LOCAL WOLVES // ISSUE 65 - SARAH KINSLEY by Local Wolves

JAN/FE B 2024 ISSUE 65

Sarah Kinsley

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FOR OUR 65TH issue, we welcome you to The Togetherness Issue. Major

kudos to our staff writer and photographer, Uma Snow for pitching this theme to me. I’ve been a firm believer of creating routines as it has helped me to unwind and semi-balance everything in my life. With set routines, it has allowed me to appreciate the time we have each day and how we choose to plan what we do, see, eat and repeat. During this season of togetherness, I immediately thought of my lil’ community of book lovers, concert goers and home chefs. I feel like the most at home when I can openly share my thoughts on my current book reads, being surrounded by fellow fans at a concert (army universe forever!) and cooking meals at home for loved ones continues to warm my heart. Our cover star, Sarah Kinsley exudes what Togetherness is all about through her music from songwriting, production to live performances. She brings several elements of creativity to the world and we’re here for it. This issue is filled with the community aspect from Boyish, Hailey Knox, Quarters of Change, just to name a few and Wolfie submissions showcasing this theme. I hope you enjoy this issue with plenty of inspiration and virtual hugs!

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EDITOR'S LETTER

I’ve been a firm believer of creating routines as it has helped me to unwind and semi-balance everything in my life.

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contents

classics 02

editor’s letter

playlist

pinpoint

wolfie submissions

102

offline itinerar y

features 24

dying dogs

boyish

hailey knox

quarters of change

SARAH KINSLEY

luna luna

miya folick

perspectives 26

daydreaming

disco ball

sweet fruit

twin flames

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ISSUE 65 — SARAH KINSLEY JANUARY/FE BRUARY 2024

FOUNDER & EDITOR-IN-CHIEF

FEATURING

Cathrine Khom

Sarah Kinsley

COPY EDITOR

THEME

Sophia Khom

Togetherness

CREATIVE COORDINATOR

COVER PHOTO

Gemma Cross

Vanessa Le

ILLUSTRATOR

COVER DESIGN

Lizi Grace

Yoolim Moon

DESIGNERS

LOGO

Lisa Lok, Yoolim Moon, Ridwana Rahman

Lisa Lok, Fiona Yeung

SOCIAL MEDIA COORDINATORS:

CONTACT

Jessica Spiers and Tatiana Diaz de Leon

General: info@localwolves.com

CONTRIBUTING WRITERS

Advertising: advertising@localwolves.com

Alexis Marion, Ariella Nikita Lai, Mara Go,

Get Involved: community@localwolves.com

Press: press@localwolves.com

Mun AM, Uma Snow CONTRIBUTING PHOTOGRAPHERS