and then do it. Reading books is almost a separate thing, I would still do it, I could not tell you if it had any inspirational value, probably, it definitely has some.

Jacob: Your subconscious needs.

Harry: Me and Jacob are big fans of Bukowski. And he’s definitely had a mark on us to some degree.

Jacob: A friend of mine recently said, if you love an album, how many times you listened to it, probably a 100 times or whatever. He said, well, it’s funny. He’s a proper book reader, he reads like 60/70 books a year, a lot more than me. But he said, well, why don’t people do the same thing with books, you know, you have favorite books, you can always find new things. And so, at the moment, I’m rereading all the Hemingway I read when I was younger, and it’s great, there’s all these things jumping out, how did you miss that. Or maybe you weren’t in the right age to sort of process it. So there’s always wonderful little kinds of surprises going over the old territory and stuff. And

to write lyrics, I think it applies. Because you got to practice words. It’s really easy to go on your own, practice guitar, but when do you ever go on your own to practice words, jot down words when you can, write a short story.

Jacob: That’s what I do. I write terrible short stories. Short stories are really good for practicing the art of having an arc, even if it’s just like a set of lyrics, or three verses or two verses or whatever, it is just like a bit of movement. And so you take someone on a journey, even if it’s not a fully fledged, like formally, sort of constructed story, you’ve got, I think maybe subconsciously, it helps you form those, those arcs to

I definitely find with writing, maybe it doesn’t directly influence the songs. But I find my words are sort of more readily at my disposal, the more that I’m reading, they’re sort of higher up in my brain, I don’t have to kind of reach around, they’re kind of more just there.

Pete: It is a way of expanding your vocabulary in ways of saying things that perhaps you wouldn’t have thought of before. And regardless of whether you’re reading to go along with a story or whether, if you’re reading a factual book about Japan or something, your vocabulary is obviously going to expand through doing that. I think that’s very much an important thing as well as to keep reading.

Harry: Stephen King said that if you want to be a writer, you have to be a reader. And I think it definitely is, especially if you want

kind of take the reader from one place to another with words, which is like, quite exciting for me because I’ve always been more musically focused and for the last few years got kind of really into words and stuff. So I’m sort of still finding my feet with it.

Harry: I think with words, the more you can express something, the more you can feel what you’re expressing.

Jacob: Yeah, and it makes the song better. Yeah, if you believe you can sing it, and that’s exactly the words you wanted to use.

Harry: If you can articulate a certain feeling with words, you can feel that feeling more.

Jacob: It’s like untangling a dream or something. And then you’re like, oh, shit, that’s how I feel like, that’s what that means. It’s this sort of cathartic process almost.

P e n n y ' s L o c a l A O T Y S p o t l i g h t P e n n y ' s L o c a l A O T Y S p o t l i g h t

The second collaborative work between rapper Ennals and polymath Knives, King Cobra packs a venomous shot of razor wit. Over skittering, frantic, and sometimes beautiful beats, Ennals strikes a perfect balance between being hilariously bawdy and challenging the listener on their place in society. A uniquely Baltimore record that could only have been made in the Greatest City in America.James Lore

Since returning to New York in February of this year, I’ve fallen in love with the local guard of artists and bands rooted in Brooklyn and Queens. I first discovered Scout Gillett when she played a show at The Broadway in Bushwick back in September. She had the entire audience caught in a trance and swaying together as one unified entity. It was one of the most mesmerizing performances I’ve ever seen. The 60s french space pop influences and analog tape textures on this record beautifully complement Scout’s delicate cadence, whether she’s vocalizing her pensive thoughts in a cool, detached whisper on songs like "signal," or belting to the high heavens on "lonesome dove." - Isabel Corp

I moved to NYC this August, and subsequently, I’ve been introduced to a ton of local artists since, largely at the hand of the friends I know who’ve already been living here. One of said artists is Brooklyn-based Kierst, who just shared her long-awaited debut EP, Thud, this November. - Erin Christie

I n f i n i t y K n i v e s & B r i a n E n n a l s ( B a l t i m o r e , M D ) - K i n g C o b r a ( J u l y 1 1 v i a P h a n t o m L i m b )

Kierst (New York, NY) - Thud (November 10 via Sad Club Records)

Scout Gillett (New York, NY) - no roof no floor (October 28 via Captured Tracks)

Our team has contributors from all over the country, and even abroad! When thinking about the past year, we've thought about the remarkable releases from artists from the cities we're based in. View below!

