Heart Eyes Mag / Issue 9 by Heart Eyes Magazine

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

the contributors writers

emma schoors, ana gomez, jada moore, erin christie, ej jolly, chelsea holecek, mckayla dyk, yasmin ettobi, emily usallan carla contreras

photographers

erin christie keith oshiro, madison mead, hunter airheart, sydney king, bella peterson, elizabeth wiltshire

graphics

georgia moore, jessica whelihan, becca burroughs a special thank you to the those who contributed artwork zoe kurtz, maggie wilkinson, jasmine cxo

twitter @hearteyesmag instagram @hearteyesmag website hearteyesmag.com

for submissions & questions, email us at

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A LETTER FROM THE EDITOR

It’s mind blowing to take in that this is the 9th Issue of Heart Eyes Magazine. How insane is that? In our upcoming issues we have some amazing people being featured, like this issue for instance we have the phenomenal Chloe Kohanski, your new favorite emotional gal featured! I can never stop thanking those who support and contribute, we wouldn’t be here without you! In this issue you’ll find interviews with Chloe Kohanski, Banes World, a look into our gallery of The Final Warped Tour, and LOTS more. Enjoy <3

gabi yost, editor in chief

Summer Sounds volume two

Eleven - Last Dinosaurs Shiggy - Sports Kicking Cans - HUNNY Lust for Life - Girls Nice Boys - Temporex Daytime - Lunar Vacation Dope on a Rope - The Growlers Muted Beatings - Albert Hammond, Jr. American Spirits - Inner Wave Blonde Blood - Boyscott Always Forever - Cults Disappear - Twin Peaks Goodie Bag - Still Woozy Gutter Girl - Hot Flash Heat Wave Birds Donâ&#x20AC;&#x2122;t Sing - TV Girl

culture photography

interviews machineheart banes world chloe kohanski hanoi ragmen transviolet

14 22 34 46 48

arlie the wombats young rising sons vance joy night riots warped tour

9 18 30 44 54 56

the aquadolls review meet and greets missed albums in 2018 lunar vacation ep review unconventional happiness through the eyes of florence + the machine

8 10 12 13 20

tips for outdoor venues best music podcasts intimate venues vs. arenas

28 32 42

REVIEW:

THE AQUADOLLS Orange County surf-punk band, The Aquadolls, have recently released two new, richly textured, rollicking tunes. All the attitude of the band’s previous releases remains; the grunge-y rock and stick-it-to-the-man lyrics will remind you why you fell in love with the band in the first place. “Bleach,” one of the two new songs, expresses the exasperation felt when going through heartbreak. Melissa Brooks, the lead vocalist, seems to sweeten the barbarous lyrics with her idiosyncratic voice. This song serves witty sarcasm, and tells off a “heartbreaker.” The angsty 90s guitar rhythms and percussion-soaked song is an instant breakup anthem. On the other hand, “Runaway (the jam),” is more about inner conflict. The lyrics are straight to the point, concerning the issue of running away from anything that’s important. The saturated bass within the first few seconds is intoxicating, and immediately after, ebullient guitar and percussion rhythms kick in. These two new songs by The Aquadolls will leave you ready to put some eyeliner and fishnet tights on; you can bring your inner 90s babe out and headbang. It’s refreshing to hear such deftly-produced grunge-like music in today’s music industry. The Aquadolls have certainly fully fleshed out their surf punk with these new tunes.

by Emily Usallan

arlie photos by Sydney King

To Some, MEET & GREETS Aren’t MEET & GREAT by Erin Christie

Having the opportunity to tell your favorite artists that their work means a lot to you is something unforgettable- and that’s exactly why set-up meet & greets with bands have become a popular part of concert culture. But with that said, that same exact concept doesn’t sit right with some fans, and justifiably so. In a general sense, having to pay for the chance to speak with another person is quite a strange concept to begin with, and the fact that this is becoming so normalized has created a rift in the fan spectrum, creating a divide between those opposed and those who don’t mind more or less. What about meet & greets is so controversial? Meet & greets aren’t exactly the cheapest ticket route in the world, despite the promise of what they offer. Industry power-houses like Katy Perry or Justin Bieber might charge thousands of dollars for the chance of a simple photo op and a “hello.” Even though it’s offering fans who can afford it the chance to meet them, it doesn’t seem worth it to shake the hand of a celebrity, get a possibly fake smile, and be on your way. Paid meet & greets do present the question of privilege as well in the sense that with their price, they aren’t accessible to everyone who might want the opportunity. Is it really fair to offer a chance to meet an artist solely to people who can afford such, on top of a fairly expensive ticket price? For fan, Lindsay Ibberson, she notes that it would simply be worth it to just try to reduce the prices of meet & greets, for that would still help the bands make ends meet, but it won’t run fans dry. “Paying for their music/shows is different because

it’s a product/service [but] a 30 second meeting isn’t worth the price tag that most charge,” she contests. “Any artist isn’t worth $500+ to take a photo with.” In a general sense, it is true that most meet & greets unfortunately last under a minute, and with that said, does it make sense to charge devoted fans a pretty penny for just a minute of their time? Not exactly! With all of these questions aside, the most important point to note is that the primary reason that meet & greets exist- for bands and musicians to be able to meet their fans and vice versa. It’s about creating a stress-free environment where meaningful discussions can take place and memories can be made. Unfortunately, though, this sometimes isn’t the case. As Cassidy Nelson notes, “I love the concept of being able to meet you [favorite artists], but it is so much more intimate meeting them on the street or after the show,” and a lot of fans seem to agree. Meet & greets, though sensible as an idea, often don’t turn out as well in action, leaving artists with only .5 seconds with each fan and the fans who paid for the opportunity feeling blown off and dissatisfied. And in the long-run, it is a little bit off-putting to know that someone you look up to might only be showing interest in you because you paid to be there, not because they genuinely appreciate you as a fan (though, that would be the worst-case-scenario). Is it rude of fans to assume that they are entitled of their favorite artists’ time in the first place, though? Maybe a little. Of course, artists are guaranteed their right to privacy and if they don’t want to spend time with fans, they absolutely don’t have to- but if meet & greet options are available for fans who can

afford it, would it really be such a crime to instead set aside time to any and all fans who want the opportunity after the show/whilst waiting to load in? “I have a lot of respect for [artists] that come out before or after shows because of their own volition, because they WANT to meet those that support them, in a safe way,” Alexis Care chimed in. It’s great to see bands and artists take the time to meet their fans who cannot afford/do not have access to meet & greet opportunities, and for many fans, that’s the preferable route. Though this process involves waiting outside tour busses after the gig or what have you, it can be ultimately rewarding when you don’t have to empty your wallet but still have the opportunity to tell your idol what they mean to you in the flesh. However, for a lot of artists, even though the latter is a perfectly viable option, they still offer meet & greets, and sometimes, for a hefty price: why is this? One factor of the equation that a lot of fans may not take into account is just how EXPENSIVE it is to be a musician and to tour, no matter the amount of success one has. Artists essentially lay their lives on the line for their craft and a lot of the time, especially with how cruel the music industry is, it doesn’t pay off as heavily or quickly as necessary to thrive. Alongside the venue taking part of the revenue earned each night, bands on tour must pay for their own living expenses, travel costs, and more, and sometimes, even the revenue earned from standard ticket sales isn’t enough. With that said, offering paid meet & greets is a fiscally responsible and (for the most part) fan-friendly move, which also happens to allow for opportunities for bands to have interactions with their fans in an intimate setting.

