Issue 15 // Heart Eyes Magazine

the team editor in chief gabi yost creative director jared elliott public relations ava butera& ashleigh haddock photography coordinator heather zalabak photography assistant caleigh wells production jiselle santos & hailey hale social media nina marshall & maegan stapleton editor erin christie marketing mallory haynes, mckayla grace, & rachel albright

the contributors writers

alex hopkins, allison barr, amelia zollner, amy paine, carissa mathena, carly tagen-dye, caroline rohnstock, chelsea holecek, ej jolly, emma schoors, jada moore, katherine stallard, maria kornacki, thomas rodriguez

photographers

allison barr, amelia zollner, athena merry, bella peterson, dana jacobs, ej jolly lilly duran, hannah dougherty, sam rice, sidney wisner,

graphics

georgia moore, sydney wisner, kendall wisniewski

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A LETTER FROM THE EDITOR

Dear reader, It’s been awhile! Over the last two years we’ve had some amazing artists featured in the magazine and this ones in this issue are just as amazing. With this time of year comes “cold” weather, new music, and a brand new issue of HEM. Welcome to the 15th issue of Heart Eyes Magazine featuring Kelsy Karter, Tessa Violet, Del Water Gap and many many more.

For those who have been with us since the beginning, we thank you, we love you. For those who have just stumbled across us, we also love you and invite you to stick with us for the great things to come. It is with the dedication of those who view that keeps print and Heart Eyes alive.

With love,

gabi yost, editor in chief

KEEP PRINT

ALIVE

$20 hearteyesmag.com/issues

KELSY KARTER

interviews the ritualists tessa violet pom pom squad sidney gish lili joy kelsy karter del water gap

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reads the swan songs of brit-pop the crossroad between aesthetics and music the legacy of fleetwood mac wearing earplugs at shows the universality of frank ocean

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the 1975 & their social activism dealing with a bad album release soundtracking stranger things pop punk presists forgotten gems of the 80’s moontown ep review

photography alex lahey mgk japanese breakfast sigrid cage the elephant maggie rogers

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The Swan Songs of Britpop As We Knew It: “What’s The Story” vs “The Great Escape”

By Alexandria Hopkins

On February 20, 1995 in a venue space held at the Alexandra Palace in London, the 15th Annual Brit Awards were held. An awards ceremony that celebrates the best of British music (though originally specifically for the pop genre), the event was a perfect depiction for everything related to 1994. That year, the “Pulp Fiction” soundtrack won Best Soundtrack/Cast Recording and Lisa Loeb won International Breakout Artist as R.E.M won International Group. Madonna performed, “Take That” did as well, as did a post-Lion King Elton John.

But, there is a catch. These wins were only a reflection of 1994 and 1994 only: things from that time that could only be appealing, or at least recognized by those experiencing them at the time: like “Boy Meets World,” or when everyone thought Woodstock ‘94 was a good idea.

If there was one aspect about that night, let alone that entire year, that would last the test of time and become a subject worth speaking about in the music industry for decades afterward, it was a battle between Blur and Oasis.

Blur made a big stance that fateful February night, winning four of the most contentious awards of the night, most notably the award for Best Album for their third studio record “Parklife.” Blur dominated, winning the most amount of Brit Awards won in a single night while the Gallagher-led band left with practically nothing…save for a single award (for British Breakout Act) and a cheeky dedication from Blur themselves when they received one of their awards.

To be fair, for the guys, it was 1995, and in terms of success, Blur was killing it.

It had been nearly a year before the BRITS win when the London-originated band had seen breakout success following the release of “Parklife.” While they were not hitting the all-too mysterious “bigtime,” in Britain, they had reached close enough to that status. They started 1992 with £60,000 in debt and left disenfranchised after a disastrous American tour.

At the beginning of 1995 with an album certified Platinum four times in the UK, having countless awards and said album considered one of the most acclaimed of the ‘90s, it was safe to say Blur had finally struck gold.

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Of course, right as you begin to shine, another contender always seems to come into play. Though Blur was enjoying their success in the height of Britpop’s emergence, it would not last much longer: soon enough, Manchester’s own Oasis would enter the ring.

For a band that had only started around the same time Blur had released their first studio album, the Manchester rockers rose to the top quicker than anyone had anticipated. After a handful of live shows and the release of their first demo—the “Live Demonstration” tape—in 1993 (as well as being recognized by Creation Records that same year), their debut album “Definitely, Maybe” was released in August 1994. The album was an unbelievable smash hit: going straight to Number 1 in the UK, it became the fastest-selling debut album in Britain, overall selling 8 million copies worldwide and even being named in a poll by NME readers “the greatest album of all time.”

Shared chart success felt like the only thing that a lot of people saw as similar between the two. As Britpop fans, publications, even the band themselves noted, they may have shared similar genres, but as people in general, they were night and day.

Blur consisted of upper-middle-class college graduates with extensive musical knowledge from their parents who signed to Food Records months after their first performance. Meanwhile, Oasis was made up of almost entirely working-class people who had faced emotional and physical turmoil—the worst of Britain’s ill-treatment of its lower-middle-class. As great as both bands were (and still are), their upbringings were more than reflective in their music and brought up arguments between fans. While Oasis was praised for lyrics that felt relatable to the working class, pub-loving folk in Britain, Blur—and more specifically lead singer Damon Albarn—was criticized for their pompous delivery and focus on “first-world problems.” To the public, Oasis were good lads, closer to home; Blur were snooty and uniform.

Despite this, surprisingly, there had not been much animosity between the band members themselves. If anything, there had been a surprising amount of chumminess amongst Albarn and the Gallaghers, especially. Would this last? No; the answer was no.

It was 1995, and though Blur and Oasis were thriving in unexpected ways, the genre they had championed was not doing so good itself. Bands such as Suede, Elastica, and Menswear were enjoying high success, but overall, the momentum of Britpop as a whole was slowly slipping away. After the BRIT Awards in February, that animosity between the bands had started to show itself more.

Steven Sutherland, a former editor at NME, noted about this moment in time, “Although Liam and Noel liked to fight each other, what they liked doing was picking a fight with somebody else” (Beaumont, 2019). What started from coming to congratulate Oasis hitting Number 1 with “Some Might Say” and some snide comments from Liam to Damon taken as a brag ended in both bands suddenly thrown in the fight for the title of Britpop kings and the fans cheering for their favorite sides.

However, if anyone else was up to the challenge of heightening the rivalry, it was NME and other publications. This would be proven when later, Blur and Oasis were on the cusp of their new album rollouts, both named contenders in the “British Heavyweight Championship” in an August 1995 issue of NME. Pending these releases, announced their first singles: Blur had their extravagant, if not overblown, “Country House” and Oasis had their eerily similar, yet somehow still good, “Roll With It.” The only problem? Well, besides the fact that neither band liked their first singles, both released them on the same day.

The process, described by Ross, was nothing more than a fiasco: “For some unexpected reason from our point of view, they brought forward their single by something like six weeks, weeks and weeks ahead of schedule. That threw us into complete confusion. All of a sudden, they’re going to put their record out before ours” (Beaumont, 2019).

Oasis loved the tension, as did their management and publishers— Blur? Not so much. Eventually, it was “Country House” that would claim the Number 1 spot for the charts, whilst “Roll With Me” sat at Number 2. Meanwhile, Blur’s “The Great Escape” was set for a September release, Oasis’s “(What’s The Story) Morning Glory?” set for an October release.

With all of these issues, setbacks, and rivalries, the question becomes: if this was the fight between two of their singles, who would win between their albums?

In hindsight, “The Great Escape” and “(What’s The Story) Morning Glory?” are similar albums in theory. Both deal with more existential moments, both scurry out of the pure rock sound exhibited on each band previous albums, and both became albums that would stand the test of time. Ask any other fan, though—it can set off different reactions.

Ethan Gordon, a writer for No Ripcord and former music reviewer as “The LP Club,” recognizes the importance of “TGE,” but always goes for “(What’s The Story) Morning Glory,” calling it an artifact of maximalist rock music. By the end of “Champagne Supernova,” as Gordon says, “you’ve either been completely overwhelmed by the layers of guitars and reverb or you’ve sunk into the dreamy feel of the song and accepted it as one of the best songs ever.” When asking the question on a subreddit specifically made for the genre, the consensus was that “Blur won the battle, Oasis won the war.” Articles, newspapers, fan consensus, and further seem to be parted down the middle.

In hindsight, “The Great Escape” and “(What’s The Story) Morning Glory?” are similar albums in theory. Both deal with more existential moments, both scurry out of the pure rock sound exhibited on each band previous albums, and both became albums that would stand the test of time. Ask any other fan, though—it can set off different reactions.

Ethan Gordon, a writer for No Ripcord and former music reviewer as “The LP Club,” recognizes the importance of “TGE,” but always goes for “(What’s The Story) Morning Glory,” calling it an artifact of maximalist rock music. By the end of “Champagne Supernova,” as Gordon says, “you’ve either been completely overwhelmed by the layers of guitars and reverb or you’ve sunk into the dreamy feel of the song and accepted it as one of the best songs ever.” When asking the question on a subreddit specifically made for the genre, the consensus was that “Blur won the battle, Oasis won the war.” Articles, newspapers, fan consensus, and further seem to be parted down the middle.

To be truthfully honest with you—writer to reader—it feels like human nature for me to say that, for all of its obvious faults, “The Great Escape” is better than “(What’s The Story) Morning Glory?” A Blur fan since 10, it can be expected for me to say that “The Great Escape”— while not as gloriously snotty as “Parklife” or full-on twist-and-shout rock as releases from The Kinks or early Rolling Stones—can be and still is a good time. Songs like “Country House,” “Charmless Man,” “Stereotypes,” and “He Thought of Cars” all represent the greatness of Blur’s self-awareness, all with a cherry on top: more thorough production than the psychedelic rock of their past releases. “TGE” is also unafraid to get into more sophisticated production (with “The Universe” and “Yuko and Hiro”), Madchester-inspired songs (“Entertain Me”), and near epics in terms of scope and lyrical content (“Best Days”). What seems like a jumbled restatement of everything we have ever heard from the band at first becomes, at least for me and the other two “The Great Escape” fans, a perfect symphony of everything we love about Blur.

However, upon listening to both albums, I found myself admiring more of “Morning Glory” than I ever had before. Younger me never understood why the album felt so long, felt so much like nothing and everything at the same time. Sure, it sounded pretty, and if everyone else enjoyed it, I would too. But the more I grow up, the more everything clicked together. Noel’s lyrics shining through working-class British subjects into near transcendent storytelling, wonderfully glossy, sometimes groovy sounds that let Liam’s vocal capabilities beam brighter than ever.

Tracks like “Roll With It” and both “Untitled” tracks may still not match up to what I appreciate the Manchester quartet for, and “Wonderwall” stands between being a deliciously sentimental piece and a genuinely not good song. Paired with spine-tingling strings (“Don’t Look Back in Anger”), chilled back guitar riffs (“Some Might Say”), and—the best song off of this album, bar none—a 7-minute rock masterpiece that plays out as I imagine how we go to heaven would (“Champagne Supernova”). Those lyrics of dreaminess contrasted with the feeling of your reality setting in is where “Morning Glory” grows.