The Asbury Park music scene is constantly growing with brilliant artists. Joe P, formerly known for his band Deal Casino, re-recorded some of their old songs which can be heard on this new EP. It’s very refreshing to hear these older songs with a new sound and energy to them. I’ve loved watching him grow over the past few years and always look forward to his new releases! - Haley Milnes

This album truly embodies the indie-garage music scene of Los Angeles, muffled and themes of early living. Both from California, Eyedress (popularized from TikTok with the song "Jealous") and ZZZahara collaborated together to make Siblings The album had the right amount of reverb, guitar, drums, and layered vocals which created dreamy tracks such as "Guardian Angel" which is made to lie in the sun — or songs like "On Fye" that makes you want to mosh. This album brought me back to being in high school and college where indie music feels most relatable; during the developmental and transitional periods towards independence. - Marí Cárdenas

Going to school in a small Western Massachusetts town has exposed me to the Boston music scene more than I could have expected. My first exposure to Pleasure Coffin was seeing her play at a basement rave and I was immediately entranced. The album features Pleasure Coffin’s signature dreamy vocals, wails of catharsis, and innovative synths all complementing each other with their raw emotion. Pleasure Coffin’s Instagram bio, "screaming is good for you," is a fitting thesis for this otherworldly EP. - Claire Russell NOTABLE 2022 SINGLES

Joe P (Asbury Park, NJ) - French Blonde (October 7 via Atlantic Records)

Photo by Tyler Bertram

When I enter the main bar at Our Wicked Lady in East Williamsburg on a Wednesday night, I am greeted by Tyler Wright, lead vocalist and songwriter of Bushwick disco punk collective TVOD (Television Overdose). Before I can even speak a sentence, he’s already dashing across the room to grab an extra bar stool for me to settle into, and we exchange pleasantries over the following fifteen minutes. My first impression is that he emanates the combined aura of a golden retriever and the friendliest Trader Joe’s cashier you’ve ever met. It’s a stark contrast to his stage persona, where he can be found spewing beer and spit into the crowd, climbing the walls, and sometimes even shedding blood.

Later, I sit across from him in the green room while he gets a tattoo. As I read through the questions I’ve prepared for the band, I try (and fail) to maintain

I had high expectations for that night. I knew TVOD had a reputation for being one of the most unruly and unpredictable live bands in New York, and that show didn’t disappoint. Bodies were flying through the air and colliding at breakneck speed. As I held onto my friend Sam for dear life while our bodies thrashed into oblivion, my eyes were fixed on bassist Lyzi Wakefield, who beautifully anchored the performance with her ethereal background vocals and intoxicating riffage. I had experienced my fair share of exquisite chaos at shows, but never like this. This was pure, unmediated anarchy.

While the band’s name is likely not an intentional nod to the song of the same name by The Normal (the A-side to “Warm Leatherette”), the parallels are certainly there. Many of TVOD’s lurching anthems contain anti-authoritarian lyrics kicking against complacency

as a form of passive capitalistic brainwashing. This ideology is plentiful in their first two projects and Victory Garden (2021), which contain songs about self-medicating in disco huts, sexually-frustrated sentient bank accounts, and greedy Wall Street shareholders getting their come uppance.

Penny sat down with TVOD to discuss surviving and creat ing art under the iron grip of post-quarantine pandemic woes, and using songwriting as a vehicle to nurture vulnerability and sensitivity. Digressions include parasitic Martians, tramp stamps, and G.I. Joe-collecting dads.

So, my first question should be relatively simple: Who are you and what do you do?

Tyler Wright: Who am I? Who am I, you might ask?

Serge Zibrizer: A human popsicle!

Wright: I am not a human popsicle! I’m Tyler. I play in the band TVOD… and I’m currently getting a tattoo in front of lifesize aliens!

Mem Pahl: You should write that he’s lying face-down and getting a tramp stamp.

Wright: Not getting a tramp stamp either. But the aliens are real.

How would you describe your ethos and the output of TVOD to a stranger?

Wright: Well, we definitely enjoy making music and playing it in front of people (when it goes right).

Pahl: What is the ethos of our band? That’s a difficult question.

Wright: The ETHOS?! I’m not at that kind of reading level.

Ideology. What’s your ideology?

Wright: Well, here’s a good example. I was sitting at my dad’s house the other

going to get weirded out by people seeing this?” And he took a pause and said, “Nah. Fuck ‘em!” And I think that goes with the band’s mentality. We’re just here to have a good time, and anything else in between is just a part of the fucking ride. We’re here to have fun. So fuck ‘em!

You just said you enjoy playing “when it goes right.” What about when it doesn’t go right?

Wright: You’ve just gotta fuckin’ roll with it. You have to practice the art of not giving a fuck. Cause when it’s not going right, that means we’re not having a good time. So even if there’s nobody there, or it’s a show with a low turnout, it’s about playing for ourselves and not taking everything so seriously.