“ Regardless of your

personal stance on meet & greets, it’s most important to recognize that they exist not due to malintent “

Regardless of your personal stance on meet & greets, it’s most important to recognize that they exist not due to malintent: they aren’t potentially there to make people feel excluded or to drain you of your funds without any pay-out. Even though they can be expensive, in a lot of cases, they can reduce a lot of stress and make meeting your “faves” a whole lot easier and run a lot smoother than they would otherwise. It’s sometimes nice to know that you are guaranteed to have a second to speak with them, grab a photo, and create a life-long memory that you can cherish in the future without the hassle of waiting for upwards of multiple hours post-concert. However, is there a better way to go about offering meet & greets to fans in general? As mentioned by fellow fan Deanna Romani, some bands have begun a procedure where fans who buy merchandise, such as a physical CD or t-shirt, are gifted the opportunity for a meet & greet with said purchase through receiving a wristband. Such would directly benefit the artist AND make the meet & greet a much more accessible and cheaper option for fans. For example, Johnny Pierce of the Drums has been infamous for this method: it creates an organized system for anyone who wants to participate which is great. “Supporting artists doesn’t mean cramming money down their throats,” said fan Liam Thomas. In a similar sense to offering the opportunity to buy merchandise with the incentive of a meet & greet, he suggests that such can also be offered to fans who pre-order albums. Fans who do this are then able to show their support for an enthusiasm toward the artist’s music whilst getting to have first dibs on their newest content AND have the chance to show them their appreciation in person (in a way that doesn’t exist as a separate payment for solely a m&g). Some artists, like Jukebox the Ghost, for example, are known to have BOTH options available: a paid meet & greet (which happens to be coupled with an acoustic session pre-show!) as well as stopping for fans after the gig to meet them for free. Though not all bands are able to do this, it creates a great happy medium. “I personally think that this way is great because you can get a more intimate experience for just a little more money, but then those who maybe don’t want to pay extra can still meet them after, just maybe for a shorter amount of time,” said fan, Emily Reilly.

ALBUMS YOU MAY By Yasmin Ettobi

The overwhelming abundance of music being released each and every day can be almost discouraging for avid music lovers. It seems as though the more records are put out into the world, the harder it is to find new ones, and to separate the good from the bad, especially when streaming services refuse to continuously advertise any artist other than Drake (we’re all looking at you, Spotify). The journey to find fresh and fantastic albums can be a difficult one, so here are a few choice LPs that unfortunately have flown under the radar thus far in 2018.

SLUFF: Naked Giants

Happy Place: Bailey Tamerius

Rowdy yet loveable Seattle threepiece Naked Giants released their debut record, SLUFF, in late March, and it’s an incredibly entertaining listen through and through. Any garage rock fan would immediately appreciate the group’s precise guitar licks, catchy hooks, and intense, yelping vocals brought to the table by Grant Mullen. Whether it be on the repetitive, sing-song track “Everybody Thinks They Know (But No One Really Knows)” or the seven minute long acoustic closer “Shredded Again,” youthful and vibrant playfulness radiates throughout SLUFF on every level.

In her debut record, Lincoln singer/songwriter Bailey Tamerius shows that sometimes, soft and simple music possesses more power than that of even a full-on orchestra. Through her airy vocals and descriptive lyrics, Tamerius vividly encaptures what it feels like to be truly and deeply in love. Accompanied by merely an acoustic guitar, light drumming patterns, and only a few other instruments, Happy Place is filled to the brim with warm, summery, and joyful tracks.

Online: Triathlon

Flavour: Paul Cherry

NYC-based group Triathlon transports listeners into a digital dimension within their third album, Online. This record stands out as a cohesive unit, each song acting as the perfect introduction for the next. There’s so much about this album to love, from the lush, synth driven atmosphere on almost every track, to the whispery yet soulful vocals of Adam Intrator. Online is a record that one could throw on to set the perfect vibe at a party, but also a record that one could sit down with and analyze each lyric, and each layer of sound that goes along with it.

Paul Cherewick makes a habit of genrejumping within his most recent release, Flavour. The album starts with the mellow, jazzy “Hello Again,” but quickly breaks out of its mold to explore a retro-funk flavor on “Like Yesterday,” and an Ariel Pink-esque work of dream pop on “Your Letter.” The uncertainty of this record is what makes it so exciting. There’s no one definitive ‘Paul Cherry’ sound, instead, he picks and chooses different stylistic elements that combine into a fresh and bombastic overall result.

ARTIFICAL FLAVORS review by emily usallan

unar Vacation, an indie band from Atlanta, Georgia consisting of five members - guitarist Maggie Geeslin, guitarist and vocalist Grace Repasky, keyboardist Matteo De Lurgio, drummer Connor Dowd, and bassist John Michael Young - released their sophomore EP, Artificial Flavors on July 6. The band, having just graduated from high school, have already experienced significant success; songs from their first album have over 100,000 plays on Spotify. The new release is fairly consistent in sound compared to their previous album, but it is easy to say that this new collection of songs is much more eclectic and playful. “Daytime,” the first song off the EP, will transport you to the past but make you feel like it’s the future. This song is painful for anyone who has ever experienced unrequited love. Still, the polyphonic melody that accompanies Grace Repasky’s (lead singer) poignant voice seems to counteract the melancholic lyrics.

“The Basement” embodies the rolicking nature of the new releases. Ambitious and complex guitar rhythms instantly reveal themselves. The lyrics are more sober, revealing that Repasky begins to feel tired of acting “like someone else” when it’s all “meaningless.” “Too Late, Colin,” the last song off Artificial Flavors, is full of lush harmonies and poignant lyrics. In terms of vocals, it is the most grandiose track. Artificial Flavors is the perfect soundtrack to play all summer long. Whether you’re driving to the beach with your friends, or just on your way to work on a sunny morning, these “moon tunes” will not let you down.

photo by elissa graddy

machineheart interview by ashleigh haddock photos by keith oshiro L.A.-based band machineheart was formed in 2014 by guitarist Carmen Kubanda, drummer Harrison Allen, and bassist Jake Randle, and completed when the band met now-singer Stevie Scott. The band released covers of popular artists such as The 1975 that gained moderate traction, but it was the release of their single “Circles” in 2015 that truly launched the band into the spotlight. Heart Eyes Magazine’s Ashleigh Haddock got to speak with machineheart about their new music, their inspirations, and the power of music as an escape.

Can you tell us a little bit about how the band came together? How did the name “machineheart” come into play? M: We really formed out of the greater Seattle area. Growing up, us boys were always a part of the music scene up there. We were all familiar with each other and had even played together prior to forming machineheart. The 3 of us boys have stuck together since we met and then after we met Stevie, things just fell into place. We moved to LA to pursue working more together and actually had quite a few songs written together before we picked a name, funnily enough.

