Issue 18 by Heart Eyes Magazine

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

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

OUR CONTRIBUTORS writers amelia zollner, caleb peck, carly taegen-dye, caroline rohnstock, cassidy brohl, livie augustine, maddie rice, reegan saunders, rianne akindele

photograpghers allison barr, livie augustine

for submissions & questions, email us at hearteyesmag@gmail.com

LETTER letter FROM from THE the EDITOR editor

Hello reader!

Itâ&#x20AC;&#x2122;s been awhile! We are so excited to be able to give a new issue to you all. Just wanna thank you for reading whether this is your first time seeing us or your millionth time. For over 3 years, HEM has been a constant in my life and I say this a lot, but we would not be able to continue this without you (the reader), our amazing contributors, and the hard working staff. We have a very stacked and beautiful issue for you; Featuring Chelsea Cutler, Lupin, Naked Giants, and many more! Welcome to Issue 18! With Love, Gabrielle Yost, Edior in Chief

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ISSUE EIGHTEEN

CONTENTS interviews naked giants deza greer lupin chelsea cutler 8485 silver sphere nightly

16 22 28 32 44 50 56 60

reads remembering joe strummer michael damani single review jeff rosenstock ep review mali koa single review the japanese house ep review quarantues for the masses pt.2 women in music: 2020 independent venues are struggling

8 10 12 14 20 26 40 54

JOE STRUMMER remembering

we all think, at one point or another, about how weâ&#x20AC;&#x2122;ll be remembered when weâ&#x20AC;&#x2122;re gone.

by carly tagen-dye

t’s been eighteen years since Joe Strummer—co-founder of The Clash and, later, a successful solo musician—died of an undiagnosed heart defect at age fifty in his Somerset home. Still, his name remains on the lips of music fans worldwide. A monumental musician in the UK punk scene, Strummer is best known for his vocals and rhythm guitar, and shooting his band to a legendary status throughout the seventies and eighties. What some listeners might not pull from another relisten of his contributing works, like London Calling or Combat Rock, however, is how much his impact extends beyond those iconic records. In an essence, Strummer is still making himself loud and clear today. A Song For Joe, an online benefit to help aid independent venues, streamed via YouTube on August 21, and served as a reminder of everything Strummer was and continues to be in memory. For the event, musicians and friends from all genres and walks of life came together to perform songs made famous by the British rocker, as well as vocalize their hopes for the music industry moving forward. Throughout the event, no style went unheard: The Interrupters performed a reggae-infused “Get Down Moses,” and Hinds conquered a lively version of “Spanish Bombs,” complete with an egg shaker percussion section. One could hear the awed silence during Lucinda Williams’ take on “Straight To Hell” from a home studio, and as Jesse Mallin and Grateful Dead guitarist Bob Weir came together for a heartfelt rendition of “Death and Glory.” Interspersed between the performances were well-wishes and anecdotes from friends, bandmates, and past admirers of Strummer’s work. Bruce Springsteen wished his old pal a happy birthday and cited him as one of his lasting inspirations. Albert Hammond Jr. spoke of how he’d missed seeing Joe by seconds when The Strokes played LA’s Troubadour in 2001, but how he always cherished knowing that Strummer had come out in the first place. Former band photographer Josh Cheuse reminisced on running away from beatings and sitting with Allen Ginsberg alongside Strummer, always feeling welcome in the latter’s presence.

It’s stated in an Independent UK article, the title declaring the singer “The angry young man who grew up,” that Strummer never wanted to leave a bar if there was somebody that wanted to talk with him—there was always room for more. The livestream was more than just a birthday party for the late musician; it was a tribute to an artist who, if he were around today, would be fighting tirelessly for a better world. 2020 has not been kind: we are watching as activists fight for basic human rights, as a global pandemic steals lives and leaves economic and emotional destruction in its wake. Through the eyes of his admirers, one could catch a glimpse of how Strummer might feel about all of this. He was someone who believed in decency, in spreading joy through sound, and standing up while others sat back. In this way, Strummer is a trailblazer in more ways than one. He was an advocate for ending global warming, playing a crucial role in organizing Future Forests (now known as the Carbon Neutral Company) to plant trees worldwide, and became the first artist to release music carbon neutrally. As a loyal socialist, he used his position in punk to call on his white compatriots to dismantle economic power structures; the Clash’s first hit, “White Riot,” became an anthem in the name of knocking down all that oppresses. In addition, The Joe Strummer Foundation, set up in his name, aims to relieve poverty, provide instruments, and encourage positivity through music for all who may need it. Coming back to the message of his birthday celebration, independent musicians need that extra push now more than ever. A Song For Joe raised over $10,000 for the National Independent Venue Association (NIVA); a number that is no small feat in helping keep clubs alive for a new generation of driven and ambitious creatives. Like his beloved songs that fans are still screaming along to nearly fifty years later, Strummer’s philosophies must also stay heard. We must carry them through. You can rewatch the benefit concert on YouTube and learn more about NIVA and the Joe Strummer foundation on their respective websites.

THE SOUNDS OF CHANGE MICHAEL DAMANI’S

“WHITE CITY, BLACK WORLD” SINGLE REVIEW BY REEGAN SAUNDERS

2020 has been quite the whirlwind of a year; COVID-19 struck and everything began to tumble, and, today, the country is on fire—literally and figuratively. As forest fires roar in the Pacific West, the fight against racism rages across the nation, too. The deaths of George Floyd, Breonna Taylor and many other Black individuals at the hands of police have sparked nationwide protests over the last 150+ days. These events have forced Americans to examine the way racism is prevalent in all parts of society, from grocery stores to college campuses. We are reevaluating the institutions that have plagued this country for too long, and, in turn, we are dismantling centuries of racist ideology. But, the fight isn’t over yet. The changes being made are part of a constant conversation; new perspectives are being voiced every day. One emerging voice is Chicago singer-songwriter, Michael Damani, who recently released his first single with the label Rosebud Allday. “White City, Black World” was, in part, inspired by the removal of the Christopher Columbus statue in Chicago’s Grant Park; however, on an even larger scale it is the depiction of how a Black individual’s life shifts the moment they step out the front door. “So don’t believe all the stories of police And don’t believe what you see on the tv Take a look at what’s happening in the streets White City, Black World”

Songwriting is a form of activism that is often overlooked. In a world overloaded with written news, however, a song will resonate much more than a few words on a page (I say while writing an article). Some of the most influential songs in history have been grounded in current events— take “What’s Going On” by Marvin Gaye,” “Stranger Fruit” by Billie Holiday, and “Ohio” by Crosby, Stills and Nash, for example. In order to get a message across, sometimes, it must be sung by a powerful voice and set to beautifully mastered instrumentals. That’s why “White City, Black World” works. This song mixes hints of R&B, soul, and jazz with Damani’s blues history, creating a harmonious mix of smoothness and grit. Honestly, listening to “White City, Black World” was quite a releasing experience. It’s comforting to have other Black voices sharing their stories, especially via music. I cannot wait to see what Michael Damani shows the world next. My recommendation: Lay down in the grass, close your eyes, plug in your headphones, and listen to “White City, Black World” a few times.

JEFF

STOCK’S

ROSEN

2020 Dump and the Politics of Punk By Maddie Rice

Surprise! New York indie rock musician Jeff Rosenstock dropped an unannounced 4-track EP of demos called 2020 Dump on September 15. The Bandcamp-exclusive EP is being sold a “name your price” rate, and Rosenstock plans on donating all of the money he makes to “charitable causes.”

2020 Dump was recorded in July and August of this year and features Jeremy Hunter and Laura Stevenson, musicians and longtime friends of Rosenstock. He claims that the release was inspired by a “‘let’s make some demos this month’” pact he had with his Antartigo Vespucci bandmate, Chris Farren, He says he will be slowly adding more new demos to the album throughout the year. 2020 Dump comes just four months after the release of his ‘90s pop punk-inspired full length album, NO DREAM (which, like 2020 Dump, was similarly released with no promotional groundwork). Both albums tackle social and political issues that are prominent in our society this year, such as the Black Lives Matter movement and the COVID-19 pandemic, sticking to his punk roots. The first track on the album is “DEPT OF FINANCE,” an acoustic song that discusses Rosenstock’s feelings about COVID-19. On the track, he sings,“We’re not leaving the house today,” and repeats, “It has been a terrible year.” While these are not the most optimistic of lyrics, Rosenstock’s words validate the feelings that most of us have towards living through a pandemic. The second track is “COLLAPSE!,” a ska, reggae-inspired song with heavy use of horns. Rosenstock sings about the “collapse” of our lives as we know it, and may be hinting at the collapse of the U.S. government, when he writes, “The choppers up high/Push noise from the sky/Disturbing our city streets/From morning to night. They don’t tell us why/We want to believe we’re free.” This is a commentary on the heavy police violence during the many peaceful protests that occurred this summer (and which continues today). The third track is another ska song titled, “ACAB,” or “All Cops Are Bastards.” With this song, Rosenstock seems to be speaking directly to those who have been lost to police violence

(especially the many Black people who have been murdered at the hands of police). Some lyrics that emphasize this are, “I hear you praying/It’s a nightmare/That you’ll wake up/That they’ll listen/That your parents know you love them/Can’t believe it’s happening/Oh, no one will ever see you again.” In the description on his Bandcamp page for the album, Rosenstock states that the album is, “For Elijah McClain, Breonna Taylor, Ahmaud Arbery, Andres Guardado, Tamir Rice, Oluwatoyin Salau, for the countless victims of violence everywhere.” The last track, “DONE DONE DONE,” aligns most with Rosenstock’s usual punk sound, utilizing heavy distortion and an unmistakable grunginess. He places emphasis on his disdain towards the American government with lyrics like, “They’re firing guns for the master race/And telling us it’s to keep us safe/So get the fuck out my goddamn face/America is a police state/Done done done with your bullshit.” He then restates his contempt towards how the government is handling the Black Lives Matter movement when he says, “They want us to believe/That equality is SOMEHOW THE ENEMY.” Rosenstock writes a heartfelt message at the bottom of the record’s Bandcamp page, alluding to a call for action to make some major changes in our country: “As this is being released the air in California is hazardous to breathe, the current president has repeatedly used Nazi imagery for his re-election campaign and the police are still shooting people because of the color of their skin with no signs of slowing down, despite a worldwide outcry for peace. In fact they are fighting those cries with chemical weapons deemed too brutal for conventional warfare. Wishing you love and safety.”