Courtesyof TVOD

Photo by Jessica Gurewitz

What was your involvement in the local scene before TVOD and how did we get here today?

Wright: I started writing TVOD songs a few months before quarantine. I was in this other project, and I really wanted to make dance music. But every time I tried to make dance music it ended up sounding like punk songs. TVOD was originally me in my basement dancing around to these songs I wrote, but then I ended up showing them to my partner who’s also a musician. She loved the songs and ended up pushing me to take them to the next level. This band is all friends, and people we know who are “Bushwick famous.” So it’s always changing, but the crazy thing is that when it started I didn’t think that other people would be as down to write with me as they are now. So it’s always important to have other people around to let me know, “this music sucks, you’ve got to make it better!” [Laughs]

TVOD has a rotating cast of characters contributing to the band. When new people come through the door, how do you go about finding musicians who will connect with you musically?

Wright: I don’t like to think of things that way. I don’t really think of the band as something permanent. The kind of show that I want to have tonight—the type of show that I always like to put on—is one where everyone’s in the band. The audience makes up just as much of the experience as we do because we’re all responding to the energy around us. We’re all vibing together. One of my favorite things to do is sit down and watch my band play and sing my songs. There’s no better feeling. Maybe one day we’ll get to a point where I get to take a chair and not do anything. That would be the ultimate goal.

What do your pre-show rituals look like?

Wright: People say I should warm up my voice, but I’ve never actually done it and end up blowing it out every night as a result, so I probably should. We normally like to get together before we go on and talk amongst ourselves about the set, but I don’t really have any rituals. Sometimes I’ll walk around reciting jokes in my head that I never end up repeating on stage cause they’re never good. Or I’ll try to run them by Mem or Serge and they’ll be like, “No, don’t fucking say that!” So it’s a very [flying by the seat of our pants] way of going about it.

You write punk songs that are very funny and also very sincere. Is that a balance that comes naturally to you?

Wright: Yes. And that’s because the writing is coming directly from my life. A song like “Buy. Sell. Die.”—songs that are very tongue-in-cheek and political—come from the fact that I don’t make any money. I’m hungry all the time, and I strive to get out of that. I’m constantly pissed. I want change to happen, but the whole world fucking sucks. You say the writing sounds sincere, and that’s because I’m still human. I experience love and heartbreak like everybody else. So naturally, I’m going to write about that too, cause it’s my outlet.

You are in a unique position of being involved in a project that’s gained momentum since the start of the pandemic, instead of dying out. What has that experience taught you?

Wright: You say “gaining momentum,” and I do feel that for sure. It’s a weird feeling because I know we have crazy shows here. And people constantly ask me, “What’s it like to be like that?” And I don’t understand why they say that to me, because we’re not anything yet. All we are is good songs and this weird reputation we’ve built up post-quarantine. And the funniest

Photos by Jessica Gurewitz

eat vegetables on the road, or you will die.

How did your cover of “Ex-Boyfriend Beat,” come about? That’s one of my favorite riot grrrl deep cuts and I was wondering what prompted you guys to record it?

discovered it randomly one day and I loved it. My girlfriend loved it too. It was one of those songs that I got obsessed with and couldn’t stop listening to it. Eventually, I thought: “Okay. This is a song that should get carried on.” So if our version harps back to them and what they did, and how fucking cool they were, then

I feel like we did the right thing. I actually sent [Skinned Teen, the band who originally recorded it] our version of the song via email, and I never heard back.

I’ve noticed that [lead singer] Layla Gibbon is technically still online, but the band definitely seems like they would be off the grid now.

Wright: I think that’s definitely possible. I think they’re that punk, and they just don’t care. But who knows, maybe one day they’ll see it.

Zibrizer: And probably sue us!

What does the rest of the year have in store for TVOD?

Wright: We have a few more songs coming out, and then we have a really sick video that our friend Scott Palazzo animated for a song called “Goldfish,” which is an ode to my dead goldfish. I wasn’t a negligent parent, but I felt terrible when I walked into the room and saw Phoebe [my fish] dead. So I decided to write a song where I deflect the blame and claim that my friend Ted had actually killed her. There will be more tours, maybe SXSW if they let us in, and possibly Europe.

Keep up to date with TVOD via their socials and listen to the aforementioned new string of singles — “Alien,” “Mantis,” and “Goldfish” — out now via all DSPs.