For everyone, what were the turning points in your life that made you realize you wanted to do music professionally? M: There was never really a specific turning point where we thought, “oh, this is something we should pursue professionally,” but more like we just started doing it and never stopped. All of our parents were musicians in some form or fashion, so it always felt natural to be doing what we grew up around.

Stevie, what have been the advantages of being the only woman making music in a group of all men? M: You know, I don’t really see it as a male/female issue as much as the roles we each play within the band. I think the real advantage is just being in a band, on a team, together. I find it much more inspiring than working alone. Too much isolation is not good for me. And I like being the only girl. I’ve always been able to look men in the eye (I’m You guys released your new almost 6’ tall), so it feels single “Overgrown” earlier in very normal and natural to June, what is the story behind be surrounded by them and it? working hand in hand with M: Overgrown is one of the them. I have three last songs we wrote before amazingly talented men going to record our album. letting me lead them as the It came so naturally sitting front-woman and I rely on behind a piano...the them as much as they do on melodies just came out. We me. I’m so grateful for them. had been in our rehearsal space for months working on new songs and had really honed in on the sound of who we were as a band.

Can we expect a new EP/ album anytime soon? If so, how will it be different from Cruel World? M: Debut album coming in early 2019. We are very excited about it. We definitely took our time making this album. We wanted to give ourselves the room to grow in whatever direction felt intuitive and right. So we locked ourselves away and just worked, the 4 of us at our own pace. We didn’t want to work with a lot of producers, so we kept the music close to us until we partnered with one toward the end of the process. It’s definitely different from the previous music we’ve released. The musicality and authenticity of ourselves really makes this album sonically cohesive. Now we’re ready to share some songs over the next few months leading up to the full release. Do you feel like you’ve grown as a band since your debut in 2015? M: We have definitely grown as a band in the last few years. More so, we’ve grown as individuals. That definitely has an impact on what everyone brings to the table in a positive way. We’ve all been through more life and relationships and ups and downs. Not going to over poeticize anything, but we are all still here making music together and that says a lot about who we are and what playing music together means to us.

I’ve read that Stevie Nicks and Fleetwood Mac are big inspirations to you guys as a band, would you say they’ve influenced your sound at all? M: Yeah, we romanticize that era of music for sure. There’s something so nostalgic and magical about it. We love the sonics of the music but equally, it’s an admiration for the band themselves. Like, the journey they went through to become who they were and also their ability to rise above all the inner turmoil and tumult and let the music speak loudest. But, yeah, that’s [Stevie’s] hype music. That or Kate Bush. What is your song-writing process like? Who are your creative inspirations? M: Honestly, it varies from song to song. We tend to take our time when writing songs, and it can start from anyone in the band, whether it’s a bass line Jake wrote or a melody Stevie had or a riff Carm was messing with. Songs and ideas can get started with any combination of us and then it typically gets passed to Harry who does most of our production. We have a rhythm that really works for us, and we all have slightly different tastes and preferences, which is nice because it’s what makes machineheart songs sound the way they do.

What do you want fans to take away from your music? M: We made this body of music that externalizes what we were going through while making the record. It felt very visceral for us. Really like another place and time. So I (Stevie) hope that when people listen, it gives them a place to go to process what’s going on in themselves. It’s hard to find a place away from all the noise and distractions of everyday, but music is an interesting medium, isn’t it? That it allows you to go internal and really sift through things. I think I have a lot of my revelatory moments while driving late at night, thinking, processing and listening to music. It’s so spiritual, you know? I try to always write from a place where I feel moved. I mean, if I don’t feel moved by the song, how can someone else? So I hope that when I’m singing, I’m singing to someone, like someone in particular has the thought, “this is exactly how I feel but I didn’t know how to say it.” It’s so strange - like we have never been more “connected” in society as we are now, but I feel like there is a huge disconnect from real human interaction. So I hope our music and our shows give a place for that.

“We made this body of music that externalizes what we were going through while making the record.” 17

The Wombats photos by ava butera

Unconventional Happiness Through the Eyes of Florence + the Machine by Chelsea Holecek

It’s

a subtle beat—haunting, ghostlike—like you’re in a vague daze when you first wake up in the early hours of the morning. That’s how ‘June,’ the opening track to Florence + the Machine’s fourth studio album High As Hope, reaches out to the listener. Florence Welch has always had a flare for the otherworldly aspects of art, with her fairy-like fashion and the constant biblical references throughout her work— like in her track ‘Bedroom Hymns’ from the critically acclaimed album Ceremonials: “Make me your Maria/I’m already on my knees/You had Jesus on your breath/And I caught him in mine/Sweating our confessions/The undone and the divine/This is his body/This is his blood.” The band’s newest release has been long overdue— three years since their last LP How Big, How Blue, How Beautiful hit the charts. ‘Sky Full Of Song,’ the first single from the record reveals a softer side of Welch, one that’s much different than her boisterous, woodsy signature style that was dominant in previous albums. “This was a song that just fell out of the sky fully formed,” says the songstress. “Sometimes when you are performing you get so high, it’s hard to know how to come down. There is this feeling of being cracked open, rushing endlessly outwards and upwards, and wanting somebody to hold you still, bring you back to yourself. It’s an incredible, celestial, but somehow lonely feeling.” You’re experiencing all of Welch’s emotions—pain, hurt, the fear of never being herself

again. It’s telling of what the singer has been through the past decade. She’s spoken candidly about her struggle with alcoholism, admitting in a recent interview with BBC Radio 1 that she never knew how to come down after touring, eventually resulting in her going on a massive bender. The need to always be in the thick of it—attend all the elaborate, fancy parties and engage in unhealthy habits—started to take a toll on Welch’s relationships even before her claim to fame with ‘Dogs Days Are Over.’ In her emotional song ‘Grace,’ the 31-year-old gets candid about her love for her younger sister, making it an ode dedicated to apologizing for her early mishaps: “I’m sorry I ruined your birthday/I guess I could go back to university/Try and make my mother proud.” But when it came time to start the process for High As Hope, Welch ultimately decided to quit drinking, the effects of her excessive habits starting to harm her creativity. She no longer partakes in the rebellious activities and she reminisces about this in ‘South London Forever’—tales of outrageous shenanigans among 20-somethings trying to live in the moment. The lyrics suggest Welch doesn’t believe it could be better than that, a sentiment any young adult can relate to—that suffocating feeling of drowning in life decisions that could make or break you. Perhaps the most personal and eye-opening lyrics