A Review by Caroline Rohnstock

inger-songwriter Mali-Koa is back with an empowering new single called “Revolution.” Over a year in the making, “Revolution” explores the power of hope and being on the brink of massive change, which feels relevant, given the current events happening these days. The first lyrics of the chorus state, “There’s talk of a revolution, I never knew it, but I believed,” which seems to echo the fact that we are living in a time of great change, and there is hope for a greater future. Whether the revolution happens within us or in the outside world, believing is the most important part, as these words express. Musically, the gospel-tinged track flawlessly mixes keys, a foot-stomping beat, and handclaps that make a lasting impression on the listener. When I first listened to this song, I could feel the beat and claps in my chest; that feeling that makes one want to stand up and become enveloped in the music. The multiple artists behind this song make it even more special, with Grammy Award-winning producer Maestro ‘The Baker,’ who has worked with acts such as Rihanna and J Hus, co-producing alongside Onree Gill, who has worked with Alicia Keys and Justin Timberlake. As for the gospel-inspired sound, the soulful Ella Q and the Sing Choir joined in to create something powerful.

On the message of this single, Mali-Koa reveals, “Revolution is your most powerful self in your most vulnerable moments. It’s the choice to be an active participant in the life you want to live. It’s about the change you want to see in the world. It’s self-belief and a belief in the power of others to do good. It’s the moment you choose a path and commit to moving forward. It’s when you make decisions out of love and not fear. Revolution is radical and it is equal. Revolution is the greatness in our everyday experience of life and what it means to be human.”

In addition to the release of this single, Mali-Koa also recently performed at London’s iconic The Jazz Café for their “Live for Beirut” charity gig, where 100% of all ticket revenue was donated to Lebanon Red Cross. She’s also revealed that her debut album will be released in November!

By Erin Christie

Photos courtesy of Naked Giants

Since their raucous arrival with a debut EP back in 2016, Seattle band Naked Giants have continued to surge forward with increasing rapidity, churning out banger after banger alongside touring with the likes of alt-indie heavyweights, Car Seat Headrest. To add to their already impressive discography, the trio—Gianni Aiello (bass, vox), Grant Mullen (guitar, vox), and Henry LaVallee (drums)—have been hard at work over the past handful of months, crafting what later became their stellar sophomore studio record, The Shadow. With its August 21 release (via New West Records), they unleashed a can of worms (and genius) onto the current, pandemic-ravaged musical landscape. The Shadow, while serving as a continuation of the chaos and total madness manifested on Naked Giants’ first record, SLUFF (2018), simultaneously ushers in a new era for the group—one defined by an air for adventure and experimentation, alongside catchy hooks, multi-genred influences, and some of the best lyricism of their repertoire. Calling it a worthwhile labor of love would be an understatement with regard to its eclecticism but utter cohesion, and consistent ability to compel. The record’s opening single, “Walk of Doom,” for example, takes a spin on the current postpunk revival, combining calland-response yelps, intense riffing, and booming drums to capitalize on the band’s effortless ability to get listeners’ shoulders shimmying. It transitions into the Talking Heads-reminiscent, nostalgic adolescence of “High School (Don’t Like Them)” (which was released as a single earlier this year), the reverb-drenched ’80s dream, “Turns Blue,” and the psych-folk masterpiece, “The Ripper.” Later, the title track sums up the album’s holistically massive presence with crashing cymbals, epic guitar builds, and fuzzed-out bass lines. Track after track, The Shadow continues to

provide nothing but musically interesting, earworm-inducing content, proving, yet again, that Naked Giants is a band audiences should be paying attention to, especially in a time of widespread turmoil. Recently, I had the chance to chat with Gianni Aiello over email about the record, how it felt to release such an effort during a pandemic, and the importance of being mindful of the world around you at the moment. Hey! To begin, for anyone who has yet to know you, how would you describe Naked Giants? Which essential tracks would you recommend to new listeners? We’re a rock band from Seattle— we make party rock with a whole lot of positive energy. Some of our favorite tracks from the past few years are “TV,” “Take A Chance,” “Turns Blue,” and “Everybody Thinks They Know (But No One Really Knows).” I also want to give you space to give a little background on yourselves—what you’re into, personally, any hobbies you might’ve picked up during quarantine, what you’ve been getting up to the past few months…. We all teach music lessons when we’re not touring (which is all the time now). Teaching has had a huge effect on our music lately, as we’ve begun to think about music that not only feels good at a loud rock show, but also has some musical backbone and would be worth analyzing on a more musicnerd level. Aside from that, we’re pretty classic Seattle folks - we love music, coffee, biking, and trying to uphold the beautiful place we live in! So, you released a new record, The Shadow, last month, which is super exciting! Can I ask how the album’s creation process began? Did you guys begin with a set intention regarding what you wanted to say and what you wanted to get across this time

around? Totally. Our first record, SLUFF, was put together a bit hastily and without a whole lot of thought about the “big picture,” so, for this album, we wanted to take the time to make sure it was actually about something! We went into The Shadow with the intent of unearthing and exploring some of our anxieties about ourselves and the world—things like media over-stimulation, depression, privilege and oppression, the responsibilities of adulthood and power, etc. To no one’s surprise, these rabbit holes unfolded from small personal troubles to big societal problems. A song like “The Ripper,” for example, began as just a rumination on how depression affects me in everyday life but following the smoke trail of that depression brought me to examine troubled family relationships, which led to the assimilationist American culture and its effect on a multi-racial family like mine, which, in turn, led to a big-picture look of American colonialism and the way it “rips” through generations all the way down to the individual. This process of starting with an individual instance of trouble in our lives and expanding it to find the greater structures behind it that’s what makes up most of The Shadow. While listening to this record, it seems like there are a lot of different sonic influences present throughout and it sort of switches around between different genres a bit. Did you intentionally want to experiment a little more with this record or did the tracklist come about more organically? It came about quite organically the three of us each write songs individually with wildly different stylistic tastes and attitudes, and with this record, we left a bit more space for each of us to bring what we do best to the songs. It actually took a conscious effort to make sure we didn’t drift too far away from the standard

party-rock fare - I wrote the song “(God Damn!) What I Am” to be a “classic Naked Giants song” in the vein of our earlier garagey music just so that there was a music thread to tie this album to the previous work. Aside from that, we recognized that we were writing songs in all sorts of styles under the “rock” umbrella, and just tried to bring out the most of each of them, whether it’s the post-punk riffing of “Television” or the soft psychedelia of “The Ripper” or the stoner-metal grunge of “The Shadow.” Of the album’s tracklist, I have to say that “Turns Blue” is honestly one of my favorites. This track is a departure from the sound you guys capitalized on with SLUFF, and (at least in my opinion), you make that shift effortlessly. With this track, where did you guys derive inspiration from? We actually made it as a direct response to SLUFF! We noticed that the song “Slow Dance II” had stood out to people (in fact, it’s still our most popular song on Spotify!) and we wanted to make sure there was another introspective slow song on this album to contrast the rest of the rock and roll whirlwind. I also wrote this song on tour with Car Seat Headrest, and I’m sure a bit of Will’s brilliantly moody honesty made its way into the track. In general, what does the songwriting process look like for you guys? I’m not sure how much of this record was written pre or during the pandemic, but if any, that had to put a slight damper on the process. This album was written over a long period of time. I just found some iPhone voice memos of us rehearsing “(God Damn!) What I Am” and “Walk Of Doom” from April of 2018, which is right after SLUFF came out. Over the years of touring between then and now, we would each put together ideas and little demos in the green rooms, hotels, and in the van and then, we would try them out on

stage to see how they fit in with the rest of the material. Songs like “Take A Chance” and “Turns Blue” had been part of the live set for a while, and it really just took a little bit of studio magic to clean up the arrangements and translate the songs into the record. Have you guys been doing any writing at the moment? What has that looked like? These days, we’re writing with the knowledge that we won’t be playing live for quite a while. We’re putting together an album that will wrap up as the end of a trilogy between itself, The Shadow, and SLUFF, and we’re trying to write songs that don’t depend on being played live. We’ll be exploring more mellow music that translates well to recordings and videos (and hopefully is playlist-able!) You guys also released a few music videos to go along with this album. How did that process go, as, of course, we’re in the midst of a pandemic and making any sort of content is a little restricted at the moment? At the beginning of the pandemic, it was a bit of a scramble. The video for “Take A Chance” was a really last-minute thing since we had a bit of a bigger video planned but were suddenly unable to collaborate. But, as time went on, luckily, our social circles are small and we all tested negative so we were able to join quarantine-bubbles. From there, we did the rest of the videos with just the three of us so as not to involve too many people. It was a definite learning curve, doing all the filming and editing ourselves, but it was an enjoyable process and we can really say the videos are our own, with the exception of the amazing claymation by Violet Crabtree for the “High School” video. I really loved that video! Regarding your vision for this track’s visual element, how did your ideas translate into the final product?