Words and Photos by Marí Cárdenas

Blown up cacti, make-shift haystacks, and a wagon wheel with an extra canopy on top the Vacations boys recently made their return to the “Wild West” (better known as America) prepared with their suspenders, bandanas, and, well, instrumental gear While it may have appeared as though their vision was pulled right out of the 70s western Blazing Saddles, the band’s current look accompanies their second US tour, and Penny got the chance to catch up with vocalist/guitarist Campbell Burns at their second to last (sold out) show at The Fonda Theatre in Los Angeles With a tip of Burns’ cowboy hat, the Wild West introduction song brings us straight into their set

Vacations, the Newcastle-Australian band that originally started with then-18-year-old Campbell Burns making music in his bedroom and uploading it onto Tumblr, is now supported by Nate Delizzotti (lead guitar), Jake Johnson (bass), and Joseph Van Lier(drums) Although they didn’t plan to tour the U S again until their next album, fans (me included) were very grateful to have the opportunity to finally dance to their 2020 album, Forever In Bloom, which held us over the quarantine.

Thanks to TikTok, Vacations’ fanbase skyrocketed after users began to use “Young, ” off of Vacation’s second EP Vibes ultimately, the track reached over 315 million listens on Spotify as a result. B e c a u s e o f t h i s f e a t , t h e 2 0 1 6 s i n g l e b e c a m e c e r t i f i e d g o l d b y R I A A i n C a n a d a , t h e U S , P o l a n d , a n d A u s t r a l i a . “ I t h o u g h t i t w a s r e a l l y f u n n y a n d , h o n e s t l y , r a n d o m , ” B u r n s s a i d . “ N o w , I ' v e g o t a g o l d r e c o r d i n m y l i v i n g r o o m . I t ' s g o t t h e l y r i c s a n d t h e r e a c t u a l l y i s a s p e l l i n g m i s t a ke w i t h t h e l y r i c s . I f y o u l o o k a t o n e o f t h e l a s t l i n e s , t h e y u s e a d i f f e r e n t w o r d . ” H o w e v e r , h e d o e s n ’ t f o r g e t t o m e n t i o n t h i s s u c c e s s i s n ’ t g o i n g t o m a k e h i m a n d t h e b a n d t o o c o m f o r t a b l e , s o l i s t e n e r s s h o u l d b e k e e p i n g t h e i r e a r s p e e l e d f o r n e w t r a c k s t o c o m e

"I think my artistic practice and process is a bit more intentional since now that there’s an audience and an expectation,” he explained “Whereas before I was like ‘some of my friends would listen to it in Newcastle,’ the concept of my music going outside of my hometown, even though people have access to the Internet, was a foreign concept "

"This tour was a bit of a surprise for us, we didn't actually have plans to come back until we had new music so we needed to spice things up a little bit considering we weren't going to be debuting any new songs,” he continued With regard to the decision to come to the States anyway, listeners can thank both this past year’s ACL Weekend 2 from which Burns gained a newfound appreciation for Phoenix, noting their professionalism within syncretization, and furthered his appreciation for SZA’s stage presence and for their date in Mexico on their second US tour

S i n c e B u r n s s t a r t e d h i s m u s i c c a r e e r o n T u m b l r , h e i s a s e l f - p r o c l a i m e d p r o a t u s i n g s o c i a l m e d i a a n d r e v e a l e d s o m e t i p s t o P e n n y T h a t b e i n g s a i d , h e i g n o r e s t h e t r o p e o f c r e a t i n g “ p a l a t a b l e ” i n d u s t r yc u r a t e d T i k T o k s e v e r y d a y , s u c h a s p o s t i n g a s o n g p r o c e s s , p r o m o t i n g a d a y i n t h e l i f e , o r a s i m p l e t h i r s t t r a p w i t h a t r a c k i n t h e b a c k . I n s t e a d , h e p o s t s m e m e s o f S h r e k d a n c i n g o r c l i p s f r o m t h e i n t e r a c t i v e S t o r y a p p w i t h t h e i r s o n g s i n t h e b a c k a n d b e t w e e n u s , i t s e e m s l i k e t h a t m e t h o d ’ s b e e n w o r k i n g f o r h i m , a s h e ’ s r e a c h e d u p t o 3 m i l l i o n v i e w s o n s o m e o f t h e s e c l i p s .