Florence Welch takes us on an artistic journey through her most personal struggles on High As Hope

are from ‘Hunger,’ a booming track that takes a liking to past albums but with words that capture the tough subject of Welch’s eating disorder: “At seventeen, I started to starve myself /I thought that love was a kind of emptiness /And at least I understood then the hunger I felt.” It’s an admission that even Welch is still trying to come to terms with but through song she can picture it perfectly—the ideal lyrical poem helps her cope in a way only she knows how. Overall, Welch croons about past loves, regrets and growing in a chaotic environment—the neverending parties, nights of debauchery and years of miscommunicating sentiments of affection. “It’s such a wonderful thing to love,” she dreamily sings on the choir-like track ‘Patricia,’ a tribute to one of the singer’s idols, Patti Smith. The passion behind it explains Welch’s need to make something meaningful, that speaks from the heart and touches the avid listener. While Welch has usually stuck her ground making music that allows you to feel like you’re riding a metaphorical wave through a Bohemian jungle, High As Hope has brought something to the table that leaves us feeling a little mystified. The band’s frontwoman has evovled creatively and personally, molding her music career into its best form. In the closing track ‘No Choir,’ Welch describes happiness in an unconventional way: “And it’s hard to write about being happy/’Cause the older I get/I find that

happiness is an extremely uneventful subject/And there would be no grand choirs to sing/No chorus could come in/About two people sitting doing nothing.” Maybe happiness isn’t exactly the joyous occurrence we were expecting—it’s simply finding solace in the tiniest things like waking up in the wee hours of the morning when the sun has yet to rise, or the sound of raindrops on the window during a particularly violent thunderstorm or a phone call from a distant friend you were once devoted to. Welch grows gracefully throughout the album, revealing parts of herself she wouldn’t have dared to share in her early years. It speaks volumes to her fans—you don’t have to be happy immediately, it comes and goes throughout the years whether you’re living chaotically in your early adulthood or dealing with the aftermath of traumatic happenings that have left a gaping hole in your heart. “And if tomorrow it’s all over/At least we had it for a moment/Oh, darling, things seem so unstable/But for a moment we were able to be still,” Welch continues, letting us know it’s okay to be scared but don’t forget to savor that moment of pure elation, it might not be there forever. Always attempting to recover from past grievances, she flawlessly encapsulates our internal struggles with striving to forget. It’s a healing process and that’s all we’re ever trying to do—heal ourselves.

BA N ES D L WO R Shane Blanchard on Touring, His Creative Process, and Collaborating with Inner Wave Interview by Ana Gomez Photos by Erin Christie

hane Blanchard is the mind behind dreamy DIY indie project, Bane’s World. Currently on an extensive, often sold-out summer tour with Inner Wave, and following a slot at Coachella (among other big festivals), it’s safe to say Blanchard has been on a roll. Prior to a sold out show at the legendary Baby’s All Right in Brooklyn, I joined Blanchard—clad in a vintage Bahamas t-shirt and with a cigarette in hand—to chat about tour, new music, and his crazy yet successful past year. So first off, I just wanted to talk about how this tour has been. It’s a lot of big cities, a lot of sold-out shows, so could you tell me a little bit more about how you’re feeling? Shane: Yeah, it’s really, really cool to see all the stuff that I’m seeing, to be on the road and be playing in front of people who want to see you play. But the whole thing that goes hand in hand with that is I’m just really tired. I’m super tired, I miss my home, I miss my family, my dog, my girlfriend, everything that goes with leaving stuff behind or leaving home. But it’s been really cool. You don’t get a lot of privacy, but you get used to it. In terms of the shows, they’ve been great. Tour has been really cool, so I’m in a good place. I’ve actually never toured before this.

Besides all these new cities that you’re playing, are there any others you haven’t been to that you’d like to in the future? Shane: Anywhere in Europe would be cool, like London or Paris. We’re kind of hitting all the ones that I would want to play on this tour, like the major ones. This one would be a big one for me for sure, New York, so that’s cool we get to play here. I guess the dream would be a European tour, and hitting all the places over there. So this tour is with Inner Wave and Michael Seyer— I know you guys have a sort of history together, can you talk a little bit about that and how the tour came together? Shane: Michael Seyer came to me when I didn’t have a band, and he had a band himself which was willing to play for us live. So we started as a group together playing my music. I met Inner Wave about the same time as I met Michael. This tour kind of just fell into our laps, we had known each other for a while and the opportunity was there, so we took it. Speaking of Inner Wave, I know you have a new song out with them. How did that come about? Shane: I think it started when Pablo and Chris came over to my house one day. They had talked to me about featuring on a song.

They originally wanted a girl singer, and I guess I was the closest thing to that. So they kindly asked me to do it, and I was super down. They already had the music and stuff, so I just wrote a verse or two over the music, and then Pablo wrote the closing of part of it, so it’s mainly an Inner Wave song with some lyrics that I wrote. It was cool to record, it was a lot of fun. Can you tell me anything about what’s next, any new music that might be in the works? Shane: Yeah, I’m working on stuff! It’ll be there, just look out next year. And for this new stuff, are you taking any different approaches, or do you have any new influences? Shane: I always get new influences. Whatever I hear and I’m really into at the moment, I definitely try to emulate when I sit down to record. So I can be listening to a song like earlier that day—I’m the person that will listen to a song on repeat— I’ll be listening and I’ll be like “dude, I really like this”, then I’ll make my own v ersion of it. Just the vibe of the song, not really taking anything from it, but just my take on what I heard, like “I want to make something that’s like this.”

I want to backtrack a little to earlier this year and last year. You had a set at Coachella, a show with Tyler the Creator and Brockhampton, and so on. How was that? Shane: It was fun, dude! It’s super overwhelming, everything that’s happening, especially that kind of stuff with bigger names, but obviously super fun and super cool.My whole family was there because it wasn’t too far from home.

It was a really good experience, it was just awesome that Tyler would think of me to play with them and put me on, not the same tier because I was opening, but I felt respected in a way, which was really cool. And as for Coachella, I’m not much for big, weekend-long festivals, but playing the show was really fun. The rest of it, I could do without. ”

I know this tour is pretty long and sprawling, but what are your plans right after it? What’s next? Shane: I’m taking a break, just from traveling and stuff. I’ll be at home, recording for a while. And lastly, do you have any words for fans or other readers? Shane: Thank you so much for supporting me in any way. Coming to a show, buying something online, a sweatshirt, a t-shirt. You guys are really supporting what I do, at the core. Even just listening on Spotify gives me the opportunity to not have to work a job like I used to, and it gives me time to do tours and all. So I really, really appreciate it. I’ve met people that I really look up to that just aren’t very nice, and I know what it feels like to go up to your favorite musician and really get looked down on. So I appreciate you guys. Thank you.

LESSONS I LEARNED ABOUT

OUTDOOR VENUES

FROM THE FLICKER WORLD TOUR

By McKayla Dyk

I bought the tickets on a whim months in advance. Live Nation was selling tickets to certain shows for $20. I woke up from a 16-hour nap, saw the email, and immediately bought four tickets to see Niall Horan at Hollywood Casino Amphitheater in Chicago. (Don’t ask why I slept for 16 hours. Just know it was necessary.) I had four tickets. Now all I needed was three people to go with and a mental justification for the money I just spent as a poor college student. I reasoned with myself, “This wasn’t for me. I’ll take my sister and one of her friends for her birthday. And my mom can go too! She loves Irish accents.” So five months later the four of us packed up my mom’s minivan and headed toward Illinois. We booked a hotel outside of Chicago and planned to Uber to the outdoor venue. I had been to an outdoor show before and had a rough experience with parking, so this seemed like a good idea. After getting to our hotel we Uber-ed to the venue and waited for the venue to open. And that’s when the life lessons began to flood in…

Know Your Options

The tickets I purchased were for general admission lawn seats, which meant we didn’t have assigned seating and would need to get to the venue early if we wanted a good view. A week before the concert I decided to purchase Fast Lane Passes. This allowed us to wait in a different line before the venue opened. They were only $10 each and allowed us to make sure we got good seats on the lawn. Before going to your outdoor concert, check to see if there are any affordable upgrades like this. For us it didn’t make too much of a difference because we got there early enough so the regular entry line was not long yet, but it was a nice safety net just in case.