That video in particular was a fun one. It was based on a conversation we had with the engineer of The Shadow, Adam Lee, about high school drug awareness classes. We wanted the video to get progressively more psychedelic as the song ramped up in pace, and, luckily, Violet was available to do the claymation which perfectly reflected that frenetic psychedelic vision. On another note, many artists began doing livestream sets during quarantine and, coincidentally, one of the very first livestreams I watched when everything began to unfold was yours! How have you guys enjoyed performing this way? Have you gotten more into the swing of it? It’s very different from live shows—it’s much more casual and feels a bit like a rehearsal. I’m still unsure of how the energy translates virtually. We kind of just do our normal thing and play rock tunes, and I’m sure it’s tough to get “into” it from the audience’s perspective without the actual atmosphere of a live show. But, recently, venues have been putting on virtual concerts and the production value is just going up and up. What started as Instagram live streams from basements and rehearsal spaces has grown into full productions with lights and fancy cameras and everything. What’s more, is that a majority of shows these days are community benefits—they’re largely donation-based and a lot of them put money forward into either mutual aid funds for COVID or toward the Black Lives Matter movement and associated organizations. In relation to livestreaming your sets, since March, how have you guys been adapting to being a band, releasing a record, and, overall, existing in a world that looks like this? It’s strange—we’d gotten so used to the standard model of touring

nonstop and selling a bunch of merch and records on the road. Now, the landscape is so different and no one is really sure how to handle it. Everything we do now is online, and it gets a bit tedious and superficial to do that, especially at a time when online visibility is so important to the movement for Black Lives and the protests against police brutality and institutionalized racism. I think it’s the responsibility of bands like ours to reimagine and balance our own progress and visibility with that of the movement—I think people follow bands not just for their music but also for the image and lifestyle that they identify with. It’s our responsibility to make that lifestyle one that positively contributes to society, which ties into Toni Cade Bambara’s idea of artists “making the revolution irresistible.”

What would you say you miss most about pre-quarantine if anything? Are there any recent additions to your lives/your routines? Just the idea of going to the grocery store without the underlying danger and anxiety attached to that—but even that is a bit double-edged since the danger and anxiety are so intricately woven into the very societal injustices we should be caring about all the time. When we’re worried about transmitting the virus in public situations, that’s a worry that’s tied up with the bigger problem of the virus more adversely affecting BIPOC communities due to longstanding issues with healthcare from both an accessibility and service standpoint. And it’s also tied up with colonial capitalism and the exploitation of everyone from the

cashiers who are put at extremely high risk, to the farmers who are currently working through hazardous conditions with the wildfires in the Southwest. So, as much as I miss not having to be anxious at the grocery store, I think it’s important that we’re thinking about how we are a part of these issues so that we have more of a stake in fighting them. Finally, with the future considered, is there anything you’re looking forward to most? The future is so uncertain these days…I’m taking it day by day and making sure those around me stay healthy and on the path toward greatness!

The Japanese Houseâ&#x20AC;&#x2122;s Long-Awaited Return By Livie Augustine

uckinghamshire’s Amber Bain (aka The Japanese House) has been promising a new EP since September of 2019, but month after month, it was nowhere to be found. On August 7, however, Bain finally broke her musical silence and announced that her band will be releasing new music, leading fans everywhere to breathe a sigh of relief. Bain’s success of her debut album, Good at Falling, drew in a large fanbase and, now, she’s finally fulfilled the promise she made with Chewing Cotton Wool, a four track long EP. The first track, “Sharing Beds,” starts slow and silky. It’s a short and simple song with a length of less than two minutes, but it still holds strong emotion. The eight lines of lyrics allude to a confrontation with a partner over cheating. As Bain’s voice kicks in, the aggravation in both her tone and the music gradually reveals itself more and more, then snaps back into sorrow. It is a gorgeous track, easy for listeners to reflect on. Following is “Something Has to Change,” which was released during late 2019 as a single. It is far more upbeat than its former and holds a lot of techno

influence. As fun of a song it is, though, it is a bit overwhelmingly repetitive: the lyrics lack variation and its chorus contains only one line, repeated over and over. However, taking a closer look at the lyrics reveals that this might be on purpose, considering the song is about going back to the same girl over and over. Unfortunately, this creative choice makes the song fall a bit too flat. “Dionne” is the third track on the EP and is by far the most dynamic. It starts with The Japanese House’s signature controlled synths. Lyrically, it introduces an old and tired relationship with Bain’s voice being full of yearning as she relays a beautiful sort of sorrow. Then, Bon Iver’s Justin Vernon interrupts with a loud and intrusive chorus, allowing the track to become powerful and overwhelming. The focus then returns to Bain’s collected stream of consciousness. This switch between their two perspectives—with one wanting to make things better and one wanting to leave—is perfectly represented with the contrast in Bain and Vernon’s sounds. Additionally, percussion

in this track is especially prominent; the drums add to the chaotic clutter and truly piece the whole song together. Chewing Cotton Wool ends with its self-titled track. This song is calm and quiet, holding a focus on the lyrics. It flawlessly represents missing someone you love, with each line highlighting the various places this person haunts. Each line contains the pronoun “she,” which spotlights the obsessive emotions felt towards the subject, as each line is about them. This track truly steals the air out of your lungs. All in all, Chewing Cotton Wool is a very pretty EP. Although not all of its intentions were executed successfully, it deserves positive praise. The variation of synths make it a pleasing EP to listen to, in addition to the fact that it contains tracks to fit any mood, from the upbeat vibe in “Something Has to Change” to the melancholic “Chewing Cotton Wool.” The only flaw lies in the repetitive lyrics of “Something Has to Change,” but the beauty of the music makes up for it. Overall, each track has something to love and, that said, it is a record that everyone should hear.

DEZA

By Rianne Akindele

Photos courtesy of Deza

eza—having recently returned to Houston, TX after a year spent abroad in Lillehammer, Norway, studying music and falling in love— was met with an America in chaos due to the COVID-19 pandemic. Coping with the sudden changes and culture shock, she’s spent her time back writing songs, listening to The Chicks, Zara Larson, and Remi Wolff, FaceTiming friends around the world, watching The Umbrella Academy, and being comforted by the fact that everyone in the world is kind of going through the same things. In between reminding herself of the good times she had in Norway and planning a move out West to Los Angeles, I caught up with the twentytwo-year-old poetic pop songstress. She takes me back to her youth, describing how she comes from a musical family with grandparents who

sing Von Trapp music, and her immediate family—including her father, sister, and mother— making up a Christian quartet, leading her to have penned emotional ballads from the age of nine. With her background considered, it is no mistake that she went on to study Opera and Commercial Music while in college. Since 2018, Deza has released emotionally transparent singles like “Damn Girl,” which explores inexperience in love being met with the desire to be loved; “June,” a melodically comforting almost lullabylike song that describes the impending end of something you wish could go on forever; and “End of The World,” an anthem for uncertainty and anxieties brought on by the year 2020, paired with a music video filmed over Zoom (featuring Timotheé Chalamet

via green screen). Not only does she write and help to produce her own songs, but she takes part in almost every aspect of being an artist from running her social media accounts to emailing out her own press releases to creating and dreaming up visuals, Deza is no stranger to hard work. Since our chat, the blood orange and violet aura-ed artist in many shapes has made her move out to L.A., signed a co-publishing deal with Emily Warren and RX Songs, and has more music on the way. Have you always been drawn to express yourself through word and song? I’m very right-brained and just, like, totally suck at math. Plus, I was always super sappy and super in touch with my feelings, but needed a way to get it out. I have these diaries from kindergarten where I was writing poems and, organically, those poems have now turned into songs. In one of your posts on Instagram, you said you were excited because you finally wrote a song for the first time in 13 days. How often do you write and create songs typically? On a good week, I’ll get a couple good songs- like, maybe two or three. At that time, I just couldn’t get anything out and didn’t want to force it either. I tend to just write out what I’m feeling at any given time and then go back to sift through it all to find the good stuff and make it a song. So, you lived in Norway? Yeah! I went to Norway for a year to study music. It’s funny; I found the program through

a Facebook ad actually. I was like, “Ooo, what’s this?.” I researched the program a bit and loved how hands-on it was and how they brought in mentors who are currently working in the music industry. The professors I had before had been out of the industry for thirteen years sometimes, but while in Norway, I worked with producers who were actively in the studio with artists like Lil Nas X. My parents were against it at first, but later realized that it would be an experience that would help me to move forward. When you first arrived in Norway, what kind of person did you want to become by the time you had to leave? I’m thinking back and I really wanted to learn how to be in sessions with other artists and writers. I wanted to become a better co-writer for sure. Before my experience abroad, I had no experience writing with others. I’m a totally different artist now than I was a year ago. Not only did you become a better artist, but you also fell in love and made life-long friends. Tell me about those connections and memories. I was literally just looking back at all of my photos right before this call. I have such a feeling of gratitude for my time spent there. The people I met there are now my tribe. It’s so nice to have friends who think like I do and want what I want. The friendships we built are from a similar foundation. While there, we’d have 12-hour days, working together in the studio, seven days a week. We were practically living on top of

each other. It was very much like a reality TV show like Big Brother-style where you forge this different kind of bond with each other. Now, they’re my family.

