Heart Eyes Magazine / Issue 10 by Heart Eyes Magazine

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the team editor in chief gabi yost creative director jared elliott public relations caleigh wells photography coordinator heather zalabak production jiselle santos, ky kasselman, & kariann tan social media ashleigh haddock & madi mize editors ava butera & peyton rhodes music coordinator brandon quiroga

the contributors writers

carissa mathena, emily usallan, erin christie, ej jolly, samantha schraub, yasmin ettobi

photographers

lily duran, samantha schraub, erin christie, madi mead

graphics

georgia moore, jessica whelihan, becca burroughs a special thank you to the those who contributed artwork gia mehdiof

twitter @hearteyesmag instagram @hearteyesmag website hearteyesmag.com

for submissions & questions, email us at

hearteyesmag@gmail.com

A LETTER FROM THE EDITOR

Heart eyes magazine, a dream turned into a reality, is an online and print magazine that focuses on empowering women in the music industry. We have dictated it important to feature the hard working women in the music industry! This is an exciting step and there are some amazing articles and artist features in store for you all in the future. Weâ&#x20AC;&#x2122;ve made it to Issue 10 and this issue features Ashe and Morgxn. As always, I thank you for your never ending support and passion. This would not be impossible without you. Enjoy <3

gabi yost, editor in chief

art by Gia Mehdiof

interviews the ivy morgxn ashe yungblud idkhow

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reads art and friends review blood orange review cancel culture: toxic or neccesary? toxic masculinity and the music industry five must read books tips for vinyl hunting hidden gems of acl 2018 becoming a lake effect kid

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photography snail mail frankie cosmos superorganism foster the people king princess beach house clairo

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ART & FRIENDS SHOW REVIEW By: Emily Usallan

Art+Friends took place on September 7, 2018, at the Nashville Municipal Auditorium. This was an event hosted by Paramore with other bands: COIN, Bully, Liza Anne, Nightingail, and Canon Blue; local artists and independent businesses also participated in this one-time event. Being a part of the Paramore fan-base, this was not only a celebration of music and friends on the band’s behalf but also for the fans. Fans from all over the world traveled to Nashville, TN to relish in this extremely momentous event, and to celebrate the end of the After Laughter era. Fans got the chance to meet up with other fans that they’ve interacted with either in person at Paramore shows or from the internet. It became clear that this was more like a family reunion than anything else. At any time throughout their set, you could distinguish all the different groups of friends dancing together, and shouting the lyrics together. Since Paramore was closing up their After Laughter era with this event, they treated their fans by playing the heart-wrenching and despondent song “26” alongside live strings. Glitter tears were definitely not the only things shed at this point; real tears were streaming down many faces. There was something about being held by the ones you love most, crying together, trying to sing along amid gasps for air from all the sobbing that made us all feel so alive at that moment. To further increase the agony and poignancy in 8

the room, Paramore played the song “Tell Me How” for the first time ever. Fans know how paramount the song is to the band, and there truly was no better time to subsequently play it live. “Misery Business” is undoubtedly one of Paramore’s most popular and reputed songs. However, on this night, it would be officially retired. Hayley Williams explained, “we wrote a song that now as a 29-year-old woman, it’s very interesting to sing because I don’t really think I would use words I used when I wrote this,” and she continued, “calling someone a whore just isn’t very cool.” Those who attended were able to walk around during and after sets to and enjoy the art and shops that were there. Good Dye Young - a vegan and cruelty-free hair dye company, founded by Hayley Williams and Brian O’ Connor- had a shop set up where they sold their dyes, their very own poser paste, and t-shirts. Epic Girl, a Nashville non-profit organization that empowers girls through their educational programs by counseling, mentoring, and also through community activities, sold stickers and raffle tickets to win an autographed After Laughter vinyl, and Hayley Williams’s very iconic autographed megaphone.

review: BLOOD ORANGE by Thomas Rodriguez

How often have you ever felt like a stranger in the crowd, an outsider looking into the world around you? Just about everyone has felt that isolated, doubting feeling in their gut that nags and nags that you may just not be accepted by others. The Ugly Duckling story, in which the titular “ugly duckling” becomes a beautiful swan accepted by all, is one that’s been passed down and told to everyone who’s ever had this problem in their lives, and still resonates with anyone dealing with a lack of self love. Negro Swan, the latest LP from British R&B artist Devonté Hynes, (also known as Blood Orange) is the latest R&B take on this classic tale. It’s incredibly poignant as an in-depth look at what it’s like being different, and bursts with emotion in production and lyricism, combining to make one of the most smooth and insightful releases of this year. Among all the things that Negro Swan does, its crowning achievement is its way of making itself truly intimate and unique. You feel like you’re strolling through Hynes’ mind as you listen to the dreamlike instrumentals splattered throughout the 16 tracks of the project. “Take Your Time” and “Holy Will” are extremely bare, with only a few beautiful keys and woodwinds accompanying the former and a few guitar strums being the base for the latter. The recording sounds nearly off the cuff for a good deal of these songs and many others on the project, but it all accentuates the personal edge the album goes for; you feel like you’re a fly on the wall watching Hynes grow into a more self accepting person through his stream of consciousness lyricism on love, self-hatred, homosexuality, and fear of the weird. While the album is relatively subtle and raw, the instrumentals still grab your attention; “Runnin’”

The album is very much like a Pollock painting, where [Devonte Hynes] splatters every single one of his emotions on the canvas.” “

sounds like a ballad sung around a warm fire on a winter’s night, while “Orlando” sets a great tone with its sensual guitar licks and soft percussion. Occasionally, the songs do run criminally short, like on the groovy “Minetta Creek,” but the actual song production there is excellent in keeping with the Negro Swan message. Like the production, the collaborations mostly knock it out of the park and help sell the various themes of the album: Puff Daddy and Tei Shi are excellent at conveying a desire for affection on the 90’s throwback “Hope,” and Janet Mock’s various interviews throughout the LP are equally poignant and hilarious. On the other hand, A$AP Rocky sounds like he’s on a completely different planet on “Chewing Gum,” and his excessive hoe bragging kind of weighs the song down. Negro Swan, despite having a few collaborators, truly belongs to Devonté Hynes. The album is very much like a Pollock painting, where he splatters every single one of his emotions on the canvas. His subject matter can be dark, tear-inducing, or gleeful, but it all fits the message of he goes for: even the ugly duckling of the neighborhood can still be beautiful. Behind the 80’s pop throwbacks of “Charcoal Baby” and “Out Of Your League” lies someone who has been pushed by society to conform, but refuses to change. It’s equally saddening and uplifting to watch Hynes struggle throughout the album, but the ride itself is amazing. Occasionally the actual song writing (lyrics combined with the music) is less engaging because of a lack of truly catchy hooks on the album, but the project makes up for it with sheer emotion. It’s hard to go through the tracklist and not find a song that gives you something to feel. If there’s something to take away from the dreamlike, raw journey of Negro Swan, it’s definitely to appreciate your uniqueness. Sure, some people may want you to change, and you may even want to change yourself just to make others happy, but if you take Negro Swan’s lyrical and sonic approach at being different, you may just find that inner swan of yours. 9

Snail Mail

Photos by Erin Christie

Within the last few months alone, I have faced a few different instances where my heart completely dropped into the pit of my stomach. Even so, my shock and

E R E R U U T T L CU CLU LL EE

C N C A N C A C

ary? s s e c e n toxic or

disappointment is NOTHING in comparison to the suffering that has come to light due to what has been uncovered in the deepest corners of the music industry. Whether in terms of the rampant misogyny present in the ranks of the hardcore sub-setting, the lack of acceptance for young girls in pop punk crowds, or even the wave of higher-thanthough “indies,” it’s apparent that a lot

Written by Erin Christie

For many, music in a general sense is an escape: an oasis where one can find total happiness amidst the drivel of everyday life. With that in mind, “danger” should be the last thing on a music aficionado’s mind when entering a dimly lit venue, yet, this is more than often the case. Even more so, unfortunately, when these fans interact with the musicians they have come to admire and support. Summer Salt, for example, had been a relatively successful Texas-grown indie band whose reign was abruptly brought to an end just recently in light of the horrific allegations made against a majority of their members. There is a blatant power-struggle between fans and artists that has led a staggering number of young women, young FANS, to become victims of abuse at the hands of the members of the bands that they once looked up to and adored. This trend is unfortunately not isolated, and has infiltrated the scene across genres, territories, and more, and oftentimes, it goes unnoticed or even ignored. “Cancel culture” has become a recent buzz topic and somewhat of a controversy as of late with the rise of more situations such as Summer Salt’s. Despite popular opinion that “cancel culture is cancelled” and that it doesn’t necessarily work, is that actually true? Choosing to immediately denounce and criticize, to some, isn’t as productive or helpful in cases where someone in the public eye is “exposed” for their wrongdoings. “We’re all human.” We all make mistakes and from said mistakes, we adapt and grow.

of the scene is more dangerous and toxic than it may appear at first glance.