#2 #3 28

Research the Venue Policies

Before leaving our hotel, I made sure to check the venue’s bag policy. For safety reasons, venues put restrictions on the items you can bring in, even to outdoor venues. You don’t want to get there and then have to leave some of your stuff at the gate.

Eat Beforehand

The tickets may have been cheap but the food was not. We didn’t have time between getting to our hotel and leaving for the concert to get dinner, so we knew we would have to grab something to eat at the venue. If this is your plan, make sure to factor the costs into your concert budget, especially if you’re also planning on buying merch.

Bring a Portable Charger

Pack for the Venue

Did you really go to a concert if you didn’t post any pictures? If you’re not bringing an actual camera, you’ll want to use your phone to capture the best moments. Sadly, my phone is on its last leg and it dies way too quickly. I didn’t have a portable charger and had to rely on my sister to get pictures.

If you have lawn seats like I did, you’ll most likely be sitting on the grass/dirt. Bring towels and blankets to sit on. You never know, you might meet the artist and you definitely don’t want to be covered in dirt when you make that first impression. Make sure to check the weather forecast beforehand too. It might get cooler as the concert goes on and you’re going to want a sweatshirt or a jacket. My sister came way more prepared than I did, so thankfully I borrowed one of hers when the Chicago air got a little chilly.

Have Solid Transportation

This one was a hard lesson for me. We decided to Uber, and honestly I don’t know if that was our best bet. It was pretty expensive, probably because of surge pricing and we were informed of some venue rules a little too late. This particular venue required pick-up drivers to be in the lot by 10pm even though the concert wasn’t scheduled to end until 10:50. For the majority of the concert I was trying to schedule an Uber and didn’t get to enjoy the show near as much as I intended. Once we finally got one, the driver was not allowed into any of the lots until they had cleared out. Thankfully we were able to find a different driver that was already in the pick-up lot, so we eventually made it back to our hotel with just a little more stress than anticipated. If you’re thinking about using a taxi, Uber, or Lyft service, do your research first. Make sure to factor in venue policies and surge pricing. Depending on the situation, it may be worth the extra charges. It usually is for me because I always forget where I park.

Live in the Moment

Concerts are once-in-a-lifetime opportunities. Do your best to make your plans ahead of time so you’re not stressing out during the concert. So much has lead up to this moment. Don’t take it for granted. I wish I had taken this advice myself. We miss out on so much when we have a negative outlook. If the events leading up to your concert have been less than ideal, try to keep a positive mindset and be thankful that you made it there and have the opportunity see this show. So many others would love to be in your position.

Even if the events surrounding this show were stressful, I love the vibes of outdoor venues. There’s just a sense of freedom that comes with hearing your favorite music live with a breeze blowing through your hair and thousands of other people enjoying the same moment together. Each person there is experiencing something different and the music means something entirely different to them, but they’re all there for the same music and the same person. I loved hearing Niall sing. He has such a sweet sound and for those who have followed him since his time in One Direction, you can tell how much he’s grown as a person and an artist. You can tell that he loves what he does and it’s absolutely heartwarming to witness. I’m so thankful for the opportunity to see the Flicker World Tour.

YOUNG RISING SONS Photos by Ky Kasselman

Music Podcasts You Need to Be Listening to RIGHT NOW

By EJ Jolly

Podcasts come in every shape and size

under the sun. There’s a joke that there’s a podcast for everything, no matter how obscure the topic is. For example, want to listen to two guys watch the same movie once a week, every week for a year? “The Worst Idea Of All Time” has you covered on that one. Music definitely isn’t immune to this phenomenon. Spotify even has an entire section dedicated to podcasts, and countless subcategories within it. You’re interested? And just where do you start? Contributing writer EJ Jolly has been doing the leg work for you and has found some of the best music podcasts out there!

Looking for new music? Or wondering what’s going on in the music industry?

Looking for a playlist for eating fast food in

your car alone at night? Or maybe you need a soundtrack to match your cool new outfit. Have no fear, “Cool Playlist” is here! Eliza Skinner and a special guest curate a playlist 32

for super specific moment, from the mundane to the bizarre. No genre is off limits, and Skinner brings in writers, actors, musicians and music lovers galore to make sure every episode keeps things fresh! This podcast is an offshoot of NPR’s popular “All Things Considered” It’s all about showcasing new music. Hosted by Bob Boilen and Robin Hilton, the podcast brings you a new playlist every Tuesday, new music discoveries every Friday, and special episodes about festivals, artists spotlights, and much more. “All Songs Considered” is a tried-and-true way to find new music, anywhere from bluegrass to indie rock and far beyond. Just want to hear what’s going on in the music industry? “Popcast” covers pop music criticism, trends and news. Critic John Caramanica (New York Times), journalists and industry professionals provide meaningful discussions with no genre bias. A great way to stay on top of the world behind your favorite music.

Maybe you want to hear about your old favorites, and take a deep dive into what made some of your favorite music so good (or so bad)?

Or maybe you’re looking for something oddly specific? A love-letter to your favorite artist, or the juicy details of the music world?

Do remember the 90s and early 2000s fondly? So do Dan Hanzus and Bob Castrone. Hosts of “The Throwback Podcast”, Hanzus and Castrone reminisce on some of the most iconic music of the time. Going song-by-song, peppering in movie trailers and stories from their past paints a picture of what the world was like when a certain album came out. “Throwback” mostly covers what you’d hear if you tuned into a rock radio station today, but you’re bound to find them talking about an album you grew up with – or maybe a new favorite!

“Two Less Lonely Girls” is probably the best example of ‘strange, but charming’. The two very charming hosts, Corinne Fisher and Rosebud Baker, talk about how much they love Justin Bieber for half an hour every week. Described as “publicly stalking Justin Bieber”, they break down his lyrics, many scandals and many relationships. A charming, fun ride through the world of Beliebers.

“Your Favorite Band Sucks” is as aggressive as it sounds. Taking on anyone and everyone, hosts Mark Mosley and Tyler Mahan Coe make compelling arguments about why some bands really do suck. Though mostly tackling older bands, the podcasts really makes you think about musicality and the ever-changing nature of the music industry. The Beatles? Weezer? You may not think they suck, but let this podcast change your mind. If you’re looking for some more lighthearted digs at your childhood favorites, “Punch Up The Jam” is for you. Hosts Miel Bredouw and Demi Adejuyigbe don’t claim to have the qualifications to fix popular songs but go ahead and do it anyway. Going line by line, Bredouq, Adejuyigbe and a featured guest laugh about how bad the song of choice always was. But that’s okay, they don’t really know why they liked it in the first place either.