You falling in love led to one of your most vulnerable songs called “June.” Can you tell me what you were feeling at the time when writing the song? So, when I first got to Norway, I kind of joked about falling in love while there and then, it ended up happening. We were friends for a really long time and then, when the pandemic hit, we started dating which was also right around when I left. We were so new to dating that I was sure we weren’t going to be together after I went home. I was so in love, but I knew this thing was going to end. It was one of the first songs I put out where the person it’s about knows it’s about them. Thankfully, we’re

still together and making plans to see each other after this pandemic. You also have another beautiful song called “Boy Violet.” When you say “boy violet,” what does that mean to you? For me, I’ve always had this concept for when a boy becomes something I couldn’t really describe. I would give colors to name them because I didn’t want to get too attached. But it’s just that feeling of when you love someone so much and feel it so deeply, they become completely indescribable. You have a lyric in your song, “End of The World,” stating, “At least I won’t need filters because/I’ll be young forever/ because my forever is now.” What does youth mean to you? We wrote that song when we were officially quarantined around the middle of March. We were so sad and thinking, like, “What if the world is actually ending now? At least we will look forever good.” We wanted it to be funny and danceable, but also [to] process this period of grieving. What do you think the best and worst parts of youth are? I feel like youth is such a good time to do it all. You have this sense of resiliency and freedom to just play. I think the hardest thing about being young is that you’ll have people trying to tell you you don’t know enough to make decisions. People will say that your thoughts are invalid, but, at the same time, resiliency allows you to do just anything. It’s so important to just trust in

who you are. As an artist, do you have a specific mission with your art? When I started, it was a form of me needing to untangle whatever it was that I was feeling in a way that I could understand it. Now, I can untangle my emotions while also creating a safe space for other people. I hope people listen and think, “Oh, I didn’t know this is what I was feeling, but now that I know, I can feel it and live.” It’s a two-fold gift. I’ve seen you mention producing your own music in the past. Is that side of

creating music something you also enjoy? I love producing. I started producing when I was about 18 and I love the creative freedoms it brings. It allows me to take the ideas I hear in my head and make them real. A lot of “June” is my production with extra help from others. Being part of the production allows me to have another level of control with projects, too, because I can really help develop the exact sound and feeling I want to convey. I love how you’re involved with the production process as a

woman. I feel like, sometimes, women in music aren’t taken as seriously as men, especially in the studio. You’re so right. It is weirdly male-dominated. Knowing the terminology is super important when working with a producer. Having that expertise allows me to show up with boots on and be heard. It’s super important. Any final words your wish to share? Just live your best life and feel your feelings.

checking in

AN UPDATE ON QUARANTUNES FOR THE MASSES written by reegan saunders

A few months ago, I wrote about the power of songwriting. At the time, I was struggling to come to terms with the realities of today. I took to writing music as a form of cleansing myself from my feelings, and it became a fantastic way to get away from social media for a little while. I began writing music with one of my very close friends, Tristan Presley. During Zoom classes, I took to writing lyrics along the margins of my notes. We spent the beginning weeks of quarantine sending each other song lyrics and instrumental tracks via email and, eventually, we put together our EP, Email Check, which I can only describe as “wacky” in the best of ways. Recently, we have added another member to our songwriting collective—one of my other best friends, Hadley Bugar. As a result, our music has become an experimental mix of garage, folk, indie, and spoken word poetry. 26

With my two bandmates, I always have someone to share my wild ideas with, and what I mostly love about our music is that it is an accurate depiction of who we are as humans.

MY SONGWRITING

“PROCESS”

I TAKE AN 18”X24” SHEET OF PAPER AND MAKE A CONCEPT MAP COMPLETE WITH DRAWINGS AND RANDOM MUSINGS.

I TAKE MY THOUGHTS AND TURN THEM INTO A POEM

I ENLIST THE HELP OF MY WONDERFUL BANDMATES TO SHIFT THE POEM INTO SONG STRUCTURE.

THEN WE ADD MUSIC! (SOMETIMES THE MUSIC BECOMES STEP ONE)

Currently, we are working to put together an album (wow, I never thought I’d say that!): the project is a collection of every thought we’ve had in the past few months. I wrote the song I am most proud of while grappling over the deaths of Breonna Taylor, George Floyd, and Ahmaud Arbery.

As a Black individual, it sometimes feels as if I am constantly on edge, looking over my shoulder, and scrolling through social media with a wary eye. This piece, “Bird Song,” was the path to letting go of the burden which, in my opinion, is what songwriting is about. I’m quite excited to release this song in the next few weeks. It’s lyrics appear as such:

I’m just a girl Wishing for fundamental rights And a chance at life without worry I worry about the color of my skin And if it will send me to prison For a crime I didn’t commit Or maybe worse I’ll end up dead So many thoughts left in my head The wonderful thing about writing music on your own or with friends is that there’s no pressure, no timeline. If you don’t like the direction something is headed, you can abandon it or save it for later, and you’ll find that, when you let go of expectation, the unexpected occurs. For example, a few weeks ago, we were approached by a local DIY Detroit record label, Remove Records, and they will be releasing Email Check on cassette tape!

This adventure has inspired me to learn more about the songwriting process. As a budding journalist—specifically, one who wants to focus on music journalism—it is important for me to experience the world I would like to write about. It has also given me the opportunity to combine my other outlets, drawing and photography. There are so many aspects to creating a successful music project, and I am excited to continue exploring them! The next steps for me are learning the drums and taking a course in audio recording. Maybe, after reading this, you’ve decided songwriting is not the outlet for you. If so, you should go out and find what is! It’s never too late to take up a new hobby and find your passion. Whether it’s riding a unicycle or knitting the famous Harry Styles cardigan, there is something out there for you! Would you like to keep up with our journey? Check us out on Bandcamp or on Instagram @workethicband! PICTURED LEFT TO RIGHT HADLEY BUGAR - LYRICS, VOCALS, KEYS, AND GUITAR REEGAN SAUNDERS - LYRICS, VOCALS, AND (FUTURE) DRUMMER TRISTAN PRESLEY - GUITAR AND BASS

MEET WORK ETHIC

GREER On EPs, Touring, and Loving Yourself

Interview by Katie Upchurch | Photo by Epitaph The members of California based-band, Greer, are lively, brilliant, and outrageously funny. Last month, they released their 3rd and 4th singles, ever, entitled “Aeroplane” and “Bye Bye Baby.” Despite their limited discography, the band had sold out multiple shows on a headlining tour that was supposed to be taking place right now. That said, I sat down to talk with the band—Josiah, Lucas, Corbin, and Seth—to talk about their new music (and “Aeroplane,” specifically), inspiration, and how they define their band. 29

Start off by just telling me a little about you guys and how you became Greer. Seth: It started with Corbin and I. We were in a band together in 7th and 8th grade back in 2014. Eventually, we all just ended up coming together and that’s when we started writing “Aeroplane” actually. Lucas: Yeah, “Aeroplane” was our first song. Josiah: But we sat on it for a while because we couldn’t be in a real studio yet. Lucas: Our school asked Seth to play a homecoming show. We needed a lead guitarist so we asked Corbin to fill in and after playing that show, we were like, “That was really really awesome, we should keep doing this.” And we did and we have all stuck together and so here we are. You guys released “Aeroplane” about a week ago. Can you tell me a little about the song and artwork that accompanies the song? Seth: I actually found that one. I was scrolling around through Instagram, [looking at] artists. Our first [single’s cover] was by our friend named Emerson—I was looking through who he was following cause I really like his art and I thought that he probably followed some good artists. I ended up finding [a piece by] this artist named Yori Yuki and so I showed it to the guys. We all really liked it and we ended up asking Yori Yuki to send us a rough draft of what a single cover might look like and we loved it. What about the music video that accompanies the song? Lucas: The music video was inspired by the art but Maddie Brewer did the music video. It was all inspired by Yori Yuki and the ideas they had originally.