It can be a tricky situation, to see yourself torn between an album that you may be the only defender for, but whose sincerity and growth has stayed with you to become one of your favorite albums as well as an album that you grow on with every passing year, even with some faults here and there. Human nature says one thing, another part says another, and you cannot help but think about what feels right.

The general consensus for all of this has been “Blur won the battle, Oasis won the war.” And in a way, I do not truly believe either can be said to have won in the way we want them to. Sure, Blur won the battle at the moment: despite everything, they always ended up charting and being critical favorites, even in the later years. Contrastingly for Oasis, despite the legacy they did leave with those first two albums, they did not win in whatever long-lasting war raged on throughout Britpop. After “Morning Glory,” their albums—more specifically 1997’s “Be Here Now”—would fail to chart or gain as much lasting praise as they had with their 1994 or 1995 releases and the band would disband in 2009. It does bear to ask, though: who did win then?

If you ask fans, neither won, both won, Oasis probably will always win, Damon Albarn is a fraud, Liam will always be a fool. But in the end, I go back and watch that video of Blur winning at the BRIT Awards and think of what happened before all of this. When things seemed to be at their calmest without the pressure to chart and get the front cover, and when the deciding factor was not whether you are a “The Great Escape” defender or argue that “Morning Glory” had more success.

Oh, how it would be nice if we could return to the time when Britpop was in its glory days, and neither of these two albums felt like the inevitable swan songs they became (not to mention, when less people wanted to punch Liam Gallagher in the face).

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The Crossroad between

Aesthetics and Music From Artists to Fans to Critics

Written by Erin Christie In terms of all subcategories of the mainstream, there is always an overlap— especially between visual and musical aesthetics. In other words, how the world perceives an artist is first and foremost determined by their discography, but that impression can easily be swayed ... by their style.

Artists exposed to a brighter spotlight tend to come under scrutiny (or praise) for not only their musical choices, but also their style choices, as if constantly on an episode of “Fashion Police” (shout-out Joan Rivers).

Whether we want to admit it or not, even in terms of music, we can sometimes fall victim to “judging a book by its cover” (or in this case, “judging a band by their taste in fashion”). In this act of judgement—whether positive or negative—it becomes clear what’s most “trendy” at the moment, from the rise of the “glitter cowboy” via Kacey Musgraves and Mitski to the ’90s grunge movement popularized

by Kurt Cobain.

For musicians and anyone else in the limelight, the power of the public eye is immense: these days, as shallow as it is, music isn’t JUST about the music anymore, and style plays a huge part in one’s “star power.”

Besides affecting their own image and their chance to stand out among the Billboard Hot 100, style impacts more than just their marketability: it also affects fans perception.

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Someone’s style/aesthetic appearance can be a dead giveaway in terms of their taste in music and vice versa— you can often make generalizations concerning what someone’s favorite artist is based on how they dress or how they wear their hair (though we should be careful not to stereotype or put up absurd biases, of course).

For example, as associated with the “indie” genre, so has risen the stereotypical “sad boy” persona: they are emphasized by their favoritism toward cuffed jeans, circulation-constricting knit beanies, flannel button-down shirts, obscure band-related tees, dangly earrings (but only on one ear, of course), and of course, a (not so fashionable) PBR clutched tightly in their fists. What do these “sad boys” have in common besides stylistic preferences? These Mac Demarco-wannabes haven’t just arisen out of the blue; they’re a byproduct of multiple factors but they often prefer musical genres along the lines of indie, garage rock wherein boys croak about how they’re upset that a girl won’t have sex with them (hence, why you might find a swarm of these greasy lads at your local DIY venue or at the gig when Turnover or Citizen comes into town).

Hence, if you might classify someone as a “sad boy” style-wise, you might be able to assume their music taste fits the bill, too.

In the same sense, the modern-day “hypebeast” as often associated with the more hip-hop/rap end of the musical spectrum, typically adorns seemingly unnecessary chains, bright neon colors, high-end brands (such as Supreme, FILA, Guess, or Kappa), and often, a completely empty fanny pack.

Musically, hypebeasts soundtrack their days with the likes of Brockhampton, Tyler, the Creator, Clairo, Gus Dapperton, and whatever else you might hear playing over the speakers at your local Urban Outfitters. Like “sad boys,” hypebeasts are not only defined by what they wear, but also what they listen to and the two tend to go hand-in-hand.

Aside from patterns such as these that have been around forever, there also comes fashion and style trends that appear or are emphasized more prominently BECAUSE of a specific genre of music or artist.

From Maggie Rogers’ celestial, glitter-heavy jumpsuits to Florence Welch’s romantic Victorian-era floorlength gowns, it’s undeniable that if we don’t at least admire the style of the artists we support, us fans try to follow along in some way. Social media makes admiring the style of your favorite artists so much easier, whether you fawn over your fave’s “fit” on IG or browse Depop for pieces that match what they wore in their latest video.

Most close to my heart, with the rise of girl-bands of the punk-indie-alternative spectrum (such as Wolf Alice, Surfbort, Amyl + the Sniffers, Gurr, and more), came a sweep of the fringe-y “mullet” haircut across audiences worldwide—I, too, can say I’ve adopted this exact look, mostly inspired by said artists. With Miller, Amy Taylor, and Ellie Rowsell as patron saints of the shaggy, yet put together “Riot Grrl” aesthetic, I was immediately drawn to emulate their energy, complete with a slight style modification.

On the other end of the spectrum, Rico Nasty is one of the more aesthetically and musically innovative creators on the airwaves at the moment. Since her arrival on the scene in 2016, Rico has consistently made a point to be herself and to do so unapologetically, sporting larger than life, somewhat “campy” ensembles and up-dos on a regular basis.Though appreciated and admired by many, her audacity to be different is sometimes received by slack. Injury Reserve’s “Jawbreaker” (off their most recent record) features Rico, pointing out the criticism she often gets for existing somewhat outside the status quo. “Your hair’s ‘spose to be sewn in not spiked up,” someone might comment, to which she would reply, “I do what I want, not whatever gets the likes up.” As she continues with tracks of her own such as “Won’t Change,” regardless as to comments from anyone, she’ll be doing her own thing and sporting whatever she chooses—from “punky,” spiked garments to Harajuku-esque frills. For those who support her, and even those who don’t, it would be impossible not to note her power as an individual from both a musical and stylistic standpoint.

When we think of “high fashion” we unfortunately don’t tend to think of eccentric styles such as those that Rico Nasty adorns, nor do we often recognize anyone besides individuals who are twig-thin—and that’s something that artists such as Lizzo hope to combat. In the same vein of supporting individuality and self-love, Lizzo, known for her blunt, take-no-fucks attitude and ultimate “bad-bitchery,” has been making massive waves and helping change the narrative. With songs such as “Good As Hell” and “Juice,” in which Lizzo essentially “feels herself” lyrically, she’s risen as positive role model for young girls in need of a reminder that they shouldn’t have to put up with anything less than greatness, nor should they have to feel bad about themselves for anything. Featuring Missy Elliot, track “Tempo,” is extremely clear in its body positive message that encourages girls, such as herself, to feel confident in their curves, back-tracked by an infectious club beat.

“Finally, I can talk my shit about being a big girl,” she had said on writing the track in an interview with “Exclaim!.” Lizzo stands as a truly awe-inspiring, deserving artist not only for her talent, but for her boldness to be outspoken (and to proudly shake her ass in front of millions (as she should).

Overwhelmingly (and justifiably), she’s been welcomed into 2019’s musical top tier, not only for her music, but also for her style.

Billie Eilish, too, has indeed made headway as one of the more commented-on “fashion icons” of our current time because of her more unconventional taste. Adorning apparel that is at least four times oversized, Eilish has often drawn quite a buzz regarding her personal attire. The seventeen-year-old has contributed a unique line to Urban Outfitters in support of her latest record, “When We Fall Asleep Where Do We Go,” alongside generally drawing eyes due to her favoritism for bright colors, loud prints, and baggy sweat suits. What’s been made known about her decision to dress as such, though, is that it’s not only an aesthetic choice, but also a makeshift shield against degrading commentary regarding her body.

Generally, with the distinct connection between musicians, fashion/aesthetic, and audience perception, one might wonder what the world would be like if we didn’t pay so much attention to appearances and just listened to the music. Of course, someone who looks like a “hypebeast” might be really into Beethoven as opposed to JPEGMafia or your local “sad boi” might absolutely despise King Krule—we can’t say that the link is definite and can perfectly create molds into which artists and fans can be divided and defined. Each case is personal, but that’s part of what makes deciphering the pattern so interesting.

Being in the spotlight, how one acts, looks, dresses, is part of the narrative even in terms of musicians, and this can sometimes be a negative thing.

For Eilish, attempting to combat feeling uncomfortable and sexualized, has chosen to sport sizes that are far too large, attempting to hide her curves.

She has achieved a unique look in doing this, but it’s disturbing to know the hidden intention behind it all.

It’s clear that in multiple ways, aesthetics play a major role throughout various aspects of the music industry: it impacts artist’s success/reach, which then influences how listeners and critics perceive them. With the aid of music, certain fashion trends can peak and plateau, waves of body positivity can form, and attention to beauty standards can arise.

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THE RITUALISTS on Their Debut Album and Musical Inspirations

Interview by Amy Paine | Photos by Sam Keeler New York City natives The Ritualists exploded onto the city’s underground scene with the August 2nd release of their debut album, “Painted People.” Since their debut, the band has elicited favorable comparisons to notable and diverse post-punk, new wave, and psychedelic rock acts such as Echo & The Bunnymen, Tears For Fears, and Radiohead. Frontman Christian Dryden was inspired by 70s and 80s glam rock artists—particularly David Bowie and Duran Duran—to create an anthemic and meaningful album with several standout tracks, including the lead single “Ice Flower,” which blends poetic lyrics with a rolling bassline for a unique, yet classic sound. We had the chance to discuss “Painted People,” rock and roll revival, and the development of The Ritualists with Christian—check it out below!

The music video for “Ice Flower” shows corporate businessmen in a pro-wrestling style fight. How did this idea come about? How did the video come together with the song?

The concept was initially presented by BroBro Films after they’d heard the song. We thought there was a clear, quite provocative message and found it to work well with the song.

Have you ever had a job that made you want to re-enact the “Ice Flower” video?

Absolutely! I think most people have felt the sting of corporate life and can thus, relate pretty well to the video.

Where did the album title, “Painted People,” come from? What are the overall themes or messages you hope listeners find in the album?

We have a song called “I’m with the Painted People.”

I was initially drawn to the idea of painted people when I learned about the ancient Picts from Scotland, who were famous for painting themselves blue on their way into battle—[they were] quite possibly the first glam rockers. I thought, in a way, we are the modern painted people; instead of “battle,” we fight for our art.

The song is about the various characters throughout history who’ve inspired me in this way. It was also written about my experiences and inspirations performing and simply living life in the Lower East Side.