“I Only Listen To The Mountain Goats”, hosted by Joseph Fink (creator of Welcome to Nightvale) and Josh Darnielle (the man behind The Mountain Goats), explores the themes and stories behind every song on The Mountain Goats’ album “All Hail West Texas”. Along the way, Fink, Darnielle and a special guest discuss what it means to be an artist, a fan, and both at the same time. Each episode features a cover of the song up for discussion from artists in wildly different genres of music. This podcast will most certainly get you listening to The Mountain Goats, or at least send you home with a warm fuzzy feeling by the end. Rounding out our ‘oddly specific’ category, we have “Disgraceland”. Bringing the best of true crime and rock-and-roll, host Jake Brennan dives into the scandals and unsolved mysteries of the music world. Who killed Tupac and Biggie? How crazy were Motley Crue’s drug addictions? What the heck is Norwegian black metal? Brennan deep dives into all of these topics and more. If you like rock and a good mystery, then “Disgraceland” is the podcast for you. 33

MEET AMERICAâ&#x20AC;&#x2122;S NEWEST STAR 34

INTERVIEW BY CARLA CONTRERAS + PHOTOS BY HUNTER AIRHEART

resh off her win of the 13th season of The Voice and the release of her first single, “Come This Far,” Chloe Kohanski is on top of the world. The Tennessee native captivated viewers with her modern takes on 70s and 80s rock anthems and her over-the-top visuals. Carla Contreras of Heart Eyes got to talk to Kohanski about her experience on The Voice, her musical inspirations, and a lot of firsts.

Firstly, congratulations on winning The Voice! How do you feel about taking home the big prize? Chloe: Thank you so much! Holy shit, it was the craziest experience of my life…seriously. I never thought I would win, I only wanted to make a few friends and gain some fans. I didn’t have a lot of confidence when I first auditioned, so to be able to say that I won something like that is proof (on national tv) that once you start believing in yourself you can really do ANYTHING. The prize part of winning was sick but the true “win” was finally being proud of myself for something.

How has being on The Voice changed your creative process? Or has it changed at all? Is song writing different? How has the experience influenced your sound? Chloe: I don’t think The Voice changed my creative process. It just allowed me to dream bigger. The show is an Emmy-award winning reality show, so when it comes to the set and the lighting and wardrobe/ hair and makeup, the sky is the limit. I really went the extra mile with the visuals because like I said, I never thought I would win, so I just wanted to be as memorable as possible - whether that was with big hair, crazy clothes, unique makeup. There’s more to a performance then just the songs; you have to take people to another world and being on The Voice you only have like a minute and a half to do that. One song per show, really. If you don’t get your point across in that moment, then you lose your spot on the show. It was crazy high pressure. As far as influencing my sound, I think the show just taught me to perform like I’m performing to the entire world. Even if it’s a small show, you never know who is watching. 35

I hear you’re currently in the studio. Can you tell me about that? Chloe: Yes, so I’ve been flying back and forth to LA going into the studio for weeks at a time for about 6 months now. I’ve been trying so hard to find what my sound is. What I want my music to do for people. Basically, my goal has always been to make music that makes people feel something. Not just feel happy or feel sad more like feel understood, if that makes sense. Or make people just actually feel and express the emotions that we have been told to cover up our entire lives. I’m working on a song right now that feels like somewhat of an anthem for teenagers/ young adults; it’s all about how confusing life is and how nobody knows what the hell is going on anymore. It’s the first time I’ve really felt like a true artist writing about what’s actually happening in the real world.

Seeing as this is my first time interviewing an artist, I want to center the rest of the interview around firsts! Who was the first artist you thought was cool? Chloe: The first artist I thought was cool…. if I’m being honest, it was probably Britney Spears or the Spice Girls. But when I was 18, I started listening to rock music and my first favorite band was Led Zeppelin. I was obsessed. Bought the vinyl and all of the CD’s so I could listen to them 24/7. I was truly convinced I was “born in the wrong decade” because I was so obsessed. Robert Plant (lead singer of Led Zeppelin) was and still is one of my favorite singers of all time; his symbol from Led Zeppelin 4 was my first tattoo.

“My goal has always been to make music that makes people feel something. Not just feel happy or feel sad -more like feel ”

First instrument you ever picked up? Chloe: The truth is that I’ve still been deciding which instrument I want to play - commitment issues - so right now I don’t play

anything besides a small amount of piano/guitar…. but this week I decided that I want to be a badass guitar player. So I want to go buy an electric guitar and just force myself to play at least an hour every day. Fingers crossed I actually do it.

What was your first paying gig? Chloe: First paying gig was with the band I joined at 18. We were a blues/ rock band and we played tons of gigs around

Nashville. I don’t remember which show was the first paying one, but I know we played at Hard Rock Cafe on Lower Broadway.. and I wore an extremely tacky dress. I was so nervous; my voice cracked several times.

When was the first time you met one of your idols? Or if you haven’t, who would you want to meet? Chloe: I met Billy Idol when I was on The Voice. We made a list of our

dream duet partners and I put Stevie Nicks, Billy Idol, Joan Jett, Debbie Harry. When I found out that Billy Idol said yes and we were going to sing, “White Wedding” together, I literally cried. I was so speechless and just blown away that someone like him would take the time to sing with me.

What was the first song you ever wrote? Chloe: Wow…that’s a tough one. I was writing songs as a tiny baby. I’ve been singing since I learned how to hum/ talk. I would say the first real song I wrote was for the talent show in middle school. And I made my sisters sing it with me. “There’s a light at the end of this tunnel, and I hope it’s not a train” was the opening line. Then when I really started writing, I remember I wrote a song with a friend called “Tell Me Something,” and I felt like that was the first time I wrote something that actually mattered. It never got big or anything, but my friends in Nashville told me that it felt like I wrote the song specifically for each of them. That made me feel good. It’s still on my SoundCloud, I think! What is the first thing you’re going to do after this interview? Chloe: Some of my friends and I just moved from Nashville to Brooklyn, NY. So we are probably going to go out tonight and eat good food or maybe dance/play pool!

Chloe’s new single “Come This Far” is out now on Spotify and Apple Music.

SUMMER IN BROOKLYN a playlist by chloe kohanski love it if we made it - the 1975 the killing moon - echo & the bunnymen kaputt - destroyer enjoy the silence - depeche mode i donâ&#x20AC;&#x2122;t know you - the marias the kids donâ&#x20AC;&#x2122;t stand a chance - vampire weekend sometimes - my bloody valentine talking in your sleep - the romantics days to remember - video age i belong in your arms - chairlift a fond farewell - elliott smith so alive - love and rockets sometimes - goth babe donâ&#x20AC;&#x2122;t come around here no more - tom petty and the heartbreakers this is the day - the the today (feat. sui zhen) - torando wallance u - dj seinfeld remember the rain - kadhja bonet on hold (jamie xx remix) - the xx how deep is your love - calvin harris

Maximizing Your Concert Experience: Intimate

Venues VS. Arenas!