What about the music video that accompanies the song? Lucas: The music video was inspired by the art but Maddie Brewer did the music video. It was all inspired by Yori Yuki and the ideas they had originally. Do you have any artists that have been inspiring your sound lately? Seth: We’re really inspired by the Pixies, Radiohead. The usual. I’ve been watching the Greer Cast videos you guys have been putting out. What made you guys want to do those episodes and make a playlist every week? Josiah: We didn’t really have any content coming out during quarantine so we wanted to be able to keep in contact with our fans. And we thought making a playlist every week would be a super cool way to show people new music. We also decided to have guests and fan guests on there. It’s cool because we still get to talk to fans even though we’re not touring. Seth: We got the podcast idea from our managers but wanted to add a bunch of stuff onto it to make it as exciting and interactive as possible. What are you guys missing about playing and attending live shows? Lucas: Weirdly, the anticipation. I think about that feeling all the time. The 10 minutes right before you go on stage. I don’t know why that feeling is like the best. Seth: Definitely playing the shows as well. [I miss being] in the middle of the show or at the last song and just being able to go crazy. Josiah: Dude, I just miss touring. It makes me sad. I also miss being on vocal rest because I just wouldn’t have to speak to anybody.

When you guys were touring, you only had two songs out. What was it like selling out shows despite not having a ton of songs out yet? Josiah: Luckily for us, we got to go on tour with an amazing band like The Regrettes. It was a cool experience because a lot of the songs we were playing then are now coming out on the EP, so we got to refine them and see how audiences would react. Seth: It was such a lucky experience for us. We’re just so grateful. The Regrettes were just so welcoming. Josiah: They’re also just such good performers. Every night, I wanted to go see their set. Seth: They were really just the most amazing people. But we are also just so lucky that we were able to sell out shows on our first tour. It’s actually so insane. On our [now] postponed headlining tour, we were selling out shows even though we only had 2 songs. It’s shocking, but so cool. I think it’ll only get better once we release more music. Are there any ways that being in Greer has pushed you out of your comfort zone? Josiah: Touring [has], for sure. At first, when we got the offer to tour, we were like, “No way.” Because we were scared! At that point, we had only played like 10 shows or less so that definitely pushed us out of our comfort zone. I don’t know, this whole experience has just kinda been surreal. Lucas: I think just putting all of my chips in this bag has been scary, you know? I’m really devoting my whole future to this. That’s really scary. But now that I’m in it, I can be fully committed to it and fully unleash all of the power that I have to offer.

What have you guys been doing to keep yourselves entertained right now? Josiah: Watching TV, writing, and sanitizing my hands a lot. Lucas: Trying to do handstands. I also worked out for like three days. Seth: I’ve been working out like every day, actually. But also, gaming. Lucas: Yeah, I got a Switch; it’s ridiculous. Corbin is like reading and getting smarter. Seth: Wait, I’ve been making a guitar! Lucas: Cool guy over here. Corbin: I’m making a guitar pedal. Josiah: I’m making an app for the iPhone called “Love Yourself.” It’s a button and you press it and it says “love yourself.” What would you want people who are new to Greer to know about you guys? Josiah: Welcome in. Anybody’s welcome. Anyone that listens to us, we have nothing but love and support for. Maybe we should all say one word to describe ourselves to someone who doesn’t know us. Corbin: Intimate. Josiah: That’s a good one! We’re trying to create an intimate and supportive space. That’s what we want to give to people who listen to our music. What can we expect from you guys in the next couple of months? Josiah: Music for sure. Maybe more videos? Definitely more Greer Cast. Probably new merch. If we could be touring, we would be, but we can’t.

Check out Greer’s newest singles, “Aeroplane” and “Bye Bye Baby,” and their other songs, “Bittersweet” and “Song for Me,” wherever you get your music!

LUPIN

WRITING MUSIC TO STAY SANE

INTERVIEW AND PHOTOS BY LIVIE AUGUSTINE On August 12, Jake Luppen (of Minnesotan indie outfit Hippo Campus) took fans by surprise when he announced his first project as a solo artist and released the song, “May,” under his alias, Lupin. His recently released self-titled LP consists of eight tracks, each with their own unique sound and style. Recently, I had the chance to chat with Jake about what this project means to him and how he’s been holding up during lockdown. How have you been doing during quarantine and what have you been up to besides working on the project? I’ve been good, yeah; just writing a lot. There’s not a whole lot else to do, so I’ve just kind of been at the studio, writing and working as much as possible. I’ve [also] started producing a project for an artist– working on that stuff a fair amount. So, yeah, just trying to stay as busy as much as I can, but yeah, it’s definitely fucking weird for sure. So what exactly started Lupin? As you began it on tour with your band Hippo Campus, what inspired you to go solo? I think it was a number of things. Like, first of all after we finished Bambi, it was a pretty long, grueling process so the other members of the band didn’t really want to keep writing music. They were like mad exhausted and I just wanted to keep rolling. So, I was like, “Well, fuck it. I’ll just write songs for myself then.” And, then, I also went through a pretty intense breakup—it was kind of like a divorce, honestly. I just had a lot of emotional and mental stress so writing the record was kind of like therapy with that, too.

Did you always intend for this project to go public or did it start as a passion project? I think I always intended it to go public. I don’t really like doing things if I don’t see a point to them. I don’t really do much to just like, “Oh, let’s just do this for fun.” You know, if you’re putting some work into something, you should at least show it to some people or have some sort of aspirations with it. So, there were always some aspirations to do this probably like right after Landmark. BJ and I, who produced this record and produced a couple of the Hippo Campus records- we had talked about doing a solo record for a while. We finally found time. From the looks of your announcement posts on Twitter and Instagram, fans were crazy ecstatic about this. How did seeing their support make you feel? It was really unexpected. I didn’t really know what people were going to think. I didn’t really have any expectations going in because I have had the record done for basically a year, so I’ve just been kind of sitting on it. I was really really stoked about it when I finished it, and there was...as all projects do, you kind of go through a phase where you’re onto some shit and then the project comes back around and you’re like, “Oh, fuck this is going to be cool to drop.” Yeah, it was unexpected — it was cool to take people by surprise. It’s rare to kick off a project so I was definitely stoked. If you’ve been sitting on it for a year, what made you decide to do it now? We had always planned to get through the Bambi touring, and then it lasted so fucking long. And then, [I was] kind of taking time to chill and I was going to put it out, like, in springtime and tour it this summer and shit. 33

The album covers a lot of personal experiences. How does it feel to go from a generally private person to opening up about this stuff? It’s definitely strange. I think with Hippo Campus, there’s an element of us four being a team and talking about our music together; it’s not about one individual coming forward at any moment. So, this is all very foreign to me, to be like, “Oh, it’s just me talking about music that I made,” so [there’s] a new pressure on it where it’s like, if you don’t like this then you hate me. Yeah, it’s been interesting taking ownership, but it’s also been really therapeutic to be like, “I made this; I’m going to stand behind this.” I intentionally made the lyrics as straightforward as possible through the whole record. I think, in Hippo Campus, oftentimes, I would kind of write these personal things out in a language that was a bit intangible and it was like…I don’t know; I’m just talking in circles [laughs]. [laughs] No, it’s fine. It’s been a really good exercise to be able to put music out there and be the one who’s standing for it. Writing it all, especially the harder topics like the breakup like you said, and the health scare that you’ve mentioned. It’s all therapeutic. I mean, I’ve always been writing as a form of therapy. I don’t oftentimes sit down and ask myself how I’m feeling, you know> It’s more like, if I’m going through some shit, I’ll just pick up a guitar or a keyboard and start writing. The writing process is always very consciously based; I just start writing words. I don’t really go in like, “This song is about this.” I just start writing words — like free association kind of — and I start to gradually see a theme start to emerge. So, I’ve always used it as a method of therapy. Songwriting has always been more like a need than a want [laughs] or a desire. 34

What do you usually write first? Do you like writing the lyrics or the music first? No, so, I almost always write a chord progression or some sort of guitar riff and then I’ll freestyle a melody over top of it with fake words, and then a phrase will come out of that and I’ll be like, “Oh, that’s interesting.” But, there were some moments on this record — this is the first time I’ve ever done this — where I just kept a notes document in my phone of phrases I would think of throughout the day. That was a really interesting exercise in songwriting so I’m like, “Oh this phrase doesn’t fit within my melody so I have to modify this melody,” and some of them would get modified in some crazy ways. This was like a mix of both but it was still mainly melody and guitar first, and lyrics second. Do you have the note on you? I’d love to hear a couple of the ones you had. I’m trying to think....the note is buried under a bazillion different notes. There’s this line in one of the last songs that’s like, “Isn’t it obvious, I’m in oblivion,” and I was trying to fit that into the melodic line that’s like [sings lyric] and I’m like, “Okay, cool.” That’s one where it’s a weirder phrase-thing. You end the album with the dimming repetition of that. Was that always the intention or were you like, “It’s too cool for me not to.” I don’t think it was ever, it was never straight-up the intention but I wrote that song – it’s the most stripped back song, so I feel like it worked really well. It was the last track. It was one of the last ones I wrote for the record. The break up was very fresh, I had just been on tour in Europe and then I went to Australia and then I went to New Zealand and I was really fucking sick.