With that said, might it be unrealistic to expect people in the public eye to behave perfectly all the time? In a way, maybe it isn’t, considering how impactful a celebrity’s actions and words are with their platform in mind. Even though “nobody’s perfect,” it isn’t unreasonable to say that even an imperfect person should know that it’s not okay to take advantage of someone else, especially someone else who cares about you (your fans, for example!) It is important to note that despite the fact that people certainly can change, how can we ensure that change DOES happen? If it isn’t made abundantly clear how unacceptable the mistakes that they made were, especially in the case of assault or any other form of violence, it might not be possible. If one is to immediately forgive someone for doing the unspeakable, is the perpetrator really going to feel as though they even need to change because they’ve already been let back into the public’s good graces? For example, in the recent case of Chicago grunge band, The Orwells, their ultimate downfall from their place of power was only possible due to the surge of fans and victims speaking out concerning their awful behavior and mentality. It certainly requires a lot of bravery to come forward in regards to any abuse that you have faced against anyone, let alone someone who appears untouchable with the support of thousands of adoring fans. However, in doing so, such can be the first domino to begin the

chain reaction that ultimately brings them down for good, as was the case in this particular instance. When allegations arise and light is shed on situations such as these, fans of these despicable artists have the choice to either forgive and forget or move on and denounce. In other words, it’s up to the audience to side with the abuser or with the victims, their peers and fellow fans. In being willing to look past their awful behavior, or abuse-apologizing, it proves to the abuser at hand, and others like them, that they can be reaccepted into the world and that they have nothing to feel sorry for. It gives them permission to continue their reign of terror, knowing that they’ll maintain support whether or not the truth comes out.

keep a song in your music library when, whether you choose to acknowledge it or not, the artist behind said song is dangerous and awful in nature? Though possibly harsh, if you’re willing to overlook someone’s bigotry because “their album was your high school soundtrack” or whatever the case may be, you’re selfishly putting your appreciation for their art above the people the artist behind it may have hurt. With bands and artists such as PWR BTTM, Brand New, Pinegrove, Front Porch Step, Cigarettes After Sex, Nothing but Thieves, and (disgustingly) so many more, it’s so incredibly important to keep your eyes and ears open concerning who exactly you’re supporting and spending your time on. Even if they’re talented and you personally look up to them from a fan standpoint, that doesn’t excuse how they behave behind closed doors.

“Cancel culture” is also applicable in other difficult circumstances, such as those involving the artists and their unjustifiable use of derogatory terms and slurs, going hand-in-hand with other harmful mentalities surrounding racism, homophobia, transphobia, and more. For example, Cardi B, who has recently rose to an intense amount of fame has yet to be shorn for her transphobic and homophobic comments in the past (i.e. suggesting to trick a cheating boyfriend into sleeping with a “tranny” in order to get revenge). Of course, being in the public eye and having a spotlight shining on your every move can makes any artist’s mistake one that is absolutely unavoidable as it is broadcasted in the public sphere. With that said though, shouldn’t artists and bands be even more concerned with avoiding offending or harming those around them, including their fans, especially because said actions have such a wide scope? From the fan perspective, it might seem difficult to completely drop an artist that you once cared about after they are revealed not to be the people you thought they were. “Separating the art from the artist” then comes into play, a concept which, in theory, seems justifiable, but unfortunately still doesn’t help. Even if you choose to claim that you don’t support what an artist believes/says/does, yet still continue to give them your time and attention, that still speaks VOLUMES: is it really worth it to

THE THE THE THE

IVY IVY IVY IVY

THE THE THE THE

IVY IVY IVY IVY

THE THE THE THE

IVY IVY IVY IVY

The Ivy is your perfect indie-pop trio band for driving around the city with your best friends. Made up of Wyatt Clem (vocals and guitar), Zack Siddiqui (drums), and Shawn Abhari (backup vocals, keys, and synths), they’re sure to have you moving to the beat of their songs about youth, love, and friendship. Having just recently released their two singles, ‘Better In My Head’ and ‘Have You Ever Been In Love’ these lovable Oklahoma boys made their way out to LA, packed in a white tour van, to play three shows for the weekend. After making their first stop in Phoenix, Arizona, we had the chance to chat with them in a local coffee shop, Coffee Connection, on the outskirts of Santa Monica.

Interview & Photos by Madison Mead How did you come up with “The Ivy” and did you have other names before? S: So, initially the band started and it was just my idea. It was a solo project, and I really wanted to start a band and I didn’t have anyone that wanted to start a band with me… So, I took a semester off school and that was my goal, to start a band, and then while I was producing my first EP, just trying to come up with some ideas, like the whole time I was working on music I was itching my legs because I had poison ivy all over my body. I kind of just told my friends I was trying to come up with a band name and I was like, “What if I was called The Ivy?” and he said, “Yeah! That’s cool!” And obviously there was a lot more options but, that was the best. And then I met Wyatt, at Academy of Contemporary Music Production, like 6 months later, and then we kind of started writing music together and it was lot cooler, haha, and then the vibe of it all kind of changed also. We just worked together really well. And then we met Zack a year later. Which song that you’ve released do you feel best represents you? S: I don’t know, I think there’s different styles to our music.. W: I would say lyrically, Gold, for sure.

S: I feel like our first EP was a compilation of the favorite songs that Wyatt and I had written over the first year that we met, so the last 3 songs that we’ve put out have definitely had a lot more heart and work put into them. W: Which is why I think Gold.. Because that was like the first song that I really said what I wanted to say and captured a specific feeling that I wanted. Not that any of our previous music didn’t, but I feel like that song really was what I wanted it to be. If you can, briefly explain your writing process - Who does the majority of it? Where do you gather lyric themes from? W: I write everything! Not Shawn. Not Zack. Haha, no, I’m just kidding. That’s not true.. S: Haha, I guess it’s mainly Wyatt and I, and then Zack is a big help when it comes to kinda like,... Z: Just drums.. S: Yeah, fleshing out the drum lines and stuff W: It’s split pretty 50/50 between Shawn and I, as far as lyrics and production and that stuff. S: Yeah, like more recently I feel like it’s kind of, like, Wyatt’s been writing more of the lyric parts, and I’d be more of the producing side. Z: It’s different from song to song. S: Sometimes we write apart, and sometimes we write songs together. Like the songs that we’re together, mostly, then it’s like we’re more invested, lyrically together, and same with the track and music, it’s obviously both of us writing everything.