The intimate, sweaty climate of small

shows is something everyone needs to

experience at least once in their life. Itâ&#x20AC;&#x2122;s like the music once blasted in your earphones is coming to life before your very

By Emma Schoors

THE CASE FOR SMALL VENUES:

Bands like Vista Kicks, Night Riots and

eyes, within feet of you. But is the louder

Wallows bring big sound to smaller

than life feeling given by arena shows just

places. These shows usually bring long

as good, if not better? The two give

lines and dedicated fans, some even wait-

completely different vibes, so hereâ&#x20AC;&#x2122;s those

ing the night before just to see their favor-

vibes broken down.

ite band. This kind of show environment

is more close-knitted and personal, and

or waiting all day to be up at the front. This

often makes for the most unique experi-

waiting is one thing both small and huge

ence.

shows have in common. The sound in

During these shows, fans are more likely to

these concerts is bigger than life, and the

meet their favorite band members walk-

experiences are frequently amazing.

ing around or setting up near the venue. It feels like something out of a movie. Most of these venues are general admission. During the shows, listeners are able to move around more because of this, and can start a mosh pit or simply dance with those they’ve met the day of the show. It’s the perfect type of show; big music in a small venue. For these reasons and many more, lots of people prefer small gigs. After all, isn’t it the best feeling in the world to catch a guitar pick or set list easily?

THE COMMON GROUND:

Shows are incredible. No matter the

place, the size of that place or the practicality of the time the gig is, most of us can agree that these times bring us all together, closer than any solo listening

session can. When music is found, it feels as though you’ve hit a jackpot. When you share that feeling with others? That’s when it feels as though you’ve multiplied that jackpot by thousands.

THE CASE FOR ARENAS:

Picture this; you’re waiting by your com-

puter for a presale code, half scared to

death of not getting a ticket and half more excited than you’ve ever been. Sound familiar? This is what fans of bands like Panic! At The Disco, Tame Impala and Alt-J experience every time they buy tickets to see their favorite artists. It gives audiences a rush of adrenaline, which can be both amazing and horrifying. Once these tickets are purchased, the anticipation sets in. There’s no time to have second thoughts on these types of shows; they’re commonly on people’s bucket lists. The climate of the actual concert is often associated with seats, being really far away 43

VANCE JOY Photos by Elizabeth Wiltshire

a n i n t e r v i ew w i t h

by j a d a m o o re This month I had the wonderful opportunity to interview the up and coming band Hanoi Ragmen. Hanoi Ragmen is composed of four members: Gabe Harr - lead vocals, guitar; Max Powell - guitar, vocals; Beck Moniz - bass, backup vocals; Carl Barrett drums. Since all members are actually full time high school students during the year, the band is successfully able to multitask. This aspect is admirable and the band has been busy working hard on an upcoming album, that’ll be released in the future. First up, describe your band’s sound in three words. Gabe: Danceable but heavy, groovy teen angst, and eclectic groove-based. What was the inspiration behind the band’s name? Gabe: The first original song I ever put together a few years ago I named Hanoi Jack - the name just sort of popped into my head. During the time we started playing together, we were searching for a good band name but had a lot of trouble, and among other suggestions, 46

the name Hanoi was floating around in our heads. We all went to a Queens of the Stone Age concert in Washington, D.C., and in the middle of the madness Max looks over at me and says “Ragmen. Hanoi Ragmen” and we knew that the name just fit. It doesn’t intrinsically mean anything, really we just like the way it sounds, but it has value to the band because of the place and time that it came to us. Who are some of the musicians you look up / have inspired you to create a band? Gabe: My inspirations l argely come from jazz, soul, and funk artists. I love Curtis Mayfield, Funkadelic, Shuggie Otis, Van Morrison, to name a few, and on the jazz end of spectrum, Joe Pass, Art Blakey and the Jazz Messengers, Charles Mingus, and Cole Porter. I also have an embarrassing love of 80’s pop music. Tears for Fears, Toto, Steve Winwood, Peter Gabriel, Men at Work, stuff like that. Max: When I was little all I listened to was The Beatles, Coldplay, and this Hits of the 50’s CD my parents played, which explains my love for the blues.

It was when I was around 11 or 12 when my dad showed me Foo Fighters, that I really got pulled into rock music. After my pre-teen Green Day phase, I fell in love with bands like Smashing Pumpkins and Pink Floyd, with little random bits of things here and there, like Kings of Leon and Iron Maiden, to name a few. In the past few years, I’ve gotten a bit of a Queens of the Stone Age bug, which has opened the door for things like funk, indie rock. That band, especially in frontman Josh Homme’s style of playing and performing, has heavily influenced what I bring to Hanoi Ragmen in almost every way possible. Beck: For me, Queens of the Stone Age, The Red Hot Chilli Peppers, The Shins, Royal Blood, The Strokes, and Rush. Carl: I recently found this guy who calls himself “Fantastic Negrito.” He sings soul and blues music but the lyrics he writes are like poetry. If you really listen to the words in this album I promise you’ll find some deep shit that makes you think.

As full time students throughout the year, have you guys faced any challenges musically / creatively due to school? Max: With band members doing sports, clubs, and AP classes, it can be difficult to find time to get together and actually play with each other. Thanks to this technological age, however, we can easily share our musical ideas with each other and somewhat collaborate from a d istance, keeping us on the same page creatively. With Carl going off to college in August, it’ll be even harder than last school year, but I’m confident we’ll find a way through it. Gabe: Sometimes scheduling practices was a challenge because Carl went to a different school than the rest of us, and junior year as a whole was very busy - but if you’re passionate about something, it’s not hard to find the time. Beck: For me, music has kind of helped push me through the year, and I haven’t seen it as a distraction, and more as a motivating force, as to me it’s something that I’m proud of, and something that I’ve helped create that other people can experience, and with school, you don’t always get that sort of feeling with things, so with this album, it hasn’t made any challenges for me, but has acted more as motivation for pushing myself as a musician.

Carl: I went to a different high school then the rest of the band and that would sometimes interfere with practices or recording. Sometimes they would have a half day and I wouldn’t or vise versa. Additionally our first studio recording day was scheduled on my prom day so we had to move some things around. Overall I think we all really cared about this band and I definitely put it as one of my top priorities.

The overarching idea behind the album is really just about conveying the universal pitfalls of being in that awkward place where you’re not quite a kid and not quite an adult. It’s angry, it’s confusing, it’s exhilarating, and at times profoundly beautiful. What’s the overall feel you have for the album? Carl: The overall feel of the album is just a look into our lives. It’s not all pretty stuff but I think that that’s what makes it good.