I had just seen my ex and we’d just kind of talked about not getting back together. I had all this crazy health shit and I was just in a really fragile mental state. My friends had all went skydiving that day and I was just like alone because I was too sick to go skydiving. It was a really vulnerable moment on the record. How has BJ Burton’s hand in production influenced the sound of Lupin? It’s influenced a lot. BJ has been a massive influence on me, personally, since we had started working together on Landmark. I had never recorded things on my own up until that record. I basically bought a computer and a microphone so I could track vocals independently so he’s kind of been my mentor as far as recording and production go. Working with him one-on-one was really great; it was a whole lot easier than working with him in a band dynamic. Making Hippo Campus records is very very fun but it’s very very dramatic which adds to the thing in a cool way. But, making the record with BJ was not dramatic at all. It was very much, like, me and BJ are on a very similar page taste-wise so it was almost effortless. He liked everything I did and I liked everything he did; we didn’t challenge each other much. I’ve heard the album and it’s absolutely amazing. Oh, thank you. I really like it. Sick. So, in songs like “Vampire” and “Murderer,” the synths are very pleasant in contrast to the hard topics. Why did you decide on such gentle music? I think it’s just the style I’ve always been accustomed to. I could maybe count the number of songs in a minor key that I’ve written in my life- it might be three. It was probably more back when I was playing rock music in high school.

I’ve always written songs in major keys, but I’ve always been depressed so… [laughs] It’s just kind of, like, always creating this weird juxtaposition, which is these really vulnerable, kind of depressing lyrics over danceable, clean songs. I don’t know, I guess I’m just fucking crazy probably. [laughs] Yeah, well if it turns out nice then it’s a good thing! Yeah [laughs]. The leading single “May,” was there a special reasoning behind choosing that to be the world’s first impression of you? I just wanted to come forth with something, like, loud and a banger. I feel like most people were expecting me to come out with a folkier, more stripped album. I feel like a lot of times, when an artist goes solo, they’re like, “Oh, I get to do my acoustic songs,” and I wanted to come forward with something that really fucking hit because I wanted to make a pop album. I didn’t necessarily want to make something slower, because that’s where my tendencies are. I feel like my strengths as a songwriter have always been pop writing and this album I was like, “Cool, I’m going to make a true pop album.” It’s not going to be an indie-pop album; it’s going to be a straight-up pop record. And “May” kind of captured that energy the best out of all the songs, I think. Did you have a specific process when it came to figuring out the order of the album? We went back and forth for a while. We wanted it to be ten songs and I wrote twenty songs for it. It was just a process of narrowing it down. I kept writing and the newer songs I was writing were better every time, so they would knock out an older song. The track order was just us basically, like, cutting out of a bunch of songs until it just felt really cohesive.

Are you going to release the other ones ever, or are they just for yourself? I don’t think the world needs to hear those; I think they’re better left in my hard drive somewhere. But, I am writing another– I have started another Lupin project, so there are new songs. That’s good! So, what does the album specifically mean to you and what do you hope the listeners take away from it? To me, it’s like a fractured self-portrait [which] is probably the best way to describe it. I feel like it’s very much me. And the production very much reflects the way my brain works which is like this thing that’s melting and moving. So, yeah, it’s a fractured self-portrait; it’s an album about self-discovery. I found out a lot about myself through that break-up and making that album — what I liked and who I was as a person. So, I’m hoping that people are able to gain a better understanding of who I am, individually, as an artist with this record. What do you see your future career looking like now that Lupin is being released? That’s a great question. I think I want to keep, like, producing shit and keep collaborating — like, Damon Albarn from Gorillaz and Blur is a really good artist/ career model that I aspire to be. He collaborates with so many artists and has his hands in so many different things. Like I said, I’ve been really into production lately; I’ve been helping a lot of artists [and] doing that fulfills me in a way that I think making music on my own doesn’t. Fulfilling another artist’s vision is a really powerful thing. I think I’ll just keep producing, keep writing, and take as many projects as I can. There’s also some new Baby Boys music on the way which I’m really excited about releasing. So, yeah, I’m just going to keep writing music to stay sane basically. 38

And if you could tell everyone one thing before they listen to the album, what would you tell them? Oh man, such a good question. I mean, I think just go in with an open mind. I think whatever opinions you had of me as an artist in Hippo Campus...I think this album is different. But, I think leaving those preconceived notions behind and just listening to this for the body of work that it is will yield the best results.

Lupin came out on October 9th. Make sure to give it a listen and, in the meantime, keep up with Jake on his socials for more.

To A Woman’s Tou 2020’s Best Th F

or whatever reason, I’ve never been a huge fan of Taylor Swift (despite how hard I’ve tried). Still, when I heard the news that she was releasing a folkinspired record, of course I was interested in giving it a listen. Upon streaming folklore on the night of its release, I was left feeling a waterfall of emotions, made abundantly clear as the final track, “hoax,” ended and it felt like I had gotten the wind knocked out of me. It was clear, then, that it didn’t matter what my history with Swift’s music was: if you take the time to listen to the work of songwriters as powerful as she, they’ll always have the ability to grasp your heartstrings and use them to play a song if you let them. And I was glad I had given her the chance that she deserved. This intrinsically enchanting, homey quality folklore has is something

that I only seem to find among the work of nonmen in music. With that said, it’s no coincidence that my favorite records of 2020 (thus far) have all been spearheaded by non-men, accumulating in the list I’ve created here. In one way or another, each of the records that I’ve taken particular note of this year have been defined by an undeniable emotional quality, as folklore is. They each take on an overwhelming sense of loss; they grapple with identity and womanhood; they tackle the feelings of belonging and self-worth; they encounter the crushing emotions of heartbreak and falling in love. Generally speaking, they say what I wish I could, in a way that feels utterly intimate and like a shared secret. That, to me, is the foundation of a particularly profound piece of work: it has the ability to not only attract the listener

from a sonic standpoint, but via the impact and relatability of its content. folklore is especially meaningful in the sense that its creation was totally unplanned, spur of the moment, and as a result of what’s been resting on Swift’s heart and in her mind throughout quarantine. With that spontaneity in mind, it’s a record that feels deeply personal and all the more crushing. You can tell that what she expresses wasn’t something she necessarily planned on telling the world, but that she suddenly felt she needed to. “When you are young, they assume you know nothing,” Swift begins with track, “Cardigan,” making the record’s ultimate lyrical resonance immediately known. “I knew I was just a cardigan under someone’s bed,” she continues, and with an admittance such as this, it feels like I’ve fallen off a ten-story building, the

ouch: uch: hus Far

By Erin Christie

pavement hitting my back with a stinging severity. Here, she’s speaking on something I, and many others, personally know— the feeling of being used and forgotten. folklore reminds me a lot of another inclusion on my list, Phoebe Bridgers’ Punisher—possibly because they each share collaborations with the Dressner brothers (of The National), but mainly because they each manage to dig into my psyche in a scarily invasive way, as if each songstress has took a peek into my personal diary or read my mind without my knowledge. Punisher—alongside providing Bridgers’ fantastically haunting vocals and beautiful instrumentation (oftentimes including powerful strings, masterful riffs, and delicate keys)—unfolds with a tracklisting that allows for self-introspection. Tracks

such as “Chinese Satellite,” in which Bridgers copes with questioning her own existence and place in the world; “I Know the End,” where her heart wrenching screams of anguish feel oddly comforting; and “Savior Complex,” where she urges listeners to show her our bad dreams in exchange for her’s, make Bridgers’ innermost thoughts abundantly clear in the sense that their material is utterly vulnerable. That said, part of what draws me to albums such as folklore and Punisher is the dialogue they create between the artist and their listener, as if the lyrical content of each record makes way for discourse about the deepest secrets and internal woes of both parties, listener and creative. With both records, there’s a raw, cutting edge to each songstress’ bluntness, as if they’re unafraid to lay their

hearts on the line. In those moments of clarity, it feels as though they’re speaking on my own insecurities, my own abandonment issues, and struggles with selfworth. Due to its similar emotive quality, another of my favorite records of the year is Chicago trio, Dehd’s, latest, Flower of Devotion. From the gate, the record feels like an admittance of something big—Cruel Intentions-style, the band has taken their personal journals, scanned the pages, and reprinted them, creating an expository leaflet that details their insecurities. Outside of the film’s context, however, the band’s “leaflet” has a much larger audience than just a group of teenagers; rather, members Emily Kempf (vox, bass), Jason Balla (vox, guitar), and Eric McGrady (drums) are airing out their dirty laundry on a potentially global scale. And yet, they seem unafraid; rather, almost proud. Part of this record’s strength lies in its musical prowess, too. Musically, every single track is enticing, oftentimes managing to get my toes tapping along with McGrady’s hypnotic drum beat or my head bobbing up and down to Balla’s melancholic riffs—consider, for example, the brash, incredibly catchy melody of “No Time,” a track that essentially says ‘fuck it’ to feelings of attachment. Aside from this, 41

the record’s genuine transparency, lyricially— whether in expressing feelings of love, confusion, anxiety, existential dread, or frustration—is what makes it stick with me. The record’s cover exhibits two staples of Greek theatre (the masks representing the Greek Comedy and Tragedy), which gives way to it’s sense of emotional duality. That said, it teeters between overwhelming joy and heartbreaking sadness, with brief stops in between these two extremes, mimicking how life tends to be. A great example of this dual-effect is the track “Disappear,” in which a light-hearted, almost jovial musicality is met with lyrics riddled with feelings of sadness in relation to loneliness, which directly contrasts the record’s opening single, “Loner,” in which the concept of being alone is sought after. With “Loner,” Kempf finds empowerment in solitude, whereas “Disappear” sees her crumbling with the lonely feeling that has festered in her heart. With tracks such as this, I’m left floored by the sense of honesty and selfconfrontation that takes the forefront. Holistically, Flower of Devotion feels grounding, as it’s emotive vulnerability reminds me that in a time as numb as this, it’s okay to feel, which is a quality that another of my favorite records, Fiona Apple’s Fetch the Bolt Cutters, tackles