HE: Is this all just in bedrooms or do you go out into studios? S: It’s in bedrooms now. W: Yeah, up until now it’s been pretty much just, we write in bedrooms. We started out in our dorm rooms, and then we’d go into study rooms and teachers would hear us. Like we would go into empty classrooms that we thought would sound good to record in … and during finals week [teachers] would come in and tell us to stop and be like “We can hear everything you guys are doing” So, It’s been in rooms [and classrooms] up until a month ago. We went to Germany and Sweden to do some writing sessions and that was our first time ever working with other writers and producers, so, we got to go to studios S: Primarily, all of of those are in different incredible studios with awesome people. At what age did you start playing music and who were your inspirations at the time? S: I was forced to play piano when I was little and then whenever I heard, my first CD was Green Day’s, American Idiot, so that made me want to play guitar and listen to rock music, other than Queen and AC/DC, which my dad listened to. So all of the sudden it was like, “Green Day? What? This is, like, modern-rock music, it’s more pop-y”, and I really liked it. 15

And then, yeah, that’s kind of just when I started so I guess I was 10, just playing guitar and in a band setting. Z: I started playing drums when I was 13, and my biggest musical inspiration was Muse! I still love them, a lot. W: I started playing music when I was 13, and I actually started with blues guitar, that’s like how I started learning, haha, like I grew up kinda- my dad’s a huge Stevie Ray Vaughan guy and so I would just listen to all these blues guitars and try to emulate what they were doing. That’s kind of how I started, and then I would say when I discovered Radiohead, that’s when I really was like “I want to make music.” Not that our music sounds anything like it, but, they’re my favorite band. HE: Has that changed or do you continue to get inspiration from that same place? S: Yeah, I feel like that changes month to month, like we’ll hear a new song and be like “Oh, dude I want to write a song like this!” or, like, we’ll obviously not take everything from a song but, like Gold sounds nothing like the idea.. Like I remember texting [Wyatt] and being like “Bro, I just heard this song, it’s at 150 bpm, I want to write a song at that.” So, I set it to that tempo and I was like, “Let’s write a song!” And the same will happen with random songs. W: I feel like it does change, like our influences do change, but I feel like each of us have our core favorite bands that we always are going to draw our inspiration from. S: I guess as a whole, I think all of us.. ‘Cause that was definitely the band that I was really into, then Wyatt, whenever the first band I asked him, “Do you listen to The 1975?” and he was like, “Yeah! I really love them.”

S: So, we vibed from that and then we met Zack, and we were like “Have you heard of this band?” and he’s like, “Yeah! I started listening to them.” They’re kind of, probably, one of the biggest bands that sounds like us. Z: That we all love. HE: They’re like the common ground? S: Yeah, and then obviously it kind of just spins out. If you had to describe your music in a color, what color would you choose? Z&S: Light blue. S: Or pink. W: ...I was going to say a deep purple. S: More moody! W: I don’t know why.. S: I like light blue or a washed out, white-pink. Like pastel. Z: Yeah, I like light blue. Well, for this band. W: Like those 80’s colors. Any artists you hope to collaborate with in the future? W: DJ Khalid. Post Malone. Haha, real talk, though, like if Post Malone wanted to do a song, I’m all over that. I don’t care what it sounds like. S: Dude, Francis and the Lights or Bon Iver. That’d be super cool ‘cause that’d be so different. I don’t want to say The 1975, LANY.. W: I got it. Roland from Tears for Fears is my number one. Like, if I could meet someone from a band and make a song, it’d be Tears for Fears. S: One of my favorite songwriters is Andy Hull, he’s the songwriter-lyricist for Manchester Orchestra and Bad Books, and I love their music. It’s more of high-school, but still. I listen to it and I’m like, “That’s so good.”

At this time next year, where do you hope to be with your music career? Z: You know, playing Coachella… W: I want to be touring the world, as cliche as that sounds.. I think it’d be cool to have, you know, a couple months to tour the US and then go to Europe. S: I want to be touring and have kind of like a whole music team more solidified, I guess. With music being consistent and being able to be financially stable with music. That’s definitely where I want to be in a year, just financially supporting myself with music. W: We want money! S: Haha, yeah, ‘cause right now it’s like, “Rent’s due next month, crap! I’ve just been making music!” Is there an album in the works and if so, when can fans expect to get their hands on it? S: There’s not an album W: There’s just not, haha S: But, there is a plethora of new songs W: Lots of new singles S: So, I think, yeah, right now we’re focusing on singles and perhaps a future EP, but I think the idea for an album might be in the next year or two. This being one of your first tour experiences, what are/were you most looking forward to and where do you hope to go on your next run? W: Playing with bands that I’ve actually heard of and that I’ve listened to.That was really cool, like The Millennial Club, awesome guys, Laureline, like getting to play with people that are so similar in music and mindset, it’s cool. S: It’s fun, even just the whole tour life is travel and you get to the places, set up, play, have an awesome night, tear down, sleep, get to the next place. So that whole- just adventures- is fun, and it’s kind of setting us up. Like in January, we’re doing a 2 week consistent tour, so that will be something to look forward to.

Is there one spot, city or venue, that you hope to play in someday? W: LA, and we’re here. This is where I want to be.. S: I would love to go .to London, around December. W: Oh, actually... My goal for us as a band is to play the O2 in London. Z: Sell it out, not just play it! S: I would love to play in Paris, that would be really cool because my mom is French, so we’d have a place to stay. What are your ‘tour essentials’? W: Zack has a lot.. Z: Definitely a bag of [dried] banana chips. S: No, no, no. What else? It’s not just banana chips. It’s [those], almonds, and craisins combined. Z: No, that was like a year ago. Now, it’s Honey Nut Cheerios, banana chips, and walnuts. All in a bag. Every show. Every tour. Every van ride. Everywhere. S: I think, a blow dryer, hair gel... W: You know, a toothbrush... Trevor (Photographer, @trevorhroberts) Do you have any dream bands to go on tour with? Z: The 1975, of course. COIN, 100%. Flor. S: Muse. Z: I mean, that would be awesome.. Something different. S: I’m just kidding, haha. W: Post Malone! Tears for Fears? Z: I do want to tour with a band called PVRIS. They’re more like pop-rock-alternative.

Be sure to give them a follow and add them to your next playlist: @wearetheivy @wyatt_clem @zacksiddrums @shawnabhari

Lastly, do you have any words for your fans? Z: If you ever come to a show, bring Zack a Clif bar (chocolate chip or oatmeal walnut) and a pink lady apple. S: I like golden delicious.. W: Granny Smith, Washington apple..

frankie cosmos shot by jared elliott

Toxic Masculinity and the Music Industry BY ERIN CHRISTIE

Misogyny places men at the top of the food chain the pinnacle of perfection, unable to be touched or torn down. It inflates their egos and matching godcomplexes to the point of no return. It essentially allows men to believe that they are a) in possession of all of the power in this societal structure and b) should not have to share any of said power. No matter what facet of the creative world is being discussed, it’s an unfortunate reality that women find themselves placed on the back burner, to simmer over or to crisp and burn, forgotten with time. Due to misogynistic ideals constantly being drilled into our minds via popular media - including television, film, advertisements, and more - women have been essentially taught that they are worth less and are essentially lesser than their counterparts, a process that is beyond horrific. No matter how hardworking and utterly talented someone may be, they’re nothing in comparison to their mediocre male counterparts in the eyes of the machine. Madonna, an indisputably iconic artist through-andthrough, was named Woman of the Year at Billboard’s Women in Music awards in 2016, and when accepting said award, she used her acceptance speech as an opportunity to discuss the misogyny, sexism, bullying, and relentless abuse she’d faced over the course of her career: “I stand before you as a doormat. Oh, I mean a female entertainer,” she began. In reference to her muse, David Bowie, she recalled thinking that with him in mind, there were no rules for performers, but as a woman, she realized her mistake: “There are

no rules, if you’re a boy...if you’re a girl, you have to play the game. You’re allowed to be pretty and cute and sexy, but don’t act too smart. Don’t have an opinion. Don’t have an opinion that is out of line with the status quo, at least.” There’s a lot to unpack in terms of this controversy, and with that in mind, I can feel my blood boiling as I type. Aside from the industry itself, sexism has made its way into the lives of music fans as well, which is disturbing, to say the least. In many different settings, large portion of “fan culture” consist of young girls, eager to share their love for their favorite artists. With that in mind, bands who dismiss and disregard their “teenage girl” fans are doing them a great disservice and revealing their underlying misogyny in the process. Why is it such a bad thing if your band’s fanbase consists largely of girls? Are you willing to deny a fan’s support simply because of their gender? And what made teenage girls the lowest common denominator of music fandom in the first place? In an interview with Rolling Stone in 2015, the Australian boy band, 5 Seconds of Summer, said that they didn’t want a be a band just “for girls” and that because their audience is so largely female, that discredits them as a “real band,” which is entirely bogus within itself. Statements like these reduce girls to walking hormone dispensaries, interested only in “hot” guys who play the guitar as opposed to being genuinely interested in music and the amazing

“

WHY is it such a bad thing if your band’s fanbase consists largely of girls? ARE you willing to deny a fan’s support simply because of their gender? WHAT made teenage girls the lowest common denominator of music fandom in the first place?