Many think the live music scene, or the rock-n-roll underground, is dead in NYC, and though it isn’t what it once was, we do believe there is still a scene that has been very welcoming and receptive to us.

We thought it fitting that these characters who’ve inspired us so would also serve as the title for the whole record.

I’ve read that a lot of inspiration comes from glam rock/new wave artists, like David Bowie and Simon Le Bon. How do you incorporate the dramatic characterization and imagery that they represent into your own work?

I think Bowie casts quite a wide net over all things that’ve happened in rock music since about 1975.

He was brilliant! With Le Bon, I don’t think he gets enough credit for being such an incredible singer and front man. These legends have inspired me to try to write music and sing without fear, to be as creative as I want and to approach rock music as a true art form that can be dangerous, dark, dramatic and deep as well as simple and fun. No formulas and no rules.

How did New York’s music and social scene, especially on the Lower East Side, help inspire and develop “Painted People?”

NYC is truly a place where you can find yourself and develop as an artist, unencumbered by the typical societal constraints. So, as referenced in the previous answer, it played a huge part. It’s a big part of who we are and we’ve met so many brilliant and talented individuals who’ve encouraged and inspired us.

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Do you have any live shows coming up, either in NYC or elsewhere? What can someone who’s never seen The Ritualists live expect from a show?

We do! We are playing Boston on September 26th at O’Brien’s Pub. We will be doing shows in Philly & DE as well. On October 18, we are back in New York at The Bowery Electric, opening for Richard Lloyd from Television! Our live shows should hopefully take the audience back to a time when rock music was a performance and a show. We aren’t afraid of playing the role of rock stars onstage. I think that element has been sorely missed recently.

The support you’ve built up by playing shows in NYC is impressive. How did that community begin? Why is it so important to have those dedicated hometown supporters?

I think it really began when we discovered there is a little community of freaks who also loved Bowie and didn’t shy away from theatrical, artsy rock music.

There would be Bowie tribute nights & Glamdammit parties we would attend and find our musical soulmates at. We realized that there are people who love this music and they are wonderfully supportive.

What has working with the label Out Of Line Music been? How did you get started with them?

Our label has been fantastic. They truly believe in us and it shows in the videos, physical release, and press campaign they have helped launch. We were introduced to them by our manager who presented our song, “Ice Flower.” They dug the song and started the process of working with us!

The combination of synthesizer and more traditional instruments, like bass and guitar, sounds great. A lot of musicians either go synth-heavy or rarely use them at all. How did you find a balance between the two?

I’m glad you’ve picked up on this. I think the strong synth/guitar thing is somewhat of a lost art in modern music. For me, most of the bands I love were always comfortable in combining synths and significant electric guitars. Duran Duran comes to mind as a perfect example of this. I believe so many bands fall into a pattern where they swear off one style or type of sound or another. I think that is a big mistake. When I’m writing and I hear a riff that needs strings, we pull up the mellotron synth. When I hear something that calls for crunchy guitars, I’m not afraid of that either.

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The dream-like qualities of your music stand out, especially in the vocals. How did you find your unique vocal style?

I’ve always loved ornate, psychedelic music. But, I’m also moved by traditionally proficient singers, who can push and soar with their voices. So, I’ve tried to fashion a style that includes a lot of vocal movement, while keeping the reverb & delays present. It is a delicate balance that I’m still working on.

If you could collaborate with any musicians, alive or dead, who would be your top three choices and why?

Brian May—I think he is both capable of playing anything while also maintaining such an incredibly distinct vibe and tone. He also has a bit of experience dealing with flashy singers.

Nick Rhodes—He is such a master of textures and Soundscapes. He can be weird, eerie and beautiful, sometimes all at once.

David Bowie—While also a singer, David was great at writing with other vocalists and complimented them beautifully. I would be fascinated to hear his ideas.

The response to Painted People has been incredible so far. Are there any exciting plans for future videos/tours/projects that fans can look forward to?

Thank you! We have been really touched by the fan reaction. We are working on a 2nd single, “Starry Night.” We will be doing a video to go along with the release. We are also working on some super-secret tours, in which we may be supporting some of our heroes. We will keep you posted on that as it develops.

“Painted People” is available to stream now, and the music video for “Ice Flower” can be found on Out Of Line Music’s YouTube channel.

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of Fleetwood Mac Written by Maria Kornacki

I don’t recall the specific time and place I first discovered Fleetwood Mac. I just know I’ve been hearing their songs in public places, performed on singing competitions, and blasted over radio stations for years. Most recently, a couple hits from their musical catalog magically danced their way onto the Kacey Musgraves’ preshow playlist when I last saw her live; “Gypsy” noticeably prompted people to hum along. The track from Fleetwood Mac’s 1982 album, “Mirage,” has a spellbinding way of making people want to twirl around and sway to the rhythm, no matter when it’s played (not to mention, it was the second biggest hit from the album).

Why are we still hearing about Fleetwood Mac today? How are they still touring? Why can’t I stop listening to their albums? These are all questions with one simple answer: they’re timeless. Since forming in London in 1967, the British-American rock band has sold more than 100 million records worldwide, making them one of the world’s best-selling acts, and justifiably so.

Fleetwood Mac originated as a band with many talented musicians, and that’s part of their appeal. The band is comprised of the dynamic songwriting trio of frontwoman Stevie Nicks, guitarist Lindsey Buckingham, and keyboardist Christine McVie. Nicks, herself, joined in the mid-’70s and with members Christine McVie, John McVie and Mick Fleetwood.

Fleetwood Mac’s music is defined as classic rock, but their vocals and lyrics extend beyond one generation of sound.

Their eleventh studio album, “Rumours” (released on February 4, 1977 by Warner Bros. Records), for example, brought along the solid anthem, “Go Your Own Way” and ballads such as “Landslide” and “Songbird.” These signature tunes would carry themselves through FM-radio and live shows for years to come.

The “Rumours” follow-up album, “Tusk,” balanced quality and quantity gracefully. Released in 1979, it was a 20-track collection full of new sonic discoveries and individual storytelling

It was also a heavier emotional transition as ties were splitting between Nicks and Buckingham at the time it was written. Largely produced by Buckingham, this experimental record allowed fans to gain an intimate look at who they are as people, outside of their rock star persona.

Bands are bound to have their differences. Spending so much time together creates bonds and separation. The inner conflicts including romantic upheavals required some deep introspection. Music remained a focus of attention despite the chatter about what was happening offstage.

Fleetwood Mac’s transparency in what a rock band goes through created more authenticity to their name.

Fleetwood Mac may not be the same band they used to be without Buckingham, but they still have the same charisma that sweeps up fans of all ages. An ever-linking chain bands the group together, and bands them with their fanbase.

23-year-old singer-songwriter Harry Styles, for example, is a devoted fan of Stevie Nicks. Styles, like Nicks, also knows about being in a successful band where members eventually “go their own way.”

He inducted Nicks into the Rock & Roll Hall of Fame in 2019. His speech included her withstanding career in Fleetwood Mac and as a solo artist: “She is forever current.

She is forever Stevie. But what exactly does that mean?” he asked. “In my family, we listened at home, we listened in the car. We listened wherever we could.”

From demos to California studio recordings, live and remastered versions, Fleetwood Mac molded songs into masterpieces. The band reshaped their own music to be true to their sound as time passed. They connected family and friends through their stories. Fleetwood Mac’s songs are iconic because of their ability to cross genres, reaching different groups of people, even those of the ex-One Direction variety.

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EJ Jolly

When you’re minutes away from seeing your all-time favorite artist—packed like sardines with a thousand other fans, all trying to show their excitement—you’re probably not thinking about whether or not you put earplugs in. Your ears are probably going to ring for a few hours after the show, but that’s normal, right? No, that’s tinnitus: perceived ringing caused by damage to the hair cells in your inner ear and the earliest sign of noise-induced hearing loss. I’m not trying to scare you, but as music fans, we need to realize that with this careless attitude toward protecting our ears, hearing loss might just be inevitable.

But it doesn’t have to be that way.

You need earplugs at concerts. Here’s why: According to the Center for Disease Control and Prevention, hearing loss can result from a multitude of sources.

It could be a single loud sound (like a firecracker) or repeated exposure to loud sounds, like those you experience at concerts and sporting events. The louder the sound, the less time it takes for hearing loss to occur, and the longer the exposure, the greater the risk of damage.

To put things into perspective, a normal conversation is usually around 60dB, about the same as the hum of your air conditioner. Sounds in this range typically don’t cause hearing damage. Power tools and city traffic clock in around 8085dB, and concerts can range anywhere from 95dB to as high as 110dB. At these intensities, hearing loss and damage can be possible in just minutes. Some sound engineers keep their volume well below the damaging threshold, but the majority of your average clubs or bars will be in the higher range. You’re likely closer to the stage or speakers in smaller venues as well, increasing the intensity of the sound and the damage your ears might face.

But there is hope! There are as many options of ear protec-

tion as there are ways to cause hearing loss.

Though, often used at gun ranges, earmuffs can provide adequate hearing protection, but people tend to prefer earplugs. In terms of earplugs, there four standard types: foam, wax, flanged, and custom molded.

Your standard orange foam earplugs offer around 29dB of reduction, but are generally inexpensive and may be provided by some venues. Wax and flanged earplugs tend to be offered in many shapes and sizes with varied levels of protection, greatly benefiting those who want earplugs that will last them longer than the single-use foam plugs. Aside from price, the amount of protection your earplugs will provide ranges as well; while it might seem like you’d want the highest level possible, too much reduction will make sounds muffled and difficult to hear. Wax and flanged earplugs often average around 20dB of protection, reducing intensity but still allowing for clarity.

There are some great options in this range for those with smaller ears, and most brands are generally less than $60.

But custom molded earplugs are going to provide you the longest-lasting level of hearing protection—ranging from hundreds to thousands of dollars, these types of earplugs are made to last a lifetime and account for all the nuances of your ear shape and canal. As someone with small and misshapen ear canals, I’ve had to buy earplugs at differing sizes to best protect my ears and plan to invest in custom molds in the future. (I currently use Earasers High Fidelity Earplugs, in XS and S. They’re $40 and come with a snazzy keychain case.)

Despite the vast number of options available when it comes to earplugs, any protection is going to be better than no protection. Recognizing that you may be causing irreversible damage to your ears, what allows us to enjoy music, is the first step to preventing it.

You need earplugs at concerts, so you can keep enjoying music for many more years to come.

the universality of FRANK OCEAN

In a lot of ways, summer 2019 was supposed to be my self-proclaimed “hot girl summer.”

With the internet popularizing the idea and Megan Thee Stallion coining the phrase with her new hit song “Hot Girl Summer”, people all over pronounced this summer as the one that was going to make us all feel liberated, fun and “hot.” With this idea fresh in my mind, nothing could stop me from making this summer my time to thrive. But when my summer quickly morphed into a state of purgatory of trying to find work and deciding whether or not I would fall into the infamous “sophomore slump” when I went back to college in the fall, my “hot girl summer” plans began to slowly fall to the wayside. As I found myself once again in a transitory period with nothing else to do but double down and figure it all out, I turned to the thing that time and time again has given me clarity: music. Days went by, but day in and day out, I found myself gravitating towards one man’s work in particular: Frank Ocean’s.