with ease. If there’s one thing this record does, it feels, and for the listener, it feels like a slap in the face. This sensation comes from Apple’s ruminations on the past throughout the record, done with a newfound sense of clarity and assuredness in herself, while embodying a completely fuck-all attitude that says “enough is enough.” Like many additions to this list, part of what makes this record stand out to me is its musical genius, alongside its emotional capability— Fetch the Bolt Cutters’ masterful instrumentation is obviously remarkable, as that’s what to expect from a legend like Apple. Throughout, she toneswitches between spitting snarls (“Heavy Balloon”), sultry croons (“Ladies”), and preacher-eseque marching chants (“For Her”), and her eclecticism adds an element of suspense to her already compelling lyrical material. While you listen, you wait for what will come out of her mouth, what will be birthed at her hand next—that’s the thing with an artist like Fiona Apple: she keeps you on your toes and isn’t afraid to shake the table a little. Maybe she’ll chime in with roaring melodies (“Shameika”), rhythmically booming drums (“Drumset”), or stealthy keys (“Rack of His”), but, either way, you’re guaranteed to be mesmerized. Another record that spoke to me off the bat

(largely due to its hypnotic, ear worm-inducing track listing) was Sorry’s debut, 925. From its post-punk inclination to inclusions of vocal distortion, twinkling keys, shiver-inducing hooks, bold basslines, and haunting choral outbursts, combined with memorable lyrical content, it makes for an easy addition to this list from all angles. Throughout, 925 is an utterly romantic, playful record, reflecting on the chaos that comes with navigating a variety of different relationships, while also touching on the youthful naivety of discovering yourself and your place in the world is (hidden behind poetic, Shakespearean prose). Asha Lorenz and Louis O’Bryen’s subdued vocals, oftentime accompanied by instrumental complexities, make the holistic record a captivating listen. Tracks such as “Perfect” and “Wolf,” for example, introduce the harsher sounds that Sorry are capable of, while “Snakes” and “As the Sun Sets” are much softer, containing stark reminders of the emotional intricacies of human nature. Another track, “In Unison,” touches on both sides of the tone spectrum, beginning on a somber note and quickly transitioning into one of the hardest breakdowns on the record. Historically, I’m most drawn to records that I see myself in, especially related

to the topic of finding one’s place in the world, and each of the aforementioned records have had an impact on me for that very reason. With 925, I see myself in Lorenz and O’Bryen when they harmonize on the line, “These days, I just can’t keep it together/ And I feel like I’m lighter than the weather/And life feels like it’s just based on the weather/And I makes lies like we should be together.” These instances of lyrical clarity remind me of my connection to the world; to the fact that emotions such as these are so often common, and can transcend between the space separating audience and speaker. As I’m finishing up this diatribe, I’m giving Punisher another listen, and feeling the familiar sting of tears welling up behind my eyelids as “DVD Menu” kicks in. As 2020 continues, I’m hopeful that my list will continue to gain additions, as it feels as though, right now, it is a unique time for music—a time where creatives are feeling all the more empowered to be emotionally truthful and musically daring. I’m itching to hear what comes next. This list hardly covers every one of the notable releases by non-men that have come out this year (but, I didn’t want to go on for too long!).

Check Check out out some some more more below: below: Momma: Two of Me Porridge Radio: Every Bad Dream Wife: So When You Gonna… Public Practice: Gentle Grip cumgirl8: cumgirl8 Cindy Lee: What’s Tonight to Eternity Hayley Williams: Petals for Armor Charli XCX: How I’m Feeling Now HAIM: Women in Music III Shopping: All or Nothing Special Interest: The Passion Of The Orielles: Disco Volador 43

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cted to the World e n n o gC n i hotos by ava butera l ale | p ee

iew v r te

On Col la borat ing, Tou rin

Chelse

l e t r u C y ai le h by

This past January, rising star Chelsea Cutler released her debut album, How To Be Human, which details the highs and lows of life and how to not only overcome those situations, but also just how to be. After its release, the album proved to be a smash hit, peaking on the Billboard 200 chart at number 23 and launching her into the Spotify top 400 artists in the world. Cutler hasn’t stopped there, though. Adapting to the strangeness of this year, Cutler recently took the drive-in stage with Quinn XCII for an outstanding COVID-era performance and has since put out collaborations with The Band Camino, Noah Kahan, and Louis The Child, among others. Throughout all the craziness of releasing music, planning performances, and simply navigating this year in general, I got a chance to chat with Cutler and find out what it takes to be human. You released your debut album How To Be Human this past January. How did it feel to put out a full record and is there anything you learned in the months since it’s release? It felt really gratifying to put out a full-length project. I think it’s just really fun and rewarding to put out; something that is conceptually cohesive. Since releasing the record, I think the biggest thing I learned was that even though the music industry has shifted a bit, culturally, towards a more singles-oriented system, listeners really still do appreciate full projects. Regarding the title of your debut LP, I was wondering, what are 3 things, emotional or physical, that make you feel human and why? Performing, because it’s when I feel most alive and most connected to other people…hugging someone, because it makes us feel loved...crying, because it reminds us that being human includes experiencing a wide range of emotions!

You have collabed with quite a few people recently, including Alexander 23 and Louis The Child. How does writing and recording collaboratively differ from the solo process? Which do you prefer? I like both because they both offer unique things. I find that, when I’m working alone, I generally can tap in and be a bit more honest and vulnerable in my writing. When collaborating, it’s a really fun thing to find a common ground between styles and learn from each other. You were supposed to be making your Coachella debut this year. How did it feel to see your name on such an iconic lineup? What were you most looking forward to? It felt great, but it’ll feel even greater when it actually happens! I think I was most looking forward to just the whole experience of being there and getting to perform at such a legendary festival. On the topic of lineups, if you had the chance to make your own festival, what would it be called, and who are some people that would perform? I’d leave the name up to the marketing team, but I’d have Coldplay, Florence + The Machine, The 1975... Earlier this year, you embarked on a huge headline tour, and even though it got cut short, I want to know what the best moment was? The best moment was probably playing at Terminal 5 in NYC in front of all my family, my friends, and my team!! Can you give some advice to upcoming artists that might help them with the touring process? Touring is a business, not a party, so treat your body like a temple and treat your touring crew like your family!!!

One of my favorite music videos of all time is your “Sad Tonight” music video; it was a beautiful visual interpretation of the song! If you could create and direct a music video for any of your songs which would it be and what would it look like? Honestly, the video for “Lucky” has been my favorite one we’ve done. I just like it when music videos have a real-life purpose. I’m the worst at coming up with music video ideas, though. I know we’re almost done with 2020 and times are crazy, but what is one big goal you hope to accomplish before this year ends? Make a second album! If you had one thing to say to your fans and the readers of Heart Eyes Magazine, whether it be about something you’re working on or something personal, what would it be? Just a big thank you for making this crazy life possible!

Even though this year has been big for uncertainty, there is one thing we can always be sure of: Chelsea Cutler does not disappoint. With every project she’s put out, we have been left constantly in awe and we cannot wait to see what lies ahead. Make sure to stream How To Be Human now and grab tickets for her drive-in shows on October 23rd and 24th while you still can.

INDEPENDENT

VENUES NEED

HELP

By Carly Tagen-Dye

still find myself flipping through memories of live music, desperate to relive and hold onto them with adament ferocity. If I shut my eyes and listen close, after pressing play on a shaky iPhone video from December, I’m back at Webster Hall in New York City, at the end of my fall semester. I’m seeing Chicago rock band Twin Peaks for the first time, trapped against a rickety barricade, feeling songs I’ve screamed along to for years on end finally ricocheting off of my body. I click another video, and I’m whisked off to early autumn nights on the Lower East Side, catching bands like the Weeks or Gymshorts at Mercury Lounge and Bowery Ballroom. Other times, I’m transported back to Brooklyn, under the

disco balls at Elsewhere and Baby’s All Right, those tiny dive bars and hole-in-the-walls feeling more comfortable than claustrophobic. When I scroll through recordings from early June to late August, I’m trekking through my home turf in DC, spending the summer in a puddle of sweat in the basement of Songbyrd Record Cafe, or on the checkered floor at Black Cat, feeling as if I’d never left in the first place. Live music, and all of the venues that house it, have been a staple of my free time, career aspirations in music journalism, and wellbeing, no matter where I’ve lived. To say that COVID-19 has had a detrimental effect on those scenes, and on me, would be the understatement of the century. The entire

industry has been forced to shift gears, leaving artists and employees to scramble for income as best as they can. We’ve all tuned in to Instagram livestreams to watch our favorite bands bring some much-needed quarantine joy, but have also watched as those same artists have lost months worth of revenue from cancelled shows, tours, and merchandise sales. Most unfortunate of all, however, is that, for concert venues, time is running out. The National Independent Venue Association (NIVA) is a coalition that has been working tirelessly since the beginning of the pandemic to ensure protection for independent venues across the country. In a June survey, NIVA stated that 90% of these buildings are at risk of closing if lockdown