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opportunity that is a live show. Sure, people becoming interested in a band due to aesthetic appeal isn’t an event that’s entirely unheard of (and one that’s also totally fine?) but even still, assuming that girls are only interested in your band because of your looks is not only a direct attack on the people that support you, but it’s also very very narcissistic. It also assumes that in order to be considered a “real” band, your fanbase shouldn’t consist primarily of girls, or even of any girls at all. (Thinking about the logic, or lack thereof, that must’ve went into this rational is enough to make me think that pigs must’ve started flying). The Beatles, for example, were arguably one of the most influential acts to grace the stage on an international platform, and even so, their fanbase was what? Largely made up of young women. “Beatlemania,” the term used to describe the intense fan frenzy directed at the British group during the 60s goes hand-in-hand with the more modern idea of music fans and is continued in use to describe the popularity of music acts today.

even more present in a live atmosphere as well. In 2016, for example, Parker Cannon, the lead singer of the pop punk band The Story So Far, violently dropkicked a fan, Becca Ilic, off the stage when she jumped up, attempting to get a “stupid” video for SnapChat. Though Cannon possibly hadn’t been intending to make a statement about his personal politics by being so cowardly and aggressive toward a young fan, he certainly did and subsequently revealed to all other young girls in the audience that their concerts aren’t exactly a welcoming, let alone safe atmosphere for them.

“We have to change the whole fucking culture of male entitlement in music, on-stage as well as offstage,” Petrol Girls’ Ren Aldrige contested, noting the obscene trend of audience members facing assault and harassment while attempting to enjoy concerts. In aiming to avoid this divide and make the music scene an inclusive, welcoming atmosphere for ALL fans, it isn’t a single person’s task, nor is it something that can happen overnight. Making efforts to be kind and respectful to those around you, calling out the The hardcore and pop punk music scenes, especially, creep that feels justified in touching people without are known for their rampant misogyny which is an their consent in the crowd, and holding entitled band unfortunate truth within itself. Aside from proudly members accountable are massive steps in the right releasing songs with lyrics that often slut-shame and direction. reduce women to sexual objects with which men can benefit from, in a live setting, the scene presents a Regardless of the ugly pattern presenting itself demographic that is often violent, controlling, and currently, the industry certainly isn’t solely a man’s overtly aggressive, especially toward young girls. domain, nor is attending live shows and enjoying music for what it is. Blatant sexism is something that is devastatingly

MORG N interview & photos by ky kasselman

Morgxn is an alternative/indie artist that just released his debut album vital earlier this year, which features popular tracks such as “home” and “carry the weight.” He embarked on tour this fall opening up for DREAMERS and Weathers. We graciously got the chance to sit down with him in Dallas to talk about tour and the movement known as vital. Out of all the songs you’ve written, what lyrics have stuck with you the most? Morgxn: What a beautiful question. I think what’s sticking with me the most right now is “If it’s not love it’ll just break, it’ll surround you. You can be strong, standing in place, knowing you’ll break through” which is from “carry the weight”. And I found an early draft of a lyric which was “if it’s not love it’ll just fade” and I don’t exactly know what was going through my head where “fade” was the first choice and then it became “break” which is much more drastic. I think just everything right now in my life and in the world, I’m just trying to infuse it with way more love coming from my direction. I can’t really fix the world without first fixing myself. Sending love seems like the best possible way to heal yourself and to heal the world. Vital is obviously your album, but it’s become way more than that. It’s become a movement, a hashtag, all of that. What do you think makes vital stand out from other projects? Morgxn: I think exactly what you just said is what makes it different. I think vital as a word is so much bigger than the record. For me, “what is vital” is like a rallying cry for myself. And to see it become a rallying cry for other people to hold on to and cherish and share what is vital to them, I just think it’s different because it’s about more than just music, it’s about life, culture, and connection.

Was there a specific moment when you knew that this thing that you created was way more than the album itself and that it was going to take off as a movement? Morgxn: To be honest, the fact that you’re here asking me these questions, having connected with this album that I would say healed me 70% of the way, but there’s 30% more and I think that 30% more is going to come from being on the road and actually playing songs for people. I think the fact that you’re here today shows me that it is more than the music, it’s a message. It is bigger than me. It isn’t about me. Which song on the album surprised you as far as your own personal liking and as far as feedback from listeners? Morgxn: I think “roots.” It had the longest journey to just arrive back at the first demo. I think I recorded like twenty different versions of the song, tried all sorts of different things, but I don’t know if I’ll ever release any of those. I think it does what it intends to do, because it’s a continuous thought, like it never stops, but it also never technically goes anywhere. And yet, by virtue of that, it goes exactly where it’s supposed to. I think when I put the album out, I had people almost think of it as an opener to “home” like it was a transition song leading us back to “home” and that was not intended but really cool to see people react to it in that way. So vital moves through so many genres and sounds; was that something that was done on purpose or was that something that naturally came to be? Morgxn: I think an obsession with genre is limiting for the person making music. I never got into music in order to get into a genre. I think genres are just things that people classify people as. I assume that my genre will shift as I continue to grow. I think I didn’t want to make a record that sounded the same. 23

And I didn’t want to make a record that sounded like one song was good and every song had to sound like I am trying to get to that song. It’s boring to me and it’s not vital. Life is this multi-colored, multi-cultural experience and I wanted to pull all sorts of influences to create an album that was more indicative of who I am than who I am trying to be. It was intentional for it to not sound like one thing, but it was not intentional in that it was not ever trying to be a genre, it was just trying to express. What has been your favorite part of tour so far and what are you most looking forward to? Morgxn: I love connecting with people. I’ve been getting some incredible messages, like I got one today from someone who is coming to the show who has never seen me, we’ve never met, but it was just about how the music was there for her in this time in her life that has been hard.

And I feel that so deeply. I know what that’s like both as a maker of music and a listener of music. Because I love music, some people who make music don’t love music. I love what music has been in my life. I think the thing I look forward to most is connecting with people and the thing that has been the most fun on this tour specifically… well for the longest time I had two songs out and was touring, and that was cool, but there was no place for us to connect, there was no vital hub for us to connect on and now I’m touring and there’s a community that’s building. If you had to pick a word, besides vital, to describe your journey as a musician, what would it be? Morgxn: Wanderlust. It has been a mixture of knowing and not knowing. It has been a mixture of purposely throwing myself into situations that are scary or beyond what I know and through that journey arriving somewhere that is much better than where I started.

“I think the thing I look forward to most [on tour] is connecting with people”

SUPERORGANISM photos by caleigh wells

Books You Should Definitely Be Reading

Carissa Mathena

The Handmaid’s Tale by Margaret Atwood:

If you haven’t heard the hype behind this novel

turned into a Hulu series, then you should start listening. This novel not only satisfies a dystopian novel fan, but also has flawless writing and a compel-

ling plot. Long story short, imagine a society where woman again have no rights. If you are a “sinned” woman (i.e. committing adultery or sex before marriage), you are then given to a family so that you can have a child to give to them. Infertility is the cause of the change in society, as the birth rate has dropped to an alarming percentage. This book will absolutely blow your mind. Stay prepared to be surprised with how closely this book published in 1985 could become a reality in the near future.

Kindred by Octavia Butler:

This book is one that will shock a reader. It is a

Neo-Native slave narrative set in the 1970’s. The

main character, Dana, experiences a shock when she travels back in time on her 26th birthday to help save the life of a little boy. She gets stuck in the past, a past that happens to have legal slavery in the South. She has to navigate her life as an educated WOC in this life and try to understand a way of life unbeknownst to her. It’s a different way to experience the life of a WOC in two separate time periods. I have read this book three times now, and I am happy to have come upon it.

finds out about a whole other world because she is secretly a part of it. She is a shadow hunter, or a person who has angelic blood meant to fight demons to protect others. The first novel sets up this whole other world that you haven’t really imagined before. The reason this book is so high on my list is because it immersed me into the story the entire time.

Everyday by David Levithan:

This book is being made into a movie that is be-

ing released soon. It is about a “teenager” who wakes up in the body of someone else every day. The gender is never consistent, only the age of the person: 16. This is a new age love story because this teenager falls in love and finally shares its story with the main female character. They both have to try and find a way to navigate high-school and being in love on top of the issue of A, the body-changing teen.