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I w o u l d b e s p e n d i n g l i k e t h r e e h o u r s a d a y t r y i n g t o m a k e a p e r f e c t T i k T o k t o g o v i r a l b u t i t ' s l i k e , I c o u l d j u s t p o s t a S p o n g e b o b m e m e a n d p u t m y m u s i c o v e r t h e t o p , a n d i t g e t s m o r e t r a c t i o n t h a n a n y t h i n g I s e r i o u s l y p u t e f f o r t i n t o . ” W i t h t h i s m e t h o d , h e s a y s i t a l l o w s h i m s e l f t o h a v e a g e n u i n e a n d l i g h t h e a r t e d r e l a t i o n s h i p w i t h t h e i r f a n s o n s t a g e , t o o O n t h e e v e o f t h e i r s h o w a t T h e F o n d a , V a c a t i o n s ’ s e c o n d m o s t - u s e d s o u n d o n T i k T o k , “ T e l e p h o n e s , ” l i t u p t h e w h o l e v e n u e w i t h p h o n e f l a s h l i g h t s a s f a n s b e l t e d t h e d o u b l e - e n t e n d r e - r i d d e n l y r i c s , w h i c h e i t h e r m a p o u t a l o v e s o n g b e t w e e n t w o p a r t n e r s w h o a r e t h a n k f u l t o h a v e a p h o n e t o h e l p w i t h t h e d i s t a n c e , o r r e f e r e n c e a c e l l p h o n e a d d i c t i o n t h a t k e e p s y o u u p a t n i g h t a s y o u a i m l e s s l y s c r o l l ( w h i c h a l l o f u s y o u n g s t e r s c a n r e l a t e t o ) W h i c h e v e r m e a n i n g , i t h a d t h e c r o w d t o s s i n g t h e i r c o w b o y h a t s a n d h o l d i n g o n t o t h e a u d i e n c e - g o e r n e x t t o t h e m , a l l w h i l e B u r n s p o u r e d h i s h e a r t o u t H e l a t e r s a i d h e t e a r e d u p w h e n h e r e a l i z e d h o w s p e c i a l t h i s m o m e n t w i t h t h e i r a u d i e n c e w a s .

B l e n d i n g i n d i e - r o c k , j a z z , a n d p o p t o c r e a t e s o n g s t h a t m a k e y o u w a n t t o c r y , d a n c e , a n d ( a s s o m e p e o p l e i n t h e c r o w d d i d ) k i s s s t r a n g e r s , V a c a t i o n s b r o u g h t t h e

h o u s e d o w n o n t h e i r m o s t r e c e n t t o u r , a n d a u d i e n c e s c a n l o o k f o r w a r d t o f u t u r e a l b u m s w i t h t h i s b o y b a n d , a n d m a y b e e v e n a s o l o - p r o j e c t f r o m B u r n s .

Bands don’t live forever, unless they’re The 1975.

I don’t mean that bands stop making music outright (though, that’s often that’s the case), but they can grow stale, irrelevant, and if they find a major hit, they start to grow repetitive and commercialized, pumping out “music” for the sake of a radio hit. On so many occasions, bands swap out members like a losing team at a trade deadline, until they become essentially a decrepit solo act like Panic! At The Disco. There’s only a few bands that stand the test of time and success, and The 1975 will be

It hasn’t always been the case in ‘75 music to be truly sincere. Their debut self-titled and their sophomore album, I Like it When You Sleep, For You Are So Beautiful, Yet So Unaware Of It, are full of sarcasm, self-destructiveness, egotism, and cynicism. Take the line,“You used to have a face straight

by jason boyle

It’s another running gag to be self-referential for the band; it’s a type of easter egg inspired by frontman Matty Healy’s love of video games as a kid.

The self-titled record is described as an “apocalyptic” teenage romance drama by Healy. The album radiates this grunge aesthetic; it’s emo, dark, and defines 2010’s Tumblr-core. This is a record that describes the teenage plight better than any other album, covering the life changing decisions one makes while the environment around them is out of their control. It’s tied to an era of growth and self discovery, defining an era for millions of teenagers.

In a sense, however, the self-titled record loses some traction 10 years down the line, as I’ve grown up. I still scream “Now everybody’s dead” with the

same passion I felt when I first heard “Robbers,” and “Sex” still hits hard in it’s midway point of distorted guitars and obliteratingly noisy drums. But if I had to rank it, the LP would be lower on the list than others, not because the album isn’t good — far from that — but The 1975 have just gotten better and better and as I’ve matured, and so have they. The self-titled album forever holds a place in my heart (the same goes for most everyone), but the record is at its best when listened to by adolescent ears:

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photography by jordan hughes

design by aubrey calapp

the first time you fall in love, the first time a friend offers you a hit, the first time you feel the weight of the world.

Trading the black and white filter for a pink, pop aesthetic is the aforementioned I Like It When You Sleep [...]. The record immediately marks its purpose in the introductory start-up track that

stretches across each 1975 record. The self-titled start-up had this weightlessness to it while buzzing synths and vocal clips would float around until it teleported into oblivion. It represented a drug induced haze while the world around you was unfolding. This time around, the track is cohesive and awe-inspiring, with a chorus that is both sung and

underlined by Healy separately, as an outside, almost cynical voice. As made known there, it’s a record about egoism with a pop aesthetic.

Later, “Love Me” sprints right out of the gate with its jarring wobbly synths and panned directly left and right guitar riffs hitting you from each side.