lasted for more than six months. Now, in September, things are more dire than ever. Thus far, many music houses have already been in the process of shutting their doors since March, with patrons of Austin’s Barracuda Club and Boston’s Great Scott, among others, already having had to say goodbye. The number of closures is only going to multiply. Recent statistics from NIVA’s Nashville chapter say that, without relief, there may only be one venue left in the musicinfused city within thirteen weeks. 90% of Chicago’s venues could be gone by the end of this year as well. With this considered, urgency for congressional support has been a main feature of NIVA’s platform. They’ve demanded representatives to adjust the Paycheck Protection Program so it caters more toward independent venues’ needs (this means, but is not limited to, providing loan forgiveness and tax credits, and offering coverage for salary/insurance benefits.) In addition, a group of 600 artists, ranging from Billie Eilish to Billy Joel, have signed a NIVA-approved letter to Congress, urging them to provide the necessary stimulus that stages need to stay afloat. The coalition has also advocated for the bipartisan RESTART Act, which provides aid to businesses with low revenue due to the pandemic, and has

gained support from major companies like Spotify and Universal Music Group. Since NIVA’s initiatives began, more developments in the fight to save independent venues have occurred. This summer, senators John Cornyn and Amy Klobuchar introduced the “Save Our Stages” Act, an effort with supporters such as New York senator Chuck Schumer and LCD Soundsystem’s James Murphy which would provide immediate relief for independent venues for up to six months. The act, if passed, would ensure funding for workers and include the possibility of supplemental grants to pay for rent, mortgage, and other administrative costs. This act’s benefits are especially significant now, as many venues have begun announcing plans to reopen at half capacity, but many people still do not feel safe attending shows. That said, supporting SOS will provide a safety net until venues can see monetary gain again. As Klobuchar stated in the act’s press release, “This legislation would help ensure that small entertainment venues can continue to operate and serve our communities for generations to come.” With these proposals in place, it has now become our job, as music journalists, photographers and lovers, to urge our representatives to support the bills and proposals that might save

the music venues we love. It has become our job to advocate through email, letter-writing campaigns, and social media. These closures are putting our people—from our favorite bands and artists, to the people working behind the scenes to make shows possible, night after night— at risk, and we cannot stand by and let it continue. If we don’t do what we can now, independent venues will have to shut their doors permanently, even though arts and culture contributed $8.788 billion to the U.S. gross domestic product (as of March 2020). They’ll have to, even though the value of arts and culture to the U.S. economy is five times greater than the value of the agricultural sector. They’ll have to, even when the livelihood and history of so many cities will be at risk of disappearing forever in their absence; when creating more of our own concert-related memories might become a thing of the past. Continue to savor your amateur concert videos in quarantine, and push to make sure you’ll be able to record more someday. To support NIVA and find resources, including templates for emailing your representatives, visit their website at nivassoc.org. More information can also be found on their Twitter account, @nivassoc.

sil v

s r p

Interview by Amelia Zollner | Photos by Allison Barr

On Silver Sphere’s most recent EP, all my boyfriends, released on September 23, the rising pop artist creates her own planet titled the Silversphere. The concept — which comes after her wildly successful 2019 album, yikes! — serves as a roadmap for the EP and ties each song together through elements of fantasy and reality.

How did you decide to tie this backstory into the songs of EP in particular? I wrote this EP about my first full experience with love and heartbreak. The metaphor of Silver Sphere’s first trip to earth is meant to represent this experience I had with love as a naive, romantic, and emotional young girl.

A few weeks ahead of the EP’s release, I caught up with Silver Sphere, who brought me into the Silversphere for a moment to chat about the EP’s creative process, visuals, and inspirations.

I’ve noticed that all my boyfriends is one of the very few contemporary pop projects that seem to have a vivid concept. Could you see a project like all my boyfriends possibly inspiring other pop artists to break creative boundaries? I hope so :)

You just released a trailer for your upcoming EP, all my boyfriends, in which you describe yourself as the leader of your own planet, The Silversphere. Can you tell us more about this concept and what it means to you? The Silversphere is a world I created as an escape for anyone who listens to my music. I want listeners to go there to feel their emotions freely and fully. But, it’s also just a euphoric, fun world where fuckboys don’t exist.

Also, congrats on your recent release of “Crowd,” the first single from your upcoming EP! How does this single influence the EP as a whole? It’s a turning point in the love story; a mixture of sadness and nostalgia for happy times. It’s the point in which I started growing up.

Your tracks are very relatable, with all of them telling honest stories about your experiences with love. Are there any lessons or feelings that you hope all my boyfriends will leave listeners with? To feel every emotion freely and fully. The good, the bad, all of it….it’s all important and it’s all beautiful. You’ve always had a very carefully curated aesthetic to your album covers and music videos. Over time, what are some things that have inspired the visuals that you present your music with? As I discover more and more about who Silver Sphere is, the visual becomes clearer and clearer to me. All of your music — especially “Crowd” — feels very cinematic to me. If there was a movie about your life, which songs of yours would you choose to soundtrack it and why? “Can’t Sleep In,” “Disappear,” “Crowd,” and “Anthem” (which isn’t out yet). Finally, if there was always music that played on The Silversphere, what songs would be playing there right now and why? It would be a rotation of all the powerful women in pop music.

Give all my boyfriends a listen on all streaming services and make sure to keep an eye out for Silver Sphere’s future releases!

nightly NIGHTLY

Photo by Zach Piggs

f you’re into upbeat indiepop music that makes you want to drive while the sun is setting with all of the windows down, then Nightly is the band for you. From the interview that Heart Eyes Magazine had with them earlier this year, they have released more singles. Their most recent release, “summer,” has led to the announcement of their

By Cassidy Brohl debut album, night, love you, which is set to release on October 16. With all of the excitement surrounding new music, I got to discuss with Nightly themselves all about their recent single and the announcement of their album.

this past Friday ? Honestly, it’s just a song that we really like. We had a hard time picking a single, because we are really happy with all of the songs, but summer felt like the perfect ‘end of summer’ song.

What made you guys decide to release the song “summer” with the album announcement

What tracks should we look out for when the album releases? What was your

favorite song to create & write? We really love them all, but there is a song called older that is particularly special to me. What topics does this album focus on? What inspired some of the songs on this album? It’s really wide ranging. We talk about love, loss, growing up, the internet. really just all aspects of our lives over the last year or so. What made you decide to make your debut album name self-titled? Where did the name “Nightly” originate? The first song we ever wrote (it hasn’t been released) was called ‘the night’ so we were thinking of band names involving that word. that lead us to night, love you which felt so personal and casual at the same time, like there is a sense of intimacy attached that we loved. so we ended up calling the band nightly and the sort of secret back meaning was the ly standing for love you. What’s the meaning behind the cover for your debut album? Why did you guys choose it and where did the idea for the artwork come from? The <3 has been our symbol since we started, and with each ep we wanted to elevate it or change it. for the album we wanted to make a physical piece of art since all of the previous ones had been digital. so I actually made the <3 with epoxy and flowers and our photographer Zach Pigg laid it all out and made it look nice. I love it. What’s the perfect setting or

place to listen to the album in? What overall feeling/vibe should we get when we finish listening to the album? Definitely the type of album to listen through the whole thing, it’s not just a bunch of singles. songs flow into one another so it’s definitely one to listen to all the way down. I picture it being listened to on a night drive. How long did it take you guys to write this album? What were some of the struggles you faced when it came to writing the album? Well we had 1 week of writing in march then the virus hit and we sort of stopped everything for a month just because we were all freaked out. After that I’d say it was most of May and june that we wrote and recorded the album. I think the struggles were just dealing with the mental battle of what’s going on in the world. we also were forced to just work in our homes instead of going to a studio, but ultimately I’m really glad our debut was made this way, because it feels way more personal because of that. Here’s a fun question: What’s your favorite Disney movie and why? I mean, that’s a tough question but if I have to pick one right this second I guess it’d be Lion King. Great songs, great story. Hard to beat. What’s been your favorite album or artist to listen to over quarantine? Any new songs or bands you’ve been loving? Been listening to Jeremy Zucker’s new record non-stop. Do you plan on touring this

album once concert venues start to open back up again? Who would you love to tour with? 100% we cannot wait to tour again. I think it’d be fun to do shows with The Aces or Valley. Maybe both! Speaking of touring, what was your favorite show you’ve ever done? Any particular city the band loves to perform in? It honestly is impossible to pick a favorite show. This entire last tour we did was our favorite. every single night was truly incredible and we got to bring some of our favorite bands/good friends to open. What advice would you give to aspiring musicians or struggling smaller artists, especially during these times of uncertainty? Just make stuff you love and that makes you happy! you can’t control if other people will like it, and honestly if you don’t like it you can’t expect anyone else to. Lastly, anything you would like to tell your fans or our readers about this new album? What should we look forward to? Thank you for giving us the opportunity to make an album. We have the best fans in the world and we put our heart and soul into this. this one’s for you It sounds like they’ve really put their heart and soul into this new album they have spent this year working on! Be sure to listen to their newest single, “summer,” and catch their album, night, love you, out on October 16.