Number the Stars by Lois Lowry:

Not only am I a huge fan of Lois Lowry in general,

but I am a huge fan of this book. It is a novel about Annemarie Johansen who risks her own life by helping Jewish families escape from Copenhagen, which is occupied by Nazi-soldiers. This work of historical fiction is of high suspense and about tugging of heart strings.

City of Bones by Cassandra Clare:

I have saved my favorite for last. This book which

happens to be part of a series, is one of the best books I’ve ever read. It is about a girl, Clary, who

a n i nte rv i ew wit h

ASHE i nte rv i ew & p hoto s by s a m a nt h a s c h ra u b

Ashlyn Willson, better known by her stage name, “Ashe,” is a singersongwriter and a California native. She attended Berklee School of Music starting in 2012. Six years later, in June 2018, she released her EP, The Rabbit Hole. I got to chat with her about the EP, her writing process, and the beauty of music. We already talked about how you attended Berklee School of Music. Was pursuing music always on your mind? Did you always want to do that? Ashe: No. None of my family is really musical. I mean, I love music. I was playing music and writing it since I was little. But I never really took it seriously as a career. My family has been nothing but supportive, but that would have never been something that they’d say, like, “Hey, here you go, you can go pursue this.” After high school, I still had no clue what I wanted to do. So I stayed a whole year and went to college and took Gen Eds. Then I dated this guy whose dream school was Berklee, and I was like, “I want to go there.” Because I was like, “if I’m going to go to college, I’m going to go to music college!” I only applied to Berklee and I got in and I got a scholarship. But even still, I didn’t know if I wanted to pursue songwriting or be an artist. I majored in production and writing. So I was doing orchestral scores and stuff. So I thought maybe I’d go to LA and do composition work and arranging. I didn’t think that I was going to be an artist though.

Was there a moment that you were like, “Oh, I can do this”? Ashe: About six months into living in Nashville, this lady who worked at BMI met up with me because I wanted to show her my demoes, and I was like, “I just want to be a songwriter. I don’t know if they’re any good, but I’d love for you to hear them.” It turns out she was the lady who helped Taylor Swift get her start in Nashville. So she told me, “some songs are good, but your voice is what’s really standing out to me.” And I was like, “thank you! That’s cool,” because she was someone who actually knew what she was

That’s sort of why I went to Berklee and moved to Nashville and figured out my way. Music is the only thing in my life that is right. That would be my first bit of advice. And then just go for it! Quit your job and do whatever you have to do that’s necessary to do what you love. Take every risk because it’s so worth it. How would you describe your new album The Rabbit Hole? And is there an overall theme to the album? Ashe: I mean, the theme is me. Pretty much. It’s weird as hell and trippy. It’s kind of like if Willy Wonka met Tame Impala. That sounds fun! Ashe: Yeah! Super fun. I don’t know if it’s like very singer-songwriter, it’s got a lot of storytelling in it, but it’s definitely weird. I don’t know, I hope people love it. So jazz is a big influence for you? Ashe: Oh, for sure. Actually one of the songs on the EP, it’s called “We Get High,” It’s like a spin off of Ella Fitzgerald and a song called “I Get High” and which is totally not a song about getting high, but I may of turned it into a little bit of that song. I actually took a sample from her song.

talking about. It’s not like it was my mom or my boyfriend, you know? So pretty much from that moment on, I was like, “why not just go for it and see what happens?” Is there any advice you’d give to anyone who is thinking of pursuing music? Ashe: Check your motives. Do it because you love it. If you’re only doing it to be famous, you’re going to fail. I mean, you might not fail. You’re not going to be cool. If you want to do music, do it because it’s the only thing that’s right in your life.

That’s cool! How was the writing process? Where do you draw your inspirations from? Ashe: Yeah! It was definitely a hodge-podge. This EP is a hodge-podge. One song I wrote completely by myself on piano, and then I took it to a producer and was like, “let’s make this,” ya know? I can’t remember what I said. Something like the Beatles meet Lorde. I wanted to make it very simple sonically, but have that sort of edge. But yeah, that was that one, but every other song they’re all so different. 31

Do you have a favorite? Ashe: Ah, I don’t know. Um. Well, “Real Love,” the one I wrote all by myself. That might be one of my favorites. It’s going to be the focus track for the EP. There’s also the song “Sometimes People Suck” on the EP. Good title! Ashe: Thank you! Which I love and it’s also the most fun one to perform live. That song is my favorite to play live and “Real Love” is my favorite song. But I love them all. What do you hope listeners will gain from the EP? Ashe: I hope they feel like they have one more person in the world that gets them. I feel like when I was listening to Carole King’s album Tapestry, I felt like she knew me. I felt like if anyone in this world who got it and understood me, my problems, it was Carole King. I guess I just hope people feel like understood and like they have a new friend, you know? The beauty of music is you feel like it’s somebody who gets you. Ashe: Life can be so brutally lonely. I was probably my most lonely in college. But those albums, they get you through it and make you want to keep going. What was one of those albums for you? Ashe: Well, I guess, Carole King’s Tapestry was one. John Mayer’s Battle Studies was a big one. I’m a total cheeser for John. What else? Radiohead’s In Rainbow got me through some stuff. Still getting me through some stuff.

What long-term goals do you hope to achieve? That’s a loaded question. Ashe: Loaded as hell! I just want to keep doing what I love. I mean, people can totally just stop and join me. I hope not, but like that’s just a thing. Artists fall away or people lose interest. I just want to keep doing what I love. If I continue to play this size venue for the rest of my life, and can live off of it, and love it, then I’m in it. Of course there’s like, “I wanna go to the Grammys!” and all these huge, massive things, but all that feels like is motivated by the wrong stuff. I really don’t need to win a Grammy. I just want to keep making music I’m proud of and that touches people. Finally, on a lighter note, is there any new music you’ve been listening on repeat? Ashe: Oh, this one song. This isn’t a new song, but it’s called “Harvest Moon” by Neil Young. It is so good. I’ve been listening to it non-stop. Then this other one, “Best Part” by Daniel Caesar. Daniel Caesar is killing me right now. Also, Post Malone’s new album is pretty great.

FOSTER THE PEOPLE photos by: Heather Zalabak

T i ps p s f or Vin yl H Hun u ntin ting and Co llectin g Yasmin Ettobi

WITH A MOTHER WHO SPENT her last couple teenage years working for Tower Records in the 1980s, a thriving music store which resided in downtown LA at the time , it goes without saying that she taught me a few tips about the ‘right’ way to collect vinyl (her words, not mine). Throughout the years, I’ve learned many of the do’s and don’ts of record collecting from my mom, and also picked up a few tricks of my own that I find work well for me. Whether you just bought a record player for the first time or consider yourself an established vinyl collector, there’s always something more to be learned every time you step through the door of your favorite record store.

SUPPORT YOUR LOCAL MUSIC STORES

THOUGH IT MIGHT BE TEMPTING to pick up a

new release from your favorite artist from the closest

Barnes & Noble, chances are, there are a few stores dedicated to solely vinyl (or at least music in general) near you that could use the funding far more than these big corporations! Oftentimes, even if they don’t have what you’re looking for, many of these stores are willing to order a copy of whatever they don’t have for you, you need only ask. The emotional attachment and connections it’s possible to make at these shops isn’t like anything you’d be able to find at an Urban Outfitters; I know that I’ve found solace and comfort in my favorite record store on many rainy Seattle afternoons.

PATIENCE IS A VIRTUE

WHEN SHOPPING WITH A SPECIFIC album in

mind, it’s vital to take your time in finding a copy of the record that’s perfect for you. You don’t want to buy a completely worn out, scratched up, 50 cent version of your favorite Fleetwood Mac album, but at the same time, if you’re paying $25 for their iconic al-

bum Rumors, you’re paying too much. It’s important to find a steady balance between quality and price, and oftentimes, it takes multiple visits to multiple stores to find just the right record. Never give up hope and always stay patient!

TAKE A CHANCE, TAKE A RISK!

SOME OF MY FAVORITE RECORD STORE finds were discovered in the bargain bin, for prices between $1 to $3. It may sound cheesy, but sometimes you truly have to follow your gut when aiming to discover new music via vinyl. If you see an old, relatively cheap album with interesting cover art, why not just give it a try? Whether it’s a complete miss or absolute hit, expanding your musical knowledge through record shopping gives you a different auditory experience than you’d have by listening to your Discover Weekly playlist on Spotify, not to mention give you

Turntable, which you can purchase for $100 online!