While my summer hadn’t been going exactly as planned, Frank Ocean’s honeyed vocals became the soundtrack to my ever-changing moods, amplifying my highs and narrating my lows. My “hot girl summer” had become a “Frank Ocean summer.” But who’s to say those terms can’t be synonymous?

Frank Ocean is on the fast-track to becoming a household name. The cover of his coveted sophomore record, “Blonde” is proudly displayed on fans’ walls. Upon the mere mention of his name among a group of people, there is a collective recognition of Ocean’s musical prowess and aptitude. Whether it be the casual listener, or a devoted fan of Ocean’s body of work, as a general rule, no one has a bad word to say about the multi-talented musician. Songs like “Thinkin Bout You” and “Self Control” became the soundtracks of heartbreak across the globe, and suddenly, Ocean’s deeply personal narrative writing style became something that all audiences can empathize with. Ocean somehow manages to fluidly reach all groups of people, no matter their age, background, or musical preference. Ocean’s ability to transcend typical genre structure and defy categorization into any one genre makes his music shift with ease from person to person. The structure and production of his music is intersectional and universal in a way that no one else can replicate.

For a long time, I was a casual Frank Ocean listener. “Pyramids” was the funky synth-coated number of my 15-year-old dreams and “Thinkin Bout You” was a happy discovery from that one Vine of a potato attached to a ceiling fan. Only in the last year have I begun to understand what Frank Ocean represents in modern music.

Dreamy vocals aside, Ocean creates music that—while still highly narrative and cohesive—serves to paint a universal picture using themes of nostalgia, heartbreak, the feeling of summer, and growth to cultivate an irreplaceable auditory representation of humanity. Everything that goes into Ocean’s music is layered and full of intent in a way that a lot of today’s music isn’t. The listener gets out of Ocean’s music what they put in, making it so that every time you listen to his music, it feels as if the music is changing with you. Ocean’s music defines times in your life that detest being labeled but also helps make those times too. His music highlights moments. Whether you feel deeply (like me) or simply need something to occupy your mind, Frank Ocean’s music is essential in multiple ways. Ocean’s music has the distinct capability to identify what it is that the listener needs to hear. Somehow, parallelling the listener without necessarily trying, the music guides the listener into a deeper understanding of themselves. Uniquely, Ocean possesses the ability to blend his narrative with that of the listener, shaping a story that resonates with the individual as well as the many. Using layered musical motifs and influences, as well as his expressive vocals, Ocean manages to blur genre and time, fostering a brilliantly curated environment for the listener that makes every listening experience slightly different, and every listening experience personal.

Whether it’s a day I’m feeling on top of the world or a day where I find myself with the need to take a moment, Frank Ocean finds a way into my music rotation. Something about his music allows fans into an exclusive world that is defined by soft and rhythmic beats, but also by feeling and perception unlike that of any others. When the infamous change in “Nights” occurs, there’s no doubt that everyone listening at that moment feels something that only Ocean and his universal qualities can create.

So, maybe my summer wasn’t exactly a textbook “hot girl summer;” maybe it was more of a messy “attempt-to-get-yourlife-together” summer. In a lot of ways, Frank Ocean’s music made its way into my life at the perfect time, and I know many others that will say the same. Despite the ever-fluctuating moods I find myself in, as do most people, Ocean’s music describes them, embodies them, creates them, and all around makes every moment I experience a little better. And even though my summer didn’t go exactly as I planned it to, something tells me it marks the beginning of a new chapter for me. My summer was a summer of growth, blissfully and thankfully soundtracked by the sounds of Frank Ocean. As I watch summer slowly but surely transition to fall, I know that his music will stay right beside me to guide me through.

by Katherine Stallard

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Tessa Violet Growing Up and Influences on Her Musical Style Alexandria Hopkins Photos by Hannah Dougherty

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Tessa Violet—previously known by her moniker Meekakitty on YouTube—is a singer-songwriter and Youtube personality. Born in Chicago and raised in Oregon, the 29-year-old has expanded from her popular skit/storytelling-based videos and into the creator of hit singles “Crush,” “Bad Ideas,” and “I Like (the idea of) You” (from her first EP, “Bad Ideas: Act 1”). In between her busy schedule for the following month, we had the chance to speak with Violet about growing up on YouTube, her influences, and how her music videos come into play with the aesthetics of upcoming second album, “Bad Ideas.”

Heart Eyes: You list some of your musical influences being artists known for songs with personal connections to the changes in their life, such as Lorde and Lily Allen. For instance, when you talked with MTV about “I Like (the idea of) You,” you said the song was inspired by “imagining what I would wear or say the next time I saw him...thinking of things I could write about him.”

In your ever-changing life, career on YouTube, and otherwise, where do you tend to find inspiration?

Tessa Violet: I write from my life, and I’m rarely short on material there haha. There’s always some new desire, anxiety, sadness, joy—you name it.

HEM: With your songs, as well, each has a sort of cinematic feel; they’re the kind of songs you would want to listen to while staring out a window, pondering on whatever crosses your mind. Is there a sort of mindset you like to get into while writing lyrics, especially for those that come from the heart?

TV: [I] just [give] myself the freedom to let writing be fun, even with the sad songs. I sometimes feel strongly that the song already exists—my job as a writer is just to be the vessel it moves through to get to this plane. If you go into writing with fear or anxiety about whether or not you’ll write a good song that day, you’re not going to write a song. Going in with less pressure—just letting it be fun—makes for a better song.

HEM: Your music videos are also highly creative, featuring stylistic shots and rather metaphorical content. How do you come up with the concepts for your videos, and do they play a role in how you create your songs?

TV: They do not play a role in how I write songs.

I let the music dictate what the video should be, sometimes when you listen to songs, imagery just comes to you.

HEM: “I Like (the idea of) You” sounds a lot different than a lot of your other songs, such as the slightly-poppier sounds of “Crush” or “Bad

Ideas.” Is this reflective of a change in the kind of storytelling we will see on the album?

TV: The production [for “I Like (the idea of) You”] is a lot more organic! It just felt right for the song. I’m a big believer in letting songs tell you what they want to be instead of trying to shoehorn a song into a specific style of production. There’s a variety of production [styles] on the album, but to me, it all feels cohesive.

HEM: Your first studio album, “Maybe Trapped, Mostly Troubled,” came out during a much different time in your life than where it is now.

Thinking back on who you were then compared to who you are now, how much growth do you think you have seen in yourself? What have you still kept?

TV: I still have a strong sense of right and wrong, of wanting everyone to win, a desire to be creative and express myself. As for how I’ve changed, I’m much more confident now. I didn’t know who I was at 24; I was either unaware of, or uncomfortable with, being honest about my wants, needs, and desires. Now I accept the good and the bad, and allow myself to feel good about the good, and work on the bad while spiraling about it.

HEM: What has making your second album taught you about yourself, about being an artist, etc?

TV: Trust your gut, speak your truth. I wrote “Bad Ideas” right after a breakup and that was my mantra then, and it’s continued to serve me well now.

Tessa Violet is currently set to release her latest single, “Games,” on September 27: you can also catch her when she goes on tour with AJR later this fall!

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THE 1975’s

Redeemable Road to Social Activism

By Chelsea Holecek

In this day and age, politically-silent artists are few and far between. There was once a time where someone like Taylor Swift didn’t dare peep a word about her political party, let alone the various movements and efforts she supported. With social media becoming so prevalent, these divisive social issues are so overwhelmingly loud, it’s hard for any popular artist to ignore them.

The 1975 is a great example of a band who’s unafraid to step outside the box and to break the boundaries that once restricted them to typical indie-rock group standards. Since their 2013 breakthrough, they’ve switched up their sound on each new album, allowing them to explore the extent of their creativity. Their record “A Brief Inquiry Into Online Relationships” was an insightful response to the millennial world, one that is driven by social media and politically-charged conversation. While rightfully proclaimed as one of the best albums of 2018 despite its late November release, The 1975 earned a platform that they needed to use wisely.

The quartet’s fourth LP is on its way, set for release within the next year, and it’s already sparking discussion. It’s opening track—named after the band themselves, continuing a tradition they have upheld for nearly six years—features 16-year-old Greta Thunberg, a Swedish climate activist.

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Backed by emotional piano chords, the teen delivers a moving speech about the dangers of climate change and what needs to be done to save a deteriorating planet. It’s a prime example of who The 1975 have become—activists for a better world, lifting up the voices of young movement-makers.

Once upon a time, The 1975 weren’t always seeking out an open-minded community. In the early days, frontman Matty Healy was a constant figure on Twitter—a usual feat for any up-and-coming artist promoting their latest project. As their fame grew, the more vocal he became about worldwide issues— however, speaking on controversial topics like ISIS and his past derogatory use of LGBTQ-related terms were the driving force behind Healy’s decline in popularity back in the day. Just like any defensive celebrity, attempting to assert their opinion, Healy was wary of criticism, even declining to take a fan’s advice because of the nature of her Twitter account—she was obviously an avid Harry Styles fan. “I resent being ‘educated’ on religion by a Harry Styles fan account.

Not having a go at him obvs, it’s hard to take seriously,” Healy tweeted, ultimately degrading the voice of a young girl because of the things she enjoyed (as if liking a member of a boy band makes one less qualified to speak on important societal issues).

Today, it’s clear that Healy isn’t the same man he once was; now, he openly denounces President Trump and demands for stricter gun laws on his Twitter account.

While past mistakes are hard to overcome, there has to be a sense of forgiveness. Redemption is hard to come by—some celebrities can barely scratch the surface of what it means to be redeemable.

They can publicly apologize for hurtful words, post a Notes app speech admitting their wrongdoings, but still continue to commit an offensive deed with no remorse. Despite his past mistakes, Healy has tried to mend them, and his efforts are not in vain.

Today, the band recognizes their highly-influential fanbase, consisting mostly of outspoken young people. Healy engages with them—onstage and offstage—hoping to gain meaningful connections. He’s taking the advice of more knowledgeable people rather than steering away from a differing opinion; this change of heart shows extreme growth in areas where most high-profile stars couldn’t be bothered with. He’s finally willing to listen, and that’s all one can ask when it comes down to the nitty-gritty problems plaguing citizens’ minds.

“The 1975 is a great example of a band who’s unafraid to step outside the box and to break the boundaries that once restricted them to typical indie-rock group standards.”

While there may be reservations from casual onlookers, perfection isn’t what we desire from any public figure. Healy is human— he might still slip up and make a comment out of turn or in the heat of the moment that could shift his dedicated fans’ stance. But that doesn’t change the character development he’s undergone over the past few years. A famous artist’s vocal support matters and in a separated society like the one we currently live in, it becomes all the more vital.