It’s the first time Healy shouts “What a Shame,” a motif seen throughout the record. It’s a go at celebrity culture and cheeky way to say The 1975 are for the people. Thus, I Like It When You Sleep [...] is the band’s first real take on sincerity. It reads extra hard between the lines at what people do and say it’s about pretense.

At the same time, the record is undeniably gorgeous. The LGBT anthem “Loving Someone” is a feature on the album that challenges the commercialisation of gender, sex, and love. “Please Be Naked” is a sparse, instrumental track with a floating piano melody and rippling synths. The title track of the album is at first half-bubbling and innocent in its programming and vocal samples as Healy comes in, “Before you go (Please don’t go) / Turn the big light off,” until the song turns into a thumping dancehall-inspired beat.

The following record, A Brief Inquiry Into Online Relationships, is a turning point for The 1975. It’s the start of a new era that technically was meant to be the Music For Cars era, as it was intended to be released in 2018 with Notes [...] as a part two.

While it didn’t quite end up being an official two-part album, ABIIOR is a clear departure from the previous records, both lyrically and sonically. Yes, “Sincerity Is Scary” hits the nail on the head with lines such as, “You lack substance when you say / Something like ‘Oh what a shame’ / It’s just a self-referential way / That stops you having to be human.” But aside from the commentary on sincerity, it’s most notably the continuation of easter eggs that

add to the attention they give to their fans. It’s one of the things that sets The 1975 apart from other bands, and why they keep their relationship with their fans so strong.

In general, ‘sincerity is scary,’ the running theme of the album, is a commentary on how life coexists with the Internet and that being insincere is a way of protecting oneself. It’s a way to say that showing genuine emotion can provoke an outlash from people who lack basic empathy. Nonetheless, the record is about hope.

Some of the band’s best work is seen on “Love It If We Made It,” a song that Healy admitted that he wishes the band didn’t have to play, four years after its release. The track screams gloom and doom headlines about societal inadequacies, featuring a departure from classic The 1975 syncopated rhythms with a switch to straight beat drums. That is, until the chorus, where a flourish of upbeat instrumentals and gospel chorus samples reinforce the idea that there’s still something to fight for. It’s why the first Gen-Z congressman, Maxwell Frost, who attended a The 1975 concert after he won election, had the song dedicated to him.

The 1975 continue their run of hope and continue to drop pretense with their following release, Notes On A Conditional Form. This record marks the band’s first lyrical changes on the intro track, with Greta Thunberg performing a spoken word essay on top of an instrumental track that originates from the previous record and can be heard on “Be My Mistake.” It’s a daring move by the band that pays off in every way. It leaves an imprint, being spoken by one of the most important and leading voices of the current generation, and fights for the health of the planet; it defines facts that are impossible to ignore, but it incites change in action statements such as, “There are no rules to keep that oil in the ground / So we can no longer save the world by playing by the rules / … So, everyone out there, it is now time for civil disobedience / It is time to rebel.” It’s fucking punk. This of course leads to the shearing guitars and deep, driving drums of “People.” As Healy screams, “People like people / They want alive people / The young surprise people / Stop fucking with the kids,” it’s as intense as it should be.

NOACF is a record that is, at times, a little all over the place, and I think it’s part of the reason why it’s a controversial record for fans. The band experimented a lot on the record, going from Route 66 rock with “Roadkill” to deep house with “Shiny Collarbone.” But before their newest release, Being Funny in a Foreign Language, this was my favorite record. The production on NOACF is gorgeous in every way. “What Should I Say” is a lush, in the clouds track with a haunting vocal sample from FKA Twigs. It melts in your ears. Later, “Shiny Collarbone” is a dirty, deep house track that recalls the club scene (note: Dancehall singer Cutty Ranks actually re-recorded an original sample for the song's vocal cuts). In all, George Daniel also excels on this record.

Raw and real, NOACF is a record that sounds best in the cool breeze of the nightime. It was released right as the pandemic was hitting its peak, right as people were stuck inside and mental health was in major decline. NOACF gave life some fresh air, it was eclectic but it was warm and fulfilling.

Now, with the release of Being Funny In A Foriegn Language, The 1975 are at their very best. There hasn’t been a more sincere record, a more sincere sound, and more sincere lyrics, from “I don’t care if you’re insincere / Just tell me what I want to hear / … Oh, tell me you love me” to “The only time I might get better / Is when we are together.”

The start-up sound to the record is a dazzling, sporadic piano melody with Matty spewing lines about the state of the world and the band. It’s the mark of an organic record, livelier than ever before. There’s imperfections that warm the album up — for instance, “Part of the Band” features George Daniel playing cello for the first time. Layered with his and Jack Antonoff’s playing, the cello section is the foundation of the song, formed out of defect. The song also features Michelle Zauner of Japanese Breakfast on backing vocals that lift the choruses, floating them on top acoustic guitar and tight, sizzling drums.