TREAT YOUR RECORDS RIGHT

MAKING SURE TO MAINTAIN THE cleanliness

and condition of your vinyl collection is an extremely important aspect of being a record collector. Every record store has the basics of cleaning supplies for relatively inexpensive prices, so stocking up with a couple dust cloths, bottles of cleaning solution, and extra record sleeves definitely never hurts. In order to keep your albums playing in tip-top shape, be sure to store them in an upright position, and in relatively cool areas away from direct sunlight, as this could cause them to warp. In conclusion, treat your records with respect, and they’ll keep providing you with the beautiful sound quality that you bought them for in the first place!

SIGNIFICANT indie points.

INVEST IN A GOOD RECORD PLAYER

I CAN’T STRESS THIS POINT ENOUGH! I’ve had way too many friends fall victim to the temptation of the relatively cheap and aesthetically pleasing Crosley record players, who have had records scratched and ruined from the cheap quality of the needle. If you intend on listening to your records in a somewhat regular basis, it is most definitely worth it to save up for a high quality player and sound system. After all, the quality of your listening experience matters just as much as the vinyl you buy itself. I personally recommend the Audio-Technica LP60 Stereo 37

Y U N GB L U D photos & interview by madison mead 38

Up-and-coming musician, Yungblud, also known as Dominic Harrison is about to take the music world by storm. Mixing elements of ska, rock, and punk and drawing musical inspiration from almost everywhere -- noting his influences as Lady Gaga, The Clash, Cypress Hill, and Oasis to solely name a few -- Yungblud has already proved to be one of the most versatile and innovative musicians in the industry thus far. Contributor, Madi Mead, has the chance to catch up with Yungblud before his show in Los Angeles and discuss people calling him ‘Yungblud’ as opposed to Dominic, which song represents him most as an artists, and his love for Dr. Pepper. Be sure to check out Yungblud, as he’ll be touring for the duration of the year.

Where did the name ‘Yungblud’ come from and how did you come up with it? Yungblud: I don’t think I wanted to call myself Dominic Harrison. It just sounded a little too polite. It doesn’t really fit my music. I was just thinking for a while everyone was expecting me to say that the name, Yungblud, just flew out of the air or something. It was actually my manager, I was the youngest person on the management roster and he always used to call me young blood when he’d see me. He was like “Alright young blood” and I was like “Fuck! That’s cool” and when it’s written down, it looks a little polite as well. So I decided to added double the U and double the flavor and there you go! Having been around for some time now is it weird for you when people call you ‘Yungblud’? Yungblud: It’s only weird because it connected so quickly. Initially ,I was writing songs for me and I was writing them to talk about what I thought about the world. But when people started to connect me so much, it became less about me and it became more about a community. Yungblud isn’t just necessarily me anymore, it’s just kind of the community of the people. It grew. It’s a community of people. It’s not just - I am Yungblud - that’s not it. It’s everybody. Every person of the show. Every person that sends me DMs.

Every person is part of this project. I don’t mind when people call me that. I just think right now there’s a lot of people and I want Yungblud to be an outlet for people that can’t be themselves and they can’t say what they think. It’s because I was misunderstood when I was younger because I always had a lot of energy and was very opinionated, I had about 15 ideas going through my head a minute. A lot of people didn’t understand that. All my life kind of had been leading up to that and this first album, so yeah it’s cool. You mentioned in the past that you’ve always been very opinionated with your music, is that something you had to fight for or did they kind of just let you do what you wanted from the get go? Yungblud: I was always very opinionated in person, not necessarily with my music in the beginning. I was always used my music as an outlet to be able to sing what I thought. It was weird because I moved out when I was 16. I’m from the Detroit of the UK. Do you know what I mean? It’s very industrial and very kind of uncreative. So I moved out wondering to be kind of able to express myself and then I just met a management company down there who wanted to totally change me and be like “This isn’t going to get you on the radio. Talking about politics isn’t going to get you on the radio.”

And at 16 you just go like “Okay. Fuck it. Whatever is gonna make mom and dad proud.” Or whatever is going to put food on the table because rock ‘n’ roll doesn’t always pay the rent. I kind of went down a weird path there, but I’m so glad I did because I came down back from it and I was going to be myself no matter what and it allowed me to accept myself for who I was. Which song off your new album best represents you and why? Yungblud: Ah man. Probably “Psychotic Kids.” I think it best represents my personality because it’s five different genres of music in one song. It doesn’t stick to one defining thing. It talks about me being misunderstood all life and being called a “psychopath, if I want to go against ideologies or if I want to marry a bloke. If a girl wants to marry a girl they shouldn’t be called a psychopath, they should be embraced. That’s the way the world’s going. Our generation right now actually gives a fuck about the world and genuinely know a future we want to be a part of. It’s been held back by a generation that’s totally blinded by a cataracts of ideologies and again, how some treat you like a psychopath if you want to marry a man or abort your child, they believe that it’s going to ruin your future. I just don’t think that’s right. 39

I don’t want to tell people what to think who the fuck am i and that I don’t have all the answers and never want to preach. That’s why it’s all fun. I just want to encourage people to say what they think because their voice is so important. A lot of people feel like what they have to say doesn’t matter and it does. I feel like your music does a good job of saying what you feel, but not like “oh you need to feel this too.” Yungblud: Yeah! Because I don’t want to do that. I fucking hate that. I’ve been told almost my whole life, “fuck you don’t tell me what to think.” That’s why I keep it fun and keep it mental and always make sure I’m never preaching. I don’t want to be a preacher, I don’t want to go to bible school. If you could describe your music in a color, what would it be? Yungblud: Pink. Vibrant. Obviously! Is that your favorite color? Yungblud: Yes! Pink socks, pink fucking stage, everything. Yeah, it’s my favorite color. I think it represents me. It’s in your face and a little bit girly, you know what I mean? I think it’s a color for everyone. I don’t know why, I see it like as a positive color for equality and change. Fuck genders, fuck putting me in a box. Could you briefly explain your creative process and what it typically looks like? Yungblud: Lyrics first, concept first. Then a ‘why’. Just based on myself and my experiences and people I meet or talk to and then a lyric will be written. I kind of feel it coming up my back, like if I’m on a train or if I’m on the phone I’ll feel it and be like “okay something is about to happen” and I’ll put the phone down and just get my notepad out. It just kind of comes.

So pretty spur of the moment type thing? Yungblud: Yeah, it’s kind of crazy. I’ll have the idea I want to write about, but it’ll be in the back of my mind subconsciously and it’ll just come out. Weird as fuck. And then I’m just standing in a room and shouting at a producer for 10 hours and then we have a song. Are you pretty involved in all of the production? Yungblud: Yeah, I do all of it. I play everything on the record. Yeah it’s literally me and my producer in a room. That’s how the songs are made, just the two of us. It’s the best. What is the significance of the pink socks? If any? Yungblud: Yeah, of course man. Everything I kind of do is thought out somehow. Or I realize that when I’ve done it, it’s been for a reason. I was obsessed with the Northern Soul Movement. It was like a movement between the 50s and the 90s that happened in Northern England. It was a movement that is kind of exactly what I represent. Young people taking charge and creating something amazing. It was a time where the North was very stifle, very boring. The war had just happened-World War II, so everyone in England was just skinned, especially the North. All of the American GI’s would still be stationed in England from the war, still in the 60s, 15 years later when we’re still trying to rebuild Europe, etc., that was still there. And then they brought all of these soul records over, these B-Sides, like Frankie Valli. These GI’s would bring them over and then the movement happened. It was the first time boys would dance on their own because before because they weren’t around the girls. The boys would be obsessed with Bruce Lee, he was massive in that time. All the kung-fu shit.