If you’ve attended any of The 1975’s shows, the energy is palpable. Healy speaks to the crowd of “youngins” like they’re future leaders, representatives, and humanitarians—and that’s because they very well might be. When he sings “Love It If We Made It,” the concert-goers shout it right back—they want to make a difference and Healy gives them the motivation to do that. It’s the kind of change we hope to see in any of our famous role models—that they become open to constructive criticism and ready to better themselves—and The 1975 (and Matty Healy specifically) have shown the importance of that.

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POM POM SQUAD Mia Berrin on her New York Dream, Escaping Toxic Relationships, and Being an Independent Artist

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Interview and Photos by Allison Barr On a lukewarm summer night, I packed my camera gear and walked a mere 8 minutes to meet Mia Berrin at her apartment in our quiet (well, for New York) Brooklyn neighborhood. Immediately, she greeted me with leftovers and a stray kitten she just took in. After introducing me to her five guitars and one bass by name, we instantly felt like best friends before a slumber party, listening to Hole, talking, and laying on her bed ‘til dark.

What’s your name and what do you do?

Hi, my name’s Mia and I play guitar and sing in a band called Pom Pom Squad.

Could you tell us about Pom Pom Squad?

Pom Pom Squad is an indie-rock, grunge band based out of Brooklyn, New York.

And where are you from?

Do you want the long version or the short version?

Whatever you want!

Well, I was born on Long Island and then I moved to Detroit. Then, I moved to Orlando for high school, then came back to New York.

Could you tell us where you went to school and what for?

Yeah, I went to NYC, kind of for acting then, for music.

How’d you meet your band mates? And I’d love to hear a little about them.

I’ve had a handful of different bandmates but my current bandmates are: Shelby Keller, Mari Alé Figeman, Ethan Sass. I met Shelby and Maria at a show— they were actually opening for me. I played solo for a while just because I was in between bands and it was something that I was really nervous about; it was something that I didn’t like. So, it was kind of, like, a nerve wrecking night—I had just broken up with someone that morning, I was feeling a little bit crazed and unsure of myself, and when I walked into the venue, I realized I was sort of more fine than I thought I was. I have a friend who calls the kind of day where everything happens at once—he calls them “magnet days.” So, it was a magnet day for me, where just a bunch of stuff was changing pretty rapidly and I showed up to this venue completely unprepared for the night and left with two of my best friends.

And how long have the four of you been together?

Shelby, Maria and I have been playing together for a year and Ethan joined four months ago.

How has your music changed with them?

I feel more comfortable with them, so I’m more open and free in what I’m doing. They make me feel empowered to make some of the bolder choices. They act like my voice is important, which is something that I think a lot of people who make art [don’t have] the privilege of. [With them,] I’ve gotten to explore more of myself, more of my songwriting, and more of my musicianship. I took a lot of risks in my guitar playing on the EP that I probably wouldn’t have been brave enough to test [without them].

So, you started Pom Pom Squad in high school. I want to hear about how it started, when it started, and the growth to where it is now.

I started kind of right after high school. When I was in high school, I knew I really wanted to start a band as a cool, fun, high school thing. I was really into Riot Grrrl punk when I was a teenager and part of Riot Grrrl was this thing where girls would just meet each other and start bands and that was something that seemed so fascinating to me. I think there was a lot less room for womxn to make music a couple of years ago, especially in my small town; there were a lot of pop punk dudes and there was a hardcore scene. The summer after I graduated high school, I needed a place to put all these processing feelings—like moving out of my hometown, going to this new place, and abandoning all my friends and the kind of crazy severance that happens when you’re a certain age, when you’re not quite ready to live on your own.

How has living in Brooklyn really developed Pom Pom Squad?

I think it kind of gave me a trial by fire as a performer.

I have a really hard time writing in Brooklyn.

Why is that?

I think New York is just [a] city that just acts out all of your anxieties constantly; where you have to keep going and keep moving. As a writer, it’s forced me to realize that I need to slow down and how fast I’m moving all the time and how much I put on myself.

But if I hadn’t been in Brooklyn, I wouldn’t have learned how to perform as quickly as I did because the crowds here are super fucking tough.

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How has the New York music scene help you find people that you trust?

New York has a tremendous community. The one thing that I’ve always been beside myself about is the kindness of the people in the scene, even from the beginning. The New York scene really does foster such growth.

Where did your love for Riot Grrrl era and music come from?

When I was in high school, I grew up in a predominantly white town. I found it really hard to kind of see myself in that landscape—like I didn’t see myself reflected in anyone or in the media that I was consuming. I eventually came to all these forms of alternative media, like “Rookie” mag, and I started fantasizing about starting a band and moving to New York—that seemed so distant from the life that I was living in high school. So, I think how I found out about Bikini Kill was through “Rookie.” There was something I really liked about Riot Grrrl’s ability to take all these connotations about traditional femininty and what that meant and to kind of fuck with them.

Have you had an experience where Pom Pom Squad has been there for somebody else? What do you want people to take away from Pom Pom Squad?

I had a friend tell me about an abusive relationship that she was in where she was being gaslit. That’s something I relate to very closely. We’ve been friends for awhile and it wasn’t until pretty recently that she told me that one of my songs actually snapped her kind of out of this situation, where she heard it and something kind of clicked for her that she wasn’t happy. It gave her the first inkling that “I need to get out of this.” Sometimes, people tell me their stories and I feel very blessed to hear people’s stories and appreciative of them. But, when it comes to what I want people to take away, it’s a question I’ve kind of struggled with because I first and foremost write for me. I’m of the belief that once I give it away, it’s not mine to dictate to anybody what they should take away from it. Because, sometimes, I feel growing up, [when] some of my favorite artists would talk about a song that they wrote, it would ruin it for me completely. So, what I maybe want people to take away from it is to be more open insides of themselves and to figure out what their own interpretation is and run with that.

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I really love that you’re self made. How did you learn what to do as far as expanding your band, and has it been scary?

Yes, in every way. There’s a huge part of me that goes into a protective mode, and I love my bandmates so much that I would never want to put them in a contract that would hurt them, so that’s taught me to be pretty guarded. But, to be honest, a lot of it was just sort of blindly going for it—which is what scares me the most. I think it’s different for everybody but for PPS, I realized we were making the most friends and the most fans by playing a lot and then by playing a lot, more people started to come.

Since we spoke with Mia Bennin, Pom Pom Squad’s latest EP “Ow” (as well as the music video for single, “Heavy Heavy”) were released— check them out via YouTube and on your favorite streaming service and keep up with the band via @pompomsquad!

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DEALING WITH A BAD

album release

By Thomas Rodriguez Nothing hurts more than being incredibly excited for something, only for it to disappoint and fall completely below expectations. It’s a common feeling for any music fan; unfortunately, everyone has wasted 45 minutes on a subpar record. Hell, Weezer was my favorite band until, at least in my opinion, they released two of the worst albums in their whole career. If despair was a disease, I was in critical condition. What is there to look forward to if an artist loses all momentum and direction, leaving nothing worthwhile?

Despite popular belief, there’s plenty to look forward to.

In times of despair, it’s essential to remain calm and push through the pain. How can one stay hopeful after a musical disaster occurs? Hopefully, these six tips (not in any particular order), will show you how to stay strong in the drought:

NOBODY’S PERFECT

At least one time in your life, you’ve heard that “nobody’s perfect.” This is true for everyone, even the mythical members of your favorite band. Sometimes, an idea simply doesn’t work, or the execution just missed the mark. Art is always subjective from one person to another, so what a creator may love may not work for you. And that’s okay! The occasional misfire makes every good song matter even more and shows that sometimes the humans in the recording booth want to express themselves in a wholly unique way... as grating as it can sometimes be.

HIT THE BACK CATALOGUE

As counterproductive as it may seem, sometimes the best way to stay hopeful about an artist’s lame new album is to visit some of their old classics. Sometimes, it just takes a reminder of what made us fall in love with an artist to make us stay hopeful for the future. It doesn’t even have to be their certified classic; any favorite of yours can be a great way to revisit the glory days. The same people who made your favorite album still exist, they just need to find that spark again. And no matter what, that spark will never leave, even if their current music may sound as hot as a wet match.

GO ON THE HUNT

This tip may seem a bit weird, but I think it’s important to see what the recording process of the album was when it was being made to truly understand it. Sometimes, the recording process can be extremely turbulent due to various stressors, from drug use to in-band fighting. For example, with mismanagement of the copious amounts of cocaine use, Oasis then released “Be Here Now,” what’s now considered one of Britrock’s worst records. Other times, the label butts in and causes a huge amount of change in terms of an album’s sound and direction—oftentimes, this can cause a record to go more “poppy.” For example, to go from smooth jazz-rap to dubstep rap was an awful way for Lupe Fiasco to transition into his 2011 album “LASERS,” and many decry that as his worst to date. Even a little bit of knowledge on the recording process can help someone reconcile that maybe the bad album happened for a reason out of the band’s control.

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MINE FOR DIAMONDS

Sometimes, the best thing to do when confronted with a bad album is to acknowledge its overall bad quality, while simultaneously accepting that maybe a song or two is actually good. So many people will dismiss an entire album, refuse to recognize the diamonds in the rough on certain albums, and miss out any opportunity to enjoy one track of pure gold.

When the bad album sickness hits, it doesn’t have to be all doom and gloom. Throw those guilty pleasures and nuggets of gold into a larger playlist, surrounded by excellent music you know you enjoy, and you’ll be surprised at how the playlist setting can re-contextualize that one good song from a horrible record.

EXPERIMENTATION

Have you ever tried experimenting in the kitchen with a grab bag of assorted ingredients, only to come up with a dish that tastes like salted cardboard? My fellow college students know exactly about that lifestyle...

And so do many of the artists we know and love, except they’re making music experiments, not food.

Most albums are an expression of what an artist explores in music, and sometimes their discoveries may be less engaging than what they perceive. Pop-punk outfit Fall Out Boy began experimenting with new instrumental styles and writing perspectives with the release of the controversial “Folie à Deux,” resulting in a wholly new sound that many loved...and many hated. Knowing that sometimes artists wanna try new things, to broaden the scope of their sound, can be a great way to cope with a new sound (poorly done or otherwise), and at least maintain hope that they still have the drive to succeed and surprise. The effort does count, after all.

BREAK UP, AND BE READY TO MINGLE

This one is a last resort...

Some fans have had exhaustive relationships with their favorite bands. Time and time again, one band will continue dropping one dud after another, each album release following the eternal cycle of “excitement turned disappointment”.

It’s tough being a fan of someone who, at the end of the day, may truly be past their prime.

But the world of music is vast; for every awful album, you can find two great ones. It’s great to remember the good times you’ve had with an artist, keeping their classics in rotation. Hell, you may even be open to reigniting the spark you two had long ago!...

But the world of music is vast; there are plenty of artists in the sea that can suit your tastes, and expand your palette.

Sometimes, we have to move on and take risks to strike gold. All you need to do is accept the past, and move forward with confidence!