So talk to me more about Is there a music festival you your album, the writing see yourselves wanting to process and the recording play sometime in the future? process. Beck: This is probably a Gabe: The writing process stretch, but at some point, is pretty spontaneous. We’ll if we ever make it huge, come up with a riff or chord I’ve always wanted to play progression that we like and Glastonbury or Rock AM share it to the band group Ring! I think it’d also be chat, and then people will awesome to play festivals add on ideas and contribute like Lollapalooza, SXSW, their own take. Our general Sasquatch, and Bonnaroo. goal is to write something approachable and easy on the ears, but with some more complex harmony and extensions that add a certain depth to the music. As far as recording, we went to Alexandria, VA to record vocals, guitars, and drums with the fantastic jazz musician and producer, Jack Kilby. We then recorded bass and auxiliary parts on our own time with the help of Tom Phillips, the guitarist and mastermind behind the doom metal band While Heaven Wept.

TRANSVIOLET

interview by ashleigh haddock 48

photography by madison mead

os Angeles 4-piece band Transviolet consists of lead singer Sarah McTaggart, guitarist Judah McCarthy, drummer Jon Garcia, and bassist Michael Panek. Having released their EP, Kaleidoscopes, in 2017, the band has released two new singles with an EP planning on being released September 2018. Ashleigh had the chance to speak to Sarah about the origin of the band, their inspirations, and of course, new music.

Can you tell us a little bit about how the band came together? How did the name “Transviolet” come into play? Sarah: The guys know each other from high school. I (Sarah) kind of catfished Mikepan. I was living in the Cayman Islands, but I wanted to be in San Diego, even though I had $40 in my bank account and no way of getting there. We were both on a musician networking site, and I lied on my profile saying I was in San Diego. When Mike searched for people in his area, I popped up, even though I was thousands of miles away. Mike contacted me, wanting me to sing over a track. I loved his production, and knew there was something special there. I told him I wasn’t really in San Diego, but would make my way over there eventually.

Mikepan dragged Jon into this mess, and we sent files back and forth via email, until we had several songs we were excited about. After a year of working remotely, I made it to San Diego. We were signed to a label, and dragged Judah into this mess as well, moving to Los Angeles. The name Transviolet was inspired by a Charles Bukowski poem called “When The Violets Roar at the Sun.” You’ve toured with big artists such as LANY and Mikky Ekko, how does it feel to be headlining your own tour for the first time? Sarah: It’s a trip to come back to these cities and realize these people are here for us. It’s cool to see what we’ve built so far. Knowing that we had some small part in creating this beautiful, colorful community of humans makes me so happy.

We got signed to a new label, and surrounded ourselves with people who shared our vision. In the end, it was a blessing in disguise. We are more focused now than ever, and we ended up in a better position where we have full creative control, and an amazing team who truly believes us. Mentioning the EP, what’s the story behind “The Hamptons?” Sarah: It’s a story of a social food chain- a string of conversations and relationships that tell a cautionary tale of materialism.

You guys recently released a new single, “Bad Intentions” and “Undo” what were the influences behind these songs? Sarah: I’d been listening to a lot of disco, like Beegees, Blondie and David Bowie. It’s in my nature to write sad songs, so I wanted to challenge myself to go against that and write our Was there a specific intention version of a party song. I for waiting to tour was writing about being especially since out, and kinda fucked up, ‘Kaleidoscopes’ was released watching creeps circling like almost a year ago? vultures. I might be fucked Sarah: No, we were dropped up, but I totally see you. from our label. It sucked. You’re not slick. Creeps are We thought it was all over, cancelled. but we still believed in this music, we still had new music inside us, and we didn’t want to let our fans down. So, we decided to keep going. 49

Sarah: Undo was written in a moment of feeling utterly defeated. We were being sent from pop session to pop session, which felt like busy work from our label, and I just couldn’t stomach trying to writing another upbeat happy pop hit. It felt fake. After a particularly bad session with a producer I was butting heads with I came home and sat down at the piano to remember why I was doing this. I started writing a song only for myself- I never had the intention of sharing it with anyone else. A few days later, I had a session with Ben Greenspan, who is one of my good friends and an excellent song writer/ producer. I showed him a few ideas I’d been working on- and he asked, “Do you have anything else?” I told him I had one more thing, but it was kinda sad. He said he loved sad shit, so I showed him the verse I’d written a few days before, and he was into it. That song became Undo.

With the release of the new single, can we expect a new album anytime soon? If so, how is this album different from ‘Kaleidoscopes’? Sarah: Yes, we are releasing an EP in September. I’ve never felt obligated to stick to a particular mood in any body of work . During a writing cycle, I naturally vacillate through feelings of hopelessness, frustration, indignation, mania, and a cynical optimism that floats around delusional.

You can definitely hear that in Kaleidoscopes, and this new body of work is similar in that way. Every emotion during this period in my life has been explored. The thing that makes it different, is that I’m different.

Going through the gauntlet that is the music industry disappointed, broke, and disillusioned me more than any romantic relationship ever could. When you pour your heart and soul into something just to watch it shatter into a thousand pieces, it’s truly heartbreaking, and I had to rebuild who I was after that. You can hear that heartbreak, those feelings of betrayal, anger, the defiance that comes with choosing to press on against all odds, and a celebration of independence and empowerment in this new body of work. How would you say you’ve grown as a band since your first self-titled EP? Sarah: We are more self sufficient. We stopped asking permission to bring our visions into the world. We’ve stopped asking permission period. We just make stuff and put it out when we like it. Anyone pretending that they know what will work and what won’t is either delusional or lying. We’ve stopped listening to those people.

I’ve noticed you guys have spoken out regarding politics and social issues, do you think it’s important for artists to speak out? What would you say to an artist/band member who is hesitant about voicing their thoughts? Sarah: I think if it’s something on your heart, you should speak out about it. Their are people suffering who have no voice, no platform to change their situation. You have the power to spread ideas, and inspire change. If you feel moved to speak, then you should speak your truth. Lastly, any new music you guys have been listening on repeat? We’re always looking for new songs to add to our playlists! Sarah: I’m loving slenderbodies right now. “Oasis” and “Little Islands” have been giving me life. And “Awake and Pretty Much Sober” by Violents. Also loving the new Ariana song “God is a Woman.”

photography by zoe kurtz

OH HEAVENLY by Maggie Wilkinson I beg at the foot of my body, my limbs draped across another sacrificed couch, living room illuminated by faces I do not recognize and music I do. I want to feel like I deserve this, please, throw off all the weights and move. Forget what you have been conditioned to allow to confine you. I pray to a different headboard every night, always in the dark. I do not allow whatever God is to see this body in the light. I sleep with my socks on. I drink fervently. I call my friends to remind them I love them every few days. They always say â&#x20AC;&#x153;thank you.â&#x20AC;? Please, dismantle your shackles and leave your cell a mess. You do not have to escape yourself in one piece, as long as you are committed to pulling your body back together. I never have loved the cold, so I bathe in freezing water filled with rose petals. I hate myself, but I do it cleanly. Remember the last time you felt lonely? How many teeth did you have? Who did you speak to? Were you closing yourself off before others had the chance to? Forget it. Amen.

photos by bella peterson

NIGHT RIOTS

FAReWELL WARPED TOUR THE

Waterparks

photos by madison mead

Black Veil Brides

As It Is

We the Kings

Knuckle Puck

The Maine

Tonight Alive

Issues

art by jasmine cxo