He wore high-waisted trousers, braces, and it was the first time he showed the socks off, because he saw Elvis doing it. He saw all of the soul guys doing it. But they kind of adopted these kung-fu pants, socks, and loafers, and they’d dance like in this crazy, kung-fu way. I just thought it was really cool and that’s why I wear high-waisted pant, creepers, and pink socks. Where did the Black Hearts Club originate? Yungblud: I got these tattoos on my own accord. Literally, I just got them for me. It’s just kind of a mirror image of Yungblud. I just did it to say what I thought and the get my voice out there. My right hand is a broken heart and my left is a full heart. So my right hand represents me before I thought it was okay to be myself, when people were stifling what I had to say. My left hand represents me when I figured out who I was and that it was okay to be myself. It was crazy because then I posted a picture of them on my Instagram and the next day seven people had got the heart tattoos too. My fans were the ones who called it the Black Hearts Club; it was them, not me! Now apparently over 3,000 people have gotten these tattoos. So did you ever think that it would reach that many people? Yungblud: I just did it for me. I just did it for this reason. It was my version of punk. I want to do a new kind of punk to unify people, not divide them. It’s ‘fuck you’ but in a way that’s fighting for equality. What are your tour essentials? Yungblud: Underwear, pink socks, Dr. Pepper, and a good pair of headphones! Dr. Pepper and pink socks are Yungblud’s foundations.

At what age did you start playing music and who were your inspirations at the time? Yungblud: I had a guitar put in my hand when I was five. There’s literally a picture of my straight out of the hospital with a Beatles ukulele across my knee and a microphone next to me, so I really didn’t have a choice. It was odd because I latched onto artists like The Clash, Arctic Monkeys, Eminem, Cypress Hill, Lady Gaga, Marilyn Manson, Oasis -- these artists that would be so themselves and would change shit in culture, it was a movement and a community. Lady Gaga is not just Lady Gaga, she’s a community. Marilyn Manson created a community. Trent Reznor did. Busta Rhymes did. NWA did, they got “Fuck the Police” on the radio, are you kidding me? That’s why Interscope was such a great label for me to sign to because when I walked into the office, they were just like “ we don’t want to change anything, we just want you to amplify your vision.” I was playing to ten people in a room at the time, so for them to notice something in me was huge.

So do you meet people at every show? Yungblud: Every show. After every show I always do a meet and greet. Especially at this level. I just want to meet the people and see them. I want to change the barrier between artists and fans. How can I share what I’m writing about if I don’t give a shit about what the people who are watching me and singing my songs and wearing my t-shirt are thinking? I just want to meet as many people as possible. I don’t give a fuck about record sales or going platinum or necessarily what Spotify playlist I’m on, although it IS amazing and I am very grateful for those things, I just want to meet people and convince people that they can be themselves because that’s what My Chemical Romance did for me and Alex Turner did for me. Any last words to the fans? Yungblud: It’s okay to be yourself and if people don’t like you for who you are, they don’t have to be in your life.

King Princess Photos by Samantha Schraub

hidden gems of

ACL 2018 EJ Jolly

AUSTIN CITY LIMITS Music Festival is nearly upon us! Spanning two weekends from October 5th to the 14th, music lovers will be arriving to Austin to see some of the hottest artists of the year. And this year’s lineup is truly a powerhouse: There’s big name artists like Childish Gambino and Arctic Monkeys, as well as legends like Paul McCartney and Metallica. Many of our indie favorites will also be performing – including X Ambassadors, Brockhampton and Hozier. Living in Austin, I’ve come to realize that ACL is pretty hitor-miss for a lot of people. Some look forward to it, others dread what it does to traffic, and the college population falls somewhere between “over it” and digging for coins in the couch cushions for a ticket. I’m usually one of those worried about traffic and bus routes, but this year is going to be different - I’ve spent the last few weeks listening to every single name on the lineup, and I’m going to tell you some of the hidden gems coming to ACL 2018.

of the soundtrack to a daydream, the familiar sounds of indie rock fit easily between the seams of synthesized dream pop vocals. They’re on the last shows of their European ‘co.yh’ tour, and finishing up this run of live shows at ACL Weekend One. Catch them while you can. Like the diverse and vibrant streets of their hometown of Miami, Magic City Hippies has created a place all their own within the music scene. After touring alongside Hippo Campus and a few festival appearances back in 2017, they’ve been hard at work in the studio on their next album. But no matter how much time passes, their music is still as refreshing as the first time it graced our ears. If you’re a fan of indie pop, Wallows feels like coming home. They’re the quintessential band of this year’s ACL lineup; citing influence from influential rock band like The Cure and The Smiths, as well as alternative favorites such as Arctic Monkeys and The Strokes. Released earlier this year, their debut EP, Spring, is fresh but familiar, full of catchy melodies that stick with you long after you’ve taken off your headphones.

WHY HAVEN’T YOU BEEN LISTENING TO THEM ALREADY?

WHO RUNS THE WORLD? GIRLS:

DREAMLIKE AND ETHEREAL, almost like watching a flower bloom – this is the essence of flor. Their debut album, come out. you’re hiding, reminds you

BASED ON THEIR NAME alone, it’s easy to think Thunderpussy is a modern Riot Grrrrl band. They’re even from Seattle, where the movement originated in

the early 1990s. But these women want to talk music, not feminism: the band is often self-described as “Beyoncé meets Led Zeppelin.”Imagine Lemonade grabbing a guitar and shredding along to 70’s rock. They’re here, they’re queer, but most importantly, they’re ready to rock and roll. Women of color continue to dominate the world of modern R&B, and Ravyn Lenae is one of the genre’s rising stars. She compares her music to a fairytale, and her newest EP Crush showcases that better than anything. Chock full of her newfound confidence and emotional vulnerability, Lenae has no trouble fitting in amongst big name artists like NONAME and Solange. She twists the smooth tones of classic R&B, and pairs it with modern synth funk and soul. But she admits she brings her own “new wave of thinking” to her music, and from an outside perspective, it feels like a refreshing wave of hope and youth. Michelle Zauner only meant for Japanese Breakfast to be one album. During a break from her band, Little Big League, Zauner wrote Psychopomp in the aftermath of her mother’s death. She honestly thought she would quit with music altogether, writing intimate electric guitar lo-fi tunes to explore the depths of her grief. But there’s almost something poetic about Zauner continuing with Japanese Breakfast – moving on can often be harder than the grief that comes before it. Soft Sounds From Another Planet was her way of dealing with the trauma, taking solace in the faraway idea of space and fantasy. This vulnerability and openness about grief is something rare from artists, and Zauner gives her fans room to heal from their own grief right alongside her.

IF YOU’RE GONNA SEE ANYBODY, SEE THEM: HOUNDMOUTH HAS BEEN a staple band of the indie-folk genre for years now, but with the release of Golden Age, things have changed. This album is a complete rebirth; dropping the country influences and filling it with modern sounds you’d never expect to hear from the trio. But the Americana spirit still lingers in their tracks, and it will be interesting to see

how they bridge the gap between old and new. Blood Orange, aka Devonté Hynes, has always been ambitious in his music – he started out his career in indie folk as Lightspeed Champion, and is now transforming the sounds of modern R&B as Blood Orange. His recently released fourth album, Negro Swan, is rich with social commentary all about the many facets of a black existence. Many of the tracks open with spoken word moments before turning electric and eclectic. There’s a lot of new ideas Hynes is trying to convey with Negro Swan, but the smooth familiar sound we’ve always loved about Blood Orange refuses to go away any time soon. Having only been a band for a little over a year, lovelytheband has already gained quite a following in the indie scene. They’ve already toured with the likes of 5 Seconds of Summer and Vance Joy. Not to mention the intense popularity of the band’s alt-hit “Broken” from their full-length record, finding it hard to smile. lovely has definitely been busy making a name for themselves in the indie scene, and if you haven’t already joined them on their new adventure, it’s never too late. There are so many amazing artists that I didn’t get a chance to share with you, not to mention some amazing late-night shows around Austin! Find more info and get your tickets at aclfestival.com!