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Y E G N D I S I

n Roots r on her First Headlining Tou and her Bosto 36

Interview and Photos by Amelia Zollner Sidney Gish, a rising artist from Boston, writes songs that are creative and playful, yet introspective, entirely by herself. After her 2017 album No Dogs Allowed received plenty of recognition online, she was finally able to embark on her first full headlining tour. In the middle of that tour, I had the chance to sit down with her after her show at Wicker Park Fest in Chicago to talk about tour, her unique production process, and why she chooses to do everything on her own.

So, what’s it like to be back at Wicker Park Fest for the second year in a row?

It’s really fun! It’s really cool, cause Wicker Park Fest last year was the first time I ever got on an airplane to play a show, and it was, like, a one-off string of days that I had in Chicago and this time is my first headlining U.S. tour.

Who are you touring with again?

I was just touring with Another Michael—they’re from Philly and they’re so good. We have a few days and then we start playing a few shows with Family Reunion supporting. And then we have a revolving thing of five or six bands all coming in for the truck touring support. [I’m] really excited; everybody we’ve booked is really a good band, so, I’m really excited to be playing some shows with them!

That’s so cool! I didn’t know it was your first headlining tour.

Yeah! I’ve had headlining shows and headline strings but never a tour.

Yeah, you’re going all over the country! So, I’ve heard that most everything you do is on your own; vocals, instruments, and everything. Have you ever had anybody play an instrument or help you out on a song?

Yeah; mainly, I like to produce. Some of my songs have been produced by other people, I put an EP out in 2017 that was produced by some engineers at the record company and it was for part of the Boston Music Awards. It was called the “617 Sessions” and it was really cool and it was really fun, but for both of my albums that I put out, I recorded them on my computer by myself. I would love to play live with a band eventually, but for now, since it all hit me out of nowhere, I’m just doing the loop thing by myself, which has been really fun, but…for producing, I like to do that by myself, usually.

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What instruments have you had to learn since you decided to start recording your own music?

I mean, mainly, I was working with acapella multi-tracking of vocals and MIDI so I could click on any instrument and get a bad version of the instrument, haha. Because I didn’t really have any good MIDI plugins, I just had the Garageband ones for a while and I played ukulele usually. I just knew a lot of chord stuff, and I could kind of do piano, but not really that well. Really, I had to learn guitar the most because I decided to perform primarily with that and so I got to practice that a lot in the past couple years.

I’ve been really getting into learning bass recently so I can get live bass takes on my recordings instead of MIDI bass, which I had before. I don’t know, yeah, I’m just trying to learn a little bit of everything, and really, it’s more about arranging the sounds than playing set instruments. Like, I have one snare in my room that I can tap on to get a bunch of different drum sounds, and then the way that I mix them can make them sound like a bunch of different things.

So, would you rather be in complete control, or have you thought about adding a producer or other musicians to your team?

I think, in terms of making records, really, I like to make recordings by myself just because then I get to control every little bit of what I think it should sound like. Technically, I could do that if I worked with another producer, but it would have to be filtered through my limited understanding of production language, instead of me thinking, ‘What do I want to hear?” and, “Can I fuck around with the controls until it sounds more like that?” But if I say, like, “I want it to sound more [like] one adjective,” it’s going to get filtered through somebody else, which isn’t even necessarily negative, it’s just something that I’m really interested in that I want to keep learning about as much as I can until I need to throw in the towel and work with somebody else. Not even throw in the towel, but just like, branch out—I don’t know. It’s something that I want to learn, so I think it’s fun to do by myself.

I love that! I kind of feel like everybody wants to have a producer now.

Well, I don’t know, because bands like Tame Impala—Kevin does all the stuff in his house and then, he teaches it to the band live and they make a jam out of it. I think that’s a really cool process.

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Oh yeah, definitely. So what made you decide to keep your shows solo?

Really, panic, haha. No, not even like panic, but I don’t know. I still am pretty introverted, but more so when I was putting a lot of albums out, and when I started working with an agent. It was after I put out “No Dogs Allowed,” and that’s when I was able to start traveling to play things like this [Wicker Park Fest] and going on tour and stuff. Before that, I was booking my own shows in different cities so it was really just opening slots once in a while and mostly just smaller shows, so there wasn’t that much expectation that I would do anything of particular quality, and so I felt that it would be easier to try and wing it all by myself instead of being really quiet. Also, I wasn’t really confident in my singing or guitar playing, and I was really just like, if I can play one note and loop a few notes, then I have a fun loop that’s like a little bit instead of guitar that’s not as good as someone who’s a good drummer or something.

You should be confident, though!

It’s fun now, but I felt like it was definitely easier to just pack it up and try to wing it solo.

That’s pretty cool, though. I’ve never really seen an artist just get on stage with a looping pedal and nobody else.

Thank you!

Yeah! I know a lot of your songs, like “Presumably Dead Arm,” tell these cool, abstract, interesting stories. Would you say your songs are mostly true stories or made-up and exaggerated?

I think a lot of them are made-up and exaggerated, or moreso combined. Like, I really think about the contour of the song and the melody and the rhythm and stuff, and whatever words seem to fit that—I’ll just throw them in there even if it didn’t really happen. I think that more so, if I’m writing, it’s like I’m more inclined to like a song if it’s a fun bop instead of like, “this is a true story of what happened to me.”

I feel like communicating true stories of what happened to me isn’t my primary objective right now, ’cause nothing happens to me, haha. It’s just the other way around for now.

That’s so fun, though.

It’s really fun! Yeah, I definitely like just thinking in terms of riffs rather than mini-stories.

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I noticed that during all of your recordings of “Presumably Dead Arm,” you just played it live and one lyric was, “Seventeenth-grade prom,” but in other recordings, the grade is different. Could you talk about the meaning behind that?

Well, it depends when I record it. On “Ed Buys Houses,” I say “fourteenth grade” because I was in my second year of college. And then, “fifteenth grade,” I sing on the “617 Sessions” recording, because I was in my third year of college. Now, I’m on my seventeenth grade prom because I’m about to go into my fifth year of college. So, whenever I can, I like to adjust the lyrics with my age.

Yeah! It makes it more personal.

Yeah, like in “Mouth Log,” I say, “I’m gonna be 22 in the future,” and then I change it because I’m 22 now.

Like, if I sing it, it’s weird because I’m not 20 anymore.

I noticed that you started out covering other people’s songs on YouTube, and now, there are a ton of covers of your original songs. How does that feel knowing that you have people covering your originals?

It feels really good! I think making YouTube covers is really fun and I’m really glad that people want to get up and make a recording and cover it. When I was making a lot of covers, the hardest part was starting and finishing them. Like, I would start a cover and I would have trouble finishing it or I would just be too lazy to start it in the first place, so I think just following through with an idea and posting it—and even if you don’t feel like it’s totally complete—I’m still trying to do that; just the commitment to posting something.

I’m like that too!

I’m so lazy! I want to be recording and finishing a lot more things. I have so many half-finished things to this day still, so whenever somebody can complete something and release it, I really respect that.

It takes a lot of dedication.

Lastly, wow, that was a good segue! I know you’re busy on tour right now, but have you been working on any projects that you might be able to drop a hint about?

Ooh! I don’t know. I’m always continuously thinking about what would be cool for new music and stuff, and I definitely am really excited that I’ve been able to have a bigger audience in the past year and a half, so now I’m just trying to think differently. I don’t want to just keep putting out everything I make; I want to be a bit more intentional with it, and that was kind of what I thought this whole time, haha. I feel like I’m really lucky that I’m able to do this. But I definitely want to take my time and not have to put out too many songs, because I also didn’t want to put out songs while I had a lot of tour dates scheduled, because then I’d have to play them live. When I put out No Dogs Allowed, I had to play it live around a month after it came out, but I didn’t know how to play a lot of the songs because I would make them up into the computer and not really know how to play them reliably straight through, so I’m trying to avoid that. It’s not necessarily bad; just trying to think about, like, if I have to perform most of my songs on stage tomorrow, I don’t want to put out a bunch of new ones and then have to be responsible for them.

With her massive set at Wicker Park Fest being part of her first headlining tour, it’s evident that Gish’s musical career is beginning to kick off.

Although she didn’t discuss any concrete plans for new releases any time soon, with any future songs considered, Gish’s combination of witty lyrics, punchy guitar lines, and smooth vocals will continue to captivate old fans and reel in new listeners, only adding onto the success she’s had so far.

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Stranger Things Soundtracking a Netflix Series

Written by Jada Moore In 2016, the Duffer Brothers brought us a true masterpiece: Netflix’s “Stranger Things.” The independent creators didn’t expect the show to break into the mainstream. Nevertheless, it prevailed and became the truly iconic sci-fi, horror and action-packed show we all truly needed. With “Stranger Things” considered, I’m sure we can all agree that much talent is produced in independent spaces.

Now, the show’s soundtrack—that’s a whole other huge aspect of the show. Set in the ’80s, the show brings us back to that decade not only with the wardrobe, hair, gadgets, etc. but also, with the music (think “Should I Stay or Should I Go” by The Clash).

The original soundtrack provides the perfect score for each moment whether it’s soft, scary, or action-packed.

Season 3 came out this past July, and this season had to have one of the best soundtracks as a whole. Many moments throughout the season were amped up even more with the music chosen for that particular scene or moment.

Personally, the inclusion of “My Bologna” by “Weird Al” Yankovic stood out to me. While the song itself is an unconventional cover of the song “My Sharona” by The Knack, the particular moment this song played helped bring more of a comedic, playful tone to the scene. (It’s always nice to have that break from seriousness for a second, right?) Especially as the song hits its peak when Mr. Clarke opens his garage and Mrs. Byers is just standing there, a bit awkward looking.

I talked to a few Heart Eyes Magazine members about which songs stayed in their minds from this season.

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Ava Butera, PR Coordinator, said: “(I Just) Died in Your Arms Tonight” by Cutting Crew My favorite from this season is “(I Just) Died in Your Arms Tonight.” It’s one of my favorite songs ever, and anytime it’s used well in a movie or show, I can’t help but give it love! I think that the scene “Stranger Things” used it in suits the song pretty well! Each time I hear this song, I always associate it with forbidden romance and in the scene, it’s played in, it depicts Mrs. Wheeler and Billy potentially hooking up. It kind of builds suspense, in a way.

Amy Paine, staff-writer, said: “Cold as Ice” by Foreigner I love Foreigner anyway, but the lyrics really set the tone for how Mike feels in [the] scene when it’s used, which was interesting because everything leading up to that moment was mainly from El’s perspective (showing her deciding to dump Mike). The music turned it around to make the audience see things from his POV, though.

Alex Hopkins, staff-writer, said:“American Pie” by Don McLean “Stranger Things” may be a show about sci-fi aliens, demonic-looking creatures who possess others to make a hive mind, and much more, but to me, its heart comes from its characters. Whether they’re dancing at the Winter Formal, serenading each other in El’s room, trying to walkie-talkie their way to a summer camp crush’s heart...this is a show about coming of age in a place that feels completely unnatural. As crazy as it is, you’re still devouring in it every chance you can.