Being Funny [...] is quintessential The 1975, with bubbling guitar riffs and syncopated rhythms marking key tracks, “Happiness” and “Oh Caroline.” But it’s “I'm in Love With You” that transcends duplicity. Healy states the band challenged him to go against his instincts, instead of challenging sincerity: “Just write a song about being in love.”

The 1975 are best friends who have been making music together since 1years-old. Matty Healy, George Daniel, Ross MacDonald, and Adam Hann are The 1975, and it’s all they’ve ever known. From a scrappy emo band called Drive Like I Do to one of the most successful bands of the 21st century, The 1975 are sincere.

2022 Concert

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u n t e r D i s c o v e r s h u n t e r D i s c o v e r s C l a r i t y i n C h a o s o n C l a r i t y i n C h a o s o n “ I ’ v e B e e n L o o k i n g ” “ I ’ v e B e e n L o o k i n g ”

r i t t e n b y G i l i a n n K a r o n M a i n P h o t o b y S h a y R o w d y

h u n t e r ’ s m o m e n t h a s b e e n y e a r s i n t h e m a k i n g A g u i t a r i s t s i n c e c h i l d h o o d , L o u i s v i l l e n a t i v e , a n d g r a d u a t e o f C o l u m b i a C o l l e g e C h i c a g o , h e n e v e r c o n s i d e r e d a c a r e e r i n a n y t h i n g b u t m u s i c L i k e e v e r y o t h e r a r t i s t , t h e p a n d e m i c u p e n d e d h i s c r e a t i v e g o a l s a n d f o r c e d h i m t o l o o k i n w a r d . B u t w i t h o p t i m i s m a n d d i l i g e n c e , c r i p p l i n g p r e s s u r e c r e a t e s r e v o l u t i o n a r y g r o w t h . H i s n e w e s t s i n g l e , “ I ’ v e B e e n L o o k i n g ” a m a l g a m a t e s o f y e a r s o f h a r d w o r k , d e l i c a t e l y w h i t t l e d f r o m p a n d e m i c i s o l a t i o n .

W i t h t e n s e s w e l l s , w a r y p l a t e a u s , a n d l i b e r a t i n g r e l e a s e s , t h i s t w i n k l y t r a c k f o l l o w s a n u p w a r d c l i m b d o t t e d w i t h m o m e n t s o f c l a r i t y . Y o u w a n t t h e p r o t a g o n i s t t o w i n b e c a u s e t h e s t r u g g l e f e e l s f a m i l i a r . T h r o u g h t h e s o n g w r i t i n g p r o c e s s a n d t h e s o n g i t s e l f , h u n t e r r e c k o n s w i t h a n i n d u s t r y f o r e v e r c h a n g e d b y t h e g r e a t e r p a r t o f 2 0 2 0 a n d t h e r e a l i z a t i o n t h a t n o o n e c a n d o i t a l l a l o n e .

L e t ’ s s t a r t w i t h a n e a s y o n e . W h a t w a s t h e m o t i v a t i o n b e h i n d “ I ’ v e B e e n L o o k i n g ” ?

I s t a r t e d w o r k i n g o n “ I ’ v e B e e n L o o k i n g ” o n N e w Y e a r s ' E v e 2 0 1 9 . I w a s b a c k h o m e i n L o u i s v i l l e f o r w i n t e r b r e a k a n d w a s f r a n k l y g o i n g t h r o u g h a n e s p e c i a l l y t o u g h t i m e r e g a r d i n g m y m e n t a l h e a l t h A t t h a t t i m e , I h a d j u s t b a r e l y p a s s e d w h a t f e l t l i k e t h e m a j o r i t y o f m y c l a s s e s I w a s w r e s t l i n g w i t h t h e i d e a t h a t I w a s d r i f t i n g a w a y f r o m s o m e o f t h e m o s t i m p o r t a n t p e o p l e i n m y l i f e , a n d f o u n d m y s e l f g r o w i n g i n c r e a s i n g l y f r u s t r a t e d w i t h a n i n a b i l i t y t o f i n i s h a n y o f t h e m u s i c I w a s w o r k i n g o n I g u e s s I f e l t l i k e I h a d h i t s o m e s o r t o f c r e a t i v e w a l l a n d f a i l e d b e f o r e I e v e n h a d t h e c h a n c e t o s t a r t I w a s f e e l i n g a l o n e a n d a n x i o u s r e a l l y j u s t e x h a u s t e d