Set Times: Flor: Saturday10/6 5:30 pm Magic City Hippies: Friday 10/12 11:15 am Wallows: Saturday 10/13 12:45 Thunderpussy: Sunday 10/14 12:15 pm Ravyn Lenae: Friday 10/5 and 10/12 1:15 pm Michelle Zauner: Saturday 10/6 and 10/13 3:30 pm Houndmouth: Sunday 10/7 and 10/14 5:00 pm Blood Orange: Saturday 10/6 and 10/13 5:30 pm lovelytheband: Friday 10/5 12:45 pm

Beach House

Photos by Lily Duran

Becoming a Lake Effect Kid How It Feels to Come Full Circle Within the Chicago Music Scene | Written by Ava Butera

aving grown up in Southern Florida my entire life, I often grew tired of being stuck so far down south that about 85% of the artists I loved failed to tour anywhere remotely near me. Sure, I was thankful to not be living in the cornfields of Nebraska, but I might as well have been living there with how isolated I felt from a decent local music scene. The older I got, the more and more my music taste evolved from Fall Out Boy -- the first band I ever loved, one that truly made me realize how important the aspect of music was in my life -- to bands on the other side of the Chicago music scene, such as Twin Peaks and Whitney. Although I moved away from that music I originally held so closely to me, I still appreciated all it did for me in years prior. As a new middle schooler, I was actually somewhat eager to venture through high learning and find my niche, although this proved to be rather difficult in my class containing all of 30 students at the Catholic school I had been attending since I was five. As the year progressed, I began to become entwined in drama and nonsensical instances that, looking back, were excruciatingly pointless and dumb, but at the time seemed important. (I rarely discuss this because I do not like to share my experiences of when I was emotional and vulnerable as a child, but here I am anyway, talking about it to people for the first time ever.)

For the majority of the beginning of middle school, I was bullied tirelessly by girls I had known since I was in kindergarten. Looking back, I cannot believe that ensued. During this time, I often sat at lunch alone and was never invited to sleepovers. For a while, I would cry everyday after school alone in my room. But after a month or two of the same behavior continuing at school, I began to take it as normal, and at this time, instead of crying alone in my room by myself, I began searching YouTube and social media for friends since I had none. I truly cannot remember how I came across them, but once I discovered Fall Out Boy and their music, I felt less alone. I would often spend many a night staying up until 2AM watching interviews and constantly playing Take This To Your Grave and Under the Cork Tree. Although it sounds extremely morbid and sad, I felt like I had friends for the first time in months. As time progressed, I grew stronger and stronger and began to ignore the tormenting and bullying. Although I persisted and conquered, I really owed it all to Fall Out Boy, as cheesy as it sounds. Flashforward six years later, and now I’m living in Chicago. Before, I dreamed of merely gracing the streets of a town my then-favorite band grew up in and often referred to in songs.

I never imagined I would ever be living here. A few weeks ago, my dad got a job transfer in Chicago, which forced my family to move from Miami, FL to the Midwest. I was somewhat crushed, in that I had to leave the only place I knew behind, but was still somewhat eager to be living in my favorite city. My first week living in the city, I bit the bullet and purchased tickets for my entire family to see Fall Out Boy perform at Wrigley Field. Although I’m not a huge fan of the band’s current work, I would not have missed this performance for the world. Wrigley is such a Chicago staple and performing there solidifies any local musician’s idea that they made it. After witnessing one of the bands who helped shaped the person I am today playing Wrigley, I felt comforted and at home.

art by Gia Mehdiof

I Donâ&#x20AC;&#x2122;t Know How But They Found Me interview by ava butera

Formed purely just to create and play music together, I Don’t Know How But They Found Me is adding a touch of unique theatrical elements to the vast alternative music genre. Comprised of former Panic! At the Disco bassist, Dallon Weekes, and former Falling in Reverse drummer, Ryan Seaman, the duo are creating something new, and not just in regards to their music. Often shortened as IDKHow, the band draws influences from retro ideas -- whether that be simply their name, which derives from a quote said in the 1985 classic, Back to the Future, the vast array of glam rock and new wave influences the band notes, or even the band’s influence from obsolete platforms such as VHS, vinyl, and cassettes. Co-Editor, Ava Butera, had the chance to catch up with co-founder, Dallon Weekes, to discuss the concept behind IDKHow, bands he hopes to tour with in the future, and the behind the often-discussed video tape idea. Be sure to catch I Don’t Know How But They Found Me on their upcoming fall tour! You can find details regarding it on their website, https://www.idkhow.com/. Also, be sure to stream both singles by the band, “Choke” and “Do It All The Time”, on Spotify and Apple Music The material I’ve heard for I Don’t Know How But They Found Me is awesome! I haven’t stopped listening to it since it was released. Have you been sitting on material for this project for a while? Or did you come up with all the new stuff with Ryan? A little bit of both actually! There are some songs that are going to be on our first release -- our upcoming release -- that I’ve been sitting on from when I was still touring with Panic! At the Disco. But I’m also saving some more ideas for the full length EP that will hopefully be coming out pretty soon in the new year. It’s just a matter of picking and choosing ideas that work best with each other. Some are older, some are newer. How did IDKH come about though? You were such a prominent part of Panic!. When did you have time to work on other stuff? Eventually, after being a member and contributing creatively for about five years or so, they made some changes and I was demoted back down to a touring member. So I had a lot of time and creative output but no real outlet for it, so I just started to collect ideas and start to record them on my own. Then I brought in my friend Ryan to come play drums and we wanted to start playing them live.

We started playing around town, without telling fans or anything, because it was just more for us and for fun. We started to get people to pay attention just based on the songs we had and it just kind of snowballed from there. Did you start songwriting and adding creative input when you started touring with Panic, after you left the band, or prior to both? It was after. Before when I was a member of Panic!, my creative output was mainly directed toward that band but after they had moved on to hiring out writers, I just didn’t really have any place for my ideas so that was sort of the genesis of IDK. Everything I’ve heard from IDKHow so far seems very conceptual. Was this on purpose? Or is this just a style you like to work with? Meaning the theatrical sounding aspect of it. Well I’ve always been a sucker for theatrics. I can look back and remember as a kid that Little Shop of Horrors, was a huge inspiration for me. The thing with musicals is that they always had a pretty big impact on me. They’ve been something that have stuck with me, but kind of subconsciously. The presentation of IDKHow and the story and theatrics behind it are attached to that, I suppose.

Now, I have to bring this up because I want an answer from you yourself! How did the lost video tape footage idea come about? I absolutely admire the creativity and thought behind creating a new band that seems to have existed long ago! When I was making the record, I would often take breaks and fall into weird Youtube holes either just to find inspiration or to turn my mind off for a little bit. And I fell into this very bizarre Youtube hole -- it was this cable access talent show from the early 70’s and I fell in love with it immediately and I wanted to be on the show but it was of course impossible, because it was so long ago. So that’s kind of where the idea started, me wanting to be on the show that didn’t exist anymore. As I got to thinking about that, just the feeling of discovering something new, even if it’s old, it’s still new to you. That feeling is pretty special and hard to recreate. Because now everywhere you look, you have bands saying follow us here and subscribe to this. You’re constantly being sold something. I think the way you can fall into a weird Youtube hole or discover something on your own that you didn’t know existed before is something a little bit more to you and I wanted to create that feeling because that’s all I had when I was younger. 53

I discovered things by chance and because of that, discovering things that connected with you had more of a lasting impact. Although I see you post what your listening to on Instagram daily and see the type of stuff you’re listening to, who are your main musical inspirations? Oh man, I love talking about this stuff! That’s a great question! I’m influenced by a lot of stuff but the ones that sort of step the the forefront as of late when making the IDK stuff are bands like Sparks, Elvis Costello, David Bowie, Joe Jackson, The Cure, Marc Bolan, Travis Cocker, Blondie, Oingo Boingo, and Ink Spots, who are this jazz quartet from the 1930’s. Stuff like that! What artists/ideas inspired this new project? I mean besides watching the old videos on Youtube, were there any more sort of ideas that added to the overall inspiration? You know, I wouldn’t say that it was any particular band or artist, but it was more media from when I was a kid like VHS tapes, vinyl, cassettes, books on tape, etc. That was the way I consumed music when I was a kid so all of that stuff is a big influence on what I’m doing right now. Who are some artists you’d like to tour with in the future, besides the ones on the Waterparks tour? Oh man that’s a really good question too! I have a mental dream list in my head and I was just thinking about this the other day too. It would be awesome to tour with really huge bands like Twenty One Pilots or Muse. Also, White Reaper would be awesome to tour with. Rex Orange County would be awesome. Wallows would be great. The Wombats would be cool!

Lastly, what should we expect from you guys within the next few months? I know you said that you’re going to release an EP. So when should we expect that? We’re looking to release an EP pretty soon and then hopefully a full length record as well. Also, our tour with Waterparks which starts next month!

C L A I RO

photos by samantha schraub