In each moment, the soundtrack fits near perfectly with the contrastingly darker moments the show presents. It isn’t uncommon to see, but “Stranger Things” is one of those shows that can match somber events (such as the parents being knocked out by a Mind Flayer-possessed Billy and Heather) all under the background of classic, Rockwell-esque moments of the ’80s. It leaves me, not only as a writer myself but as an audience member. entranced by such a stark contrast, and like I think everyone will agree that it leaves me wanting more.

Accompanied with its ’80s tunes, “Stranger Things” has continued to create iconic moments using the perfect song in the background of each scene; for each new season, this becomes even more apparent. With news of an impending fourth season, we can be sure to expect even better moments where music completes each moment. So, who’s ready for season 4? I know I am!

POP PUNK PRESISTS

BY CARLY TAGEN-DYE

Time hasn’t always been kind to pop-punk, the genre that defined a good amount of my generation’s coming of age. Today, the kids with the fluorescent dyed hair and eyebrow piercings have grown up, the mad rushes to Hot Topic have greatly decreased, and the bands that once reigned supreme have somewhat fallen under the radar. With 2019 bringing a Brendon Urie/Taylor Swift collaboration, as well as an official end to Warped Tour, one would think it’s safe to say that this genre is a goner.

Growing up, I watched pop-punk from afar.

Though I tried, I could never really get into the bands that I saw scribbled on my peers’ notebooks in middle school or jam out like my friends did when My Chemical Romance or All Time Low came on the radio. I had a brief phase with Twenty One Pilots, and spent a summer dabbling with Panic! at the Disco’s “Pretty. Odd.,” but I could never honestly call the scene home from the start. I was a hesitant visitor into this weird and wonderful world. Though nice, it now feels like nothing more than that.

So, it was definitely surprising when I began to really appreciate pop-punk and watch it thrive this summer, many years after its supposed peak.

While staple pop-punk artists are still making new content (see blink-182 or supergroups like Frank Iero and the Future Violents), there’s a new generation emerging who are keeping the movement alive. Take “I Think I’m OKAY,” a single from Machine Gun Kelly’s latest album “Hotel Diablo”: it was my first real encounter with the rapper, but also with one of the newest faces of the alternative scene, Yungblud. His eyeliner and jet black locks scream early 2000’s Gerard Way, while his voice is racked with the atmosphere and angst recognizable in Way’s earlier albums. Other acts, like PUP and Chief State, bring the attitude that was once so prominent on FM stations: their new-age take on breakneck drums, vocals that seem more akin to screeching, and lyrics that transform into declarations bring pop-punk archetypes back from the dead.

Like the lyrics, the subject matter of these songs also strikes a chord. Words like “You don’t get me high anymore,” and “I hurt myself sometimes, is that too scary for you?” will always mean something, no matter who sings them or when. Pop-punk is typically regarded as especially emotional, and that remains true with this new era: these are songs that speak to paranoia and mental health, anger, and understanding (on top of a range of other topics).

That characteristic teenage angst eventually becomes adult frustration. The hopes and fears expressed and realized in these songs, however, still remain the same. They are available for anyone who might be searching for their own place in the world, no matter how old they are. As someone who is, this is comforting to see.

That timeless sentiment has also made it clear that pop-punk is still alive in its fans - even if they’ve “grown up.” I’ve worked at a concert venue for the last two years, and I’ve seen firsthand that people will do almost anything for the bands that they love. It’s a familiar feeling, but solely within the context of my own experience. I had a very interesting conversation with a kid at a blink-182 show recently who told me that he’d waited ten years for that night. This was his band; their music had gotten him through some of the most harrowing years of his life. Of course he’d wait.

It was a simple statement, but enough to start a spark. I’ve since gone back and revisited songs like “Missing You” and “The Kids Aren’t Alright,” more than inspired by the meaning that lies beneath the surface. I’ve hit replay on the music videos for “I Think I’m OKAY” and “Car Radio” more times in the last few months than I can count. There are many similarities within the jerky camera movements and footage of packed venues, but the smiles of both the artists and the fans share the most striking resemblance.

That is one thing that doesn’t change.

Getting to meet those fans personally, however, takes the emotionality of this music farther than just records and videos. Greeting people decked out in their old band t-shirts and hearing their stories, watching them line up to catch bands like Neck Deep or Waterparks on a scorching summer day...it put a human face to the craze that I now understand better.

I’m not a pop-punk expert. From my perspective on the outside, however, I can see that this genre isn’t going anywhere. It’s lodged in the vocals of the new bands on the rise and is cemented in place by the old ones. It’s on the faces of fans who will do anything to catch a glimpse of their teenage idols, and to scream the lyrics that have helped them out of their darkest depths. That goes for any genre, I guess. However, if I have come to appreciate anything about pop-punk, it’s that it is persistent. For music that has stuck with and helped so many people, it’s not time to say goodbye just yet.

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LiLi Joy Her Time on the The Voice and Finding her Voice as a Musician 16-year-old singer-songwriter, LiLi Joy, is a former member of Team Blake on “The Voice” this past season. Her enchanting ukulele rendition of Gwen Stefani’s “Cool” during the blind auditions won over Blake Shelton (not to mention, 2.1 million YouTube viewers). Now, she’s starting fresh with a twist on the sounds that she’s been exposed to. She’s unabashedly honest on her new EP, “Colours You Can’t See,” which merges emotions and their sonic counterpart effortlessly.

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Interview by Maria Kornacki Recently, we had the chance to sit down with the LAbased young starlet to chat about how she feels at the beginning of her career and what the future holds.

First, I’d like to congratulate you on landing a spot on Team Blake on “The Voice.” I’ve been keeping up with the show for years. It was comical to see Blake Shelton turn around for you and then realize you sang Gwen Stefani’s song, “Cool.” What has life been like since leaving the show?

First off, thank you so much! And secondly, life has been hectic, exciting, happy, and confusing at the same time.

You know, normal life stuff. Lots of music-making and schoolwork, too.

Can you explain the purpose of wearing wigs and what led you to wear them while performing, for those that don’t know you from “The Voice?”

I started wearing wigs to my performances as another form of self-expression and defiance towards the feeling of wanting to “fit in.” It was almost like a “Hannah Montana”-type alter ego, and I had a lot of fun with it and “The Voice” team loved it as well, haha!

You grew up in Chino Hills, California and are still living there. Diving more into your background, how did your musical journey begin? In other words, when did you start singing and realize you wanted to continue?

Unlike most SoCal resident musicians, I actually did NOT come from a musical family! My parents aren’t exactly what you would call “artistically inclined.” I honestly got into music by listening and singing [along] to Barbie movies incessantly as a toddler. My parents realized how much I loved it and they enrolled me in a community vocal class where we trained and then performed at Filipino restaurants. I guess that’s where it all stemmed from and I kept at it ever since!

Who are some of your musical influences?

Ooooh, I love this question. Ella Fitzgerald, Sarah Vaughn, young Katy Perry, Lady Gaga, Lana Del Rey, Mac Miller, Paramore, Taylor Swift, and Louis Armstrong were some of my biggest influences growing up—just to name a few.

Old jazz and rhythm and blues are a huge part of who I am today and I studied it profusely as a tweenager.

Going off of the colored wigs topic, what exactly is the meaning behind the title of your new EP, “Colours You Can’t See,” in relation to this outwardly colorful form of self-expression?

“Colours You Can’t See” is actually a metaphor for our deepest emotions. The “colours that can’t be seen” are the ugly and beautiful things that dwell in the back of our minds, the feelings no one else on the earth can see but you. This EP is all about using these emotions we feel shameful about to paint something breath-taking.

You seem to be in touch with your emotions and individuality! Your EP incorporates varying moods and sounds, in the same vein. How would you describe the intent of your new music to fans?

My ultimate goal in my writing is for people to have that relieving moment of: “Thank god, I thought I was the only one who felt this way.” I want to be able to make people feel less alone, and that’s basically it.

The violin strings on “Glow” were a unique touch. What made you want to add them to a song?

I think that the gentle whining sound of the violin makes it one of the most vulnerable instruments. Likewise, “Glow” is a song about being completely vulnerable to someone you love. I don’t think I could’ve had a clean conscience if I didn’t add a violin piece for the song! PS: watching the violin be recorded was one of the best moments of my life.

“Sink” stands out as a stark contrast to your other music and sunny persona. What inspired the song and what was the reasoning behind placing it alongside something so thematically different?

Honestly, the contrast between the songs just happens to be a reflection of the period of time I wrote them in. I was going through a long period of depression while also falling in love for the first time. I think I’m really happy putting “Sink” alongside the other two songs (and my bright and colorful persona) because that’s just the reality of human nature. Things are never exactly perfect regardless of who you are.

“Colours You Can’t See,” a 3-song EP, is a good teaser because it makes fans wonder what else is in store for your next exploration. What direction will you take in your next musical endeavor?

The next project(s) will be singles followed by a full-length album! My bubbly and ethereal production will stay the same but some totally different themes and emotions will be revealed. Things can only get better and I think the fans will really love what’s to come.

You’ve been fairly consistent with posting music/covers on YouTube both solo and with your former band, Abnormal Joy. Where else can fans receive updates (your socials, Spotify, etc.)?

I mostly post updates on Instagram, YouTube, and Facebook for people to stay up-to-date on new music, etc.!

Here are my handles for anyone interested: Instagram: @lilijoyy Facebook: LiLi Joy YouTube: LiLi Joy Twitter: @lilijoyyy You can also find me on Spotify, Apple Music, Pandora, Amazon, etc, by just typing my name!

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an interview with

kelsy karter

interview by mckayla dyk | photos by lilly duran

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Tour Life, Face Tattoos, and What’s Next The world was first introduced to Kelsy Karter as the “Harry Styles face tattoo girl.” Now, we know she is so much more. Her edgy attitude and powerhouse vocals are propelling her to out-of-this-world popularity (pun aggressively intended). Her single “Liquor Store on Mars” and its accompanying music video highlight the creativity and spunk she brings into every project, something Heart Eyes got to experience firsthand in an interview with her.

You really came into the limelight with the “Harry” face tattoo stunt. At first, did you think you could pull it off? Did you anticipate it having that big of an impact?

What was your thought process behind it?

I told my mum, “I don’t get why people care?” I definitely didn’t think it would go as big as it did, which is in part why I was so willing. Ha!

What’s the most unique gift you’ve ever received from a fan?

Haha! Their new-born puppy!

Most recently you toured with The Struts and The Glorious Sons. That’s a lot of men to travel with for such a long period of time. What was that experience like? Did you ever just need a break or another female perspective?

Touring with all those boys have been some of the best times I’ve ever had. I never really think about whether someone is a boy or a girl; if they’re my people, they’re my people, ya know? Now that I think about it though, when I was a kid, my best mates were boys and not much has changed now. But I have my mum and a couple of very special females in my life that I am in love with too.

If you could only perform one of your songs for the rest of your life, which one would you choose and why?

“Liquor Store On Mars”—I forget I’m on earth when I sing it.

What does a day-in-the-life look like on tour?

Wake up (sometimes with a hangover, sometimes on the floor), coffee, soundcheck, lots of laughing, meet fans, film content, eat, mess around, makeup, showtime, drive… repeat.

What’s one item you never go on tour without?

Photos of my family.

What do you do when you get homesick?

Call my Dad! What do you like to do on your time off?

Fall in love and play poker.

What’s the biggest difference in live show experiences in the U.K. compared to the U.S.?

The U.K. reminds me of New Zealand which is where I’m from, and so it has this homey feeling for me when we perform there. But, I find the U.S. audiences are louder, haha.

What does your writing process typically look like?

I start with melodies and chords, then decide what I wanna say.

Your recent music video for “Liquor Store on Mars” featuring Adam Slack (of The Struts) is beautiful! Where was it filmed?

Thank you! We shot that video in the valley in Los Angeles—all locations were within about 5 miles of each other.

[It was] 4 long days for that shoot.

What inspired that single and the “Mars” concept?

I went through a really dark time in 2017/18 and all I wanted to do was go somewhere far away. Mars seems like a pretty place.

What’s next for you? Tour plans, an album?

I’m finishing my album right now, then we’re gonna be touring that baby in 2020.

What would you like to tell your fans at Heart Eyes?

Be nice to your mum, drink lots of water, and take no shit from anyone.

To conclude, what’s your favorite kind of dipping sauce for fries, nuggets, etc.?

Sweet n sour all the way, baby!

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WAT ER A G P

I N T ERVI EW AND PH OTOS BY A LLISON BA RR

I found Holden Jaffe amidst the crowd at a busy Brooklyn coffee shop, headphones plugged in, working away on a project.

After we ordered coffee—my first and his second large iced coffee of the day—we sat down and chatted about what he’s been pouring his heart into, between releasing his records and putting on shows.

Could you tell us who you are and what you do?

My name is Holden Jaffe and I have a project called Del Water Gap. I write songs and I make mock turtlenecks and videos.

Where are you from and where are you based?

I’m from Connecticut, northern Connecticut, a town called Sharon in the northwest corner; it’s very rural.

Now, I live in Greenpoint, Brooklyn—lovely Polish neighborhood. I have a lofted bed and a lot of cool shit on my walls.

Tell us about Del Water Gap—what are you up to?

How did everything start?

I started it my senior year of high school. I went to a boarding school—very athletic school. I was never particularly good at sports so I managed to convince the school to let me make a record instead of playing a team sport.

Seriously? That’s really cool.

Yeah I did an independent study; It was actually incredible. [During] my fall term, I was on the competitive nature walking team, but winter semester, I was on third squash and my spring semester, I made a record.

What’s squash?

It’s a racquet sport.

So I ended up making this record. I initially was going to put it out under my name and then decided to use a project name because at the time, I was listening to a bunch of these indie bands that were using project names like St. Vincent and Bon Iver, and you knowsingle people that were using project names...I just thought it left more [room for] creativity.I put a couple of songs out under the project name then moved to New York and a couple of those songs got some local blog love.

When I moved here, I had initially wanted to be an engineering producer, to make records for other people. Then I met this girl who convinced me to play some shows by basically telling me she’d do it with me. So we ended up doing it together for a while and then when she left, I kept going with the guys I started the band with. I basically did that all through college and toured a bunch and built up a merch company and then we finished college—one of the guys in the band had a baby and the other went to grad school—so I pretty much took the project on as a solo project, and here I am.

How do you think your music has changed since being in New York? How is the New York environment like for an artist compared to what you experienced growing up in Connecticut?

I think that it initially changed in that I was really smitten by the New York scene, which at the time was very third generation Strokes run off—a lot of electric guitars. So I moved here really wanting to be the tallest man on earth, and then bought an electric guitar and started playing rock music. I was really into Arctic Monkeys and The Strokes and a lot of those sort of New York style bands 57

I love that album. It’s a good album.

Classic.

You’ve mentioned the St. Vincent, Bon Iver influence, and in high school, you were the only one of your peers who made a record. How did you find the music that you loved at that time? How did it influenced your style now?

I read a lot of blogs. I think at the time, blogs were really important. I was just really passionate about music discovery, and that was pre-Spotify. There were a couple kids there—I ran the newspaper at my high school—they really knew indie music, and they showed me, like, King Krule and Real Estate, Youth Lagoon, and all these bands. So it was a combination of the couple really artistic friends I had and then really spending a lot of time on blogs.

You had two years between your latest EP that just came out, and your latest release on Spotify was the stripped version of “High Tops.” What happened in that amount of time that impacted this new EP? I finished school and I was just trying to figure out how to have a life: I was working jobs and thinking about what I wanted to do, working on a lot of music in the background. That was right at the time where most of the guys I was working with were moving on to other things. I was really thinking about maybe getting a publishing deal and becoming a writer, or getting out of music altogether.

And then I started playing some shows and something started happening online and the needles started moving on Spotify. I guess [at] the end of 2017, I started getting record deal offers. Until then, I wasn’t really moving forward, and when that happened, I started making a record.

When you got offered deals?

Yeah. One of the hardest things in making a record is the pipeline—it’s hard to figure out what to actually do with a record. Where does this end up? How do people hear this?

When the label appeared it really simplified everything really quick for me. I made a record in about seven months by myself, and that was the last record that came out. In the meantime, I’ve been making another one that will not take two years.

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You make a lot of music by yourself, but who do you collaborate with when you’re making music?

How did you find them and what did you learn from them?

My main collaborator right now is this guy Gabe [Goodman] who I met through a mutual friend; he toured for a while in pop bands and he’s had a couple projects. He’s an absolutely brilliant guitar player to work with and one of my best friends. We have very different tendencies artistically so we really meet in the middle.

Beyond that, I work with a producer named Mike Adubato who’s an L.A. based producer. He’s someone I’ve done a lot of writing and production with.

For the new record, me, Mike, and Gabe are really working together—those guys have been a big part of the creative process.

What do you learn from them? How does their style affect your sound?

One thing I’ve learned [when] hiring musicians, but also hiring mixers, master engineers…you’re hiring their skill, but you’re [also] hiring their taste. For example, when I was making this record, I programmed a lot of the drums on my computer, and I brought the program parts to this drummer—this kid Zac Coe— and basically had him interpret them. In hiring him, I was hiring his interpretation of the parts that I wrote.

That’s really the value of the creator, right? Yes, their skill, but also their availability to be creative on the fly.

Why do you think you like dark pop so much? Or why are you so drawn to it?

I don’t know, maybe it’s just the artists that I’m gravitating towards? Sharon Van Etten in particular is writing a lot about companionship and loneliness and maybe some of these more existential mid-twenties topics—like, things you start thinking about when you see people beginning to really grow up. You know, I’m seeing friends of mine begin to start getting married, and obviously it’s still early. It’s interesting—it’s very [much] this “such is life,” throw your hands up, melancholy...seeing people move on, losing touch with people you thought you’d be with forever, going through breakups, realizing what it means to have a relationship out in the world and not in college. It’s very different.

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Would you say any of that translated into your last EP or your upcoming album?

Last one, yeah. It’s always been a part of my thought process. There’s this song on the record called “Chastain” and it’s very much about that attitude of just, like, not necessarily nihilism, but maybe fringed nihilism. I think there’s this feeling when you’re younger that you’ve been waiting for your life to start or waiting to arrive at—like you’re setting yourself up for life. But when you realize that “this is it, this is your life,” that is something I really started being aware of as I was making this record. I think it’s much more prevalent in the new batch of stuff that’s going to be coming out next year.

What’s next for you? Do you know when your album coming out?

I’m putting out an acoustic version of my last record pretty soon.

This is a side note, but I love how all your photos are film. I want to know how you got into film!

I got into film because I lived in this apartment for a couple years in college and one of my best friends at the time is an incredible photographer. He went to Japan and bought a bunch of cheap cameras for like $3, and he gave me this Olympus. He gave it to me on an extended loan—this big clunky camera—and I basically carried it around all the time, following his advice of, “Listen, if you want to take photos, you need to have your camera with you all the time.” So I ended up travelling a bit in college and taking it with me everywhere and the camera barely worked—half the time, it wouldn’t fire when I tried to take a photo.

But, I ended up taking a lot of photos, and when I finished college I bought a couple more point and shoot cameras to carry around. I take tons and tons and tons of photos now. I was just in Greece with my partner and we took like 300 photos together; a lot of them didn’t come out.

Do you know when the album’s going to come out?

I’m going to do singles the top of the year, so at the end of January, I’m going to start putting songs out—probably the record will come out in February or March.

You know, that’s how it works.

I’m trying to experiment with different film. I’m learning about all of it and teaching myself but I’d like to actually take a class or something. I’ve bought people cameras as gifts so most of my friends are taking photos. The intention was not to have a ton of photos of myself, but the side effect of it is that I have a lot of 35 mm pictures which I can use for press.

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When?

This fall, probably in November. I’m putting out a video for a song called “Theory of Emotion” which is on my last record. I’m releasing a bunch of new merch and then, at the top of next year, I’m putting out a lot of singles, and making a video with a friend of mine.

I basically have an LP worth of music that’s almost done. Hopefully, I’ll be touring and spending a lot more time in L.A.

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‘Season 1: The Ballad of William Hollywood’ EP Review Written by Caroline Rohnstock

os Angeles-based band Moontower recently released a new EP titled, “Season 1: The Ballad of William Hollywood”. The EP’s 7 songs follow the story of their protagonist, William Hollywood, as he navigates the ups and downs of his life.

The band created what they call “visual narratives” to go along with the EP, taking viewers and listeners through the story of William. They describe these as, “Telling the story behind the music; one of love, loss, and finding yourself in the jungle of suburbia.” They can be found on YouTube, where the description says they were directed by William Hollywood himself with the assistance of Noah Kentis, Louis Licata, and their creative director Carina Glastris.

In the tale the EP and visuals tell, William leaves the comfort of his suburban home to search for something new, leaving his love interest behind.

When he returns, everything is different and he gets his heart broken, and he ultimately leaves again, William goes through a multitude of relatable emotions throughout the EP and its accompanying visuals. The ending of his 7-song journey is a happy one, leaving William content and with a mended heart.

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These visuals are very psychedelic in nature and show scenes of William’s suburban neighborhood, a roller-skating excursion, and even William living in the desert hills above his home.

This EP takes listeners on a journey through William’s life, specifically, while also telling a story that is incredibly relatable. Lyrically, the songs cut deep about heartbreak and finding yourself. A line that particularly stands out to me from in “Part 2,” where William is feeling so heartbroken that he sings, “I might just hate myself enough to let you go.” This song has a way of making you empathize with William, helping you understand how he is feeling in that exact moment, and tugs at your heartstrings. The other songs are jams: track “Leaving You Behind,” for example, ask questions like, “What was I thinking, leaving you behind?” while being played over a sick beat.

The EP is a fun expedition into the life of William Hollywood, and it almost feels like reading a good book with a strong character while also being able to listen to it. Hopefully, there will be a season 2 to his ballad—I would love to hear more music that accompanies this cool concept!

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