T h a t m o r n i n g , I w a s f u c k i n g a r o u n d i n s o m e s y n t h p l u g i n o n A b l e t o n a n d f o u n d a n a r p e g g i a t e d s o u n d t h a t r e a l l y j u m p e d o u t a t m e ; I n r e t r o s p e c t , i t t o t a l l y c o u l d ’ v e j u s t b e e n t h e k e y I w a s p l a y i n g i n , b u t i t i m m e d i a t e l y r e m i n d e d m e o f t h e o p e n i n g s y n t h s o n t h e i n t r o t r a c k s o f M 8 3 ’ s H u r r y U p , W e ’ r e D r e a m i n g ( “ I n t r o ” ) a n d J a c k L a r s e n ’ s M i l d e w ( “ S p i r i t ” )

W i t h t h e d e m o c r a t i z a t i o n a n d a v a i l a b i l i t y o f p r o d u c t i o n s o f t w a r e , t h e e n t i r e s o n g w r i t i n g p r o c e s s h a s s o m e w h a t s h i f t e d f r o m j a m s e s s i o n s t h a t m a t e r i a l i z e i n t o s o n g s t o i n d i v i d u a l s w i t h t h e i r c o n t r i b u t i o n s t h a t a r e s t i t c h e d t o g e t h e r . C a n y o u t a l k a b o u t y o u r o w n c o n t r i b u t i o n s a n d h o w y o u c o l l a b o r a t e d w i t h o t h e r s ?

I l a i d d o w n a p r e t t y s i m p l e p a r t , l o o p e d i t , a n d f o r t h e f i r s t t i m e i n a w h i l e I f e l t s u p e r i n s p i r e d t o w o r k a g a i n A f t e r a h a l f h o u r o r

h s o , I h a d m o s t o f t h e p i a n o p a r t d o n e a n d h a d w r i t t e n ( p a r t s o f ) a v e r y e a r l y d r a f t o f t h e f i r s t v e r s e . I t h e n f o u n d o u t o n e o f m y f r i e n d s f r o m C h i c a g o w a s i n K e n t u c k y s e e i n g s o m e f a m i l y s o I w e n t a n d p i c k e d h i m u p a n d w e e n d e d u p w o r k i n g o n s o m e m u s i c i n m y f a m i l y ’ s b a s e m e n t

I s h o w e d h i m w h a t I c a m e u p w i t h e a r l i e r i n t h e d a y , a n d h e a l m o s t i m m e d i a t e l y s t a r t e d h u m m i n g / s i n g i n g t h e “ o n e , t w o , t h r e e , f o u r ” t h i n g t h a t e n d e d u p b e c o m i n g t h e m a i n p a r t o f t h e h o o k H e d e f i n i t e l y k e p t t h i s s o n g f r o m b e c o m i n g a n o t h e r h a l f - a s s e d i d e a I ’ d e n d u p l o s i n g i n s o m e f o l d e r o n m y c o m p u t e r

Y o u w r o t e “ I ’ v e B e e n L o o k i n g ” b e f o r e t h e p a n d e m i c . I n M a r c h 2 0 2 0 , w e u n i v e r s a l l y f e l t l i k e t h e w o r l d w a s c l o s i n g i n , b u t u n t i l t h e n , o u r f e a r s a n d i n s e c u r i t i e s s t e m m e d m o r e f r o m o u r i n d i v i d u a l e x p e r i e n c e s . L o o k i n g b a c k , h o w d o e s t h i s s o n g b o t h p r e s e r v e a n d h e a l y o u r “ f o r m e r ” s e l f ?

A f e w y e a r s a g o , I l o s t t h r e e p e o p l e w i t h w h o m I w a s q u i t e c l o s e o v e r t h e s h o r t s p a n o f s e v e r a l m o n t h s r i g h t b e f o r e I m o v e d a w a y f o r c o l l e g e . I w r o t e t h i s s o n g b e c a u s e I n e e d e d a v e h i c l e t h r o u g h w h i c h I c o u l d e x p l o r e m y o w n t r a u m a a n d a t t e m p t t o u n d e r s t a n d w h y l i f e f e l t s o f u c k i n g s i d e w a y s . R e p e a t e d l y , I t o l d m y s e l f a n d m a n y p e o p l e a r o u n d m e t h a t I h a d d e a l t w i t h t h e g r i e f a n d m a d e p e a c e w i t h t h e w h o l e t h i n g , b u t t h a t w a s n ’ t t r u e .

T h i s s o n g i s h o w I s h o w e d m y s e l f t h a t e v e n t h o u g h i t t o o k a l o n g t i m e t o c o m p l e t e i t , I c o u l d s t i l l f i n d a w a y t o t r i u m p h o v e r m y o w n t h o u g h t s a n d e v e r y t h i n g e l s e t h a t w a s w e i g h i n g m e d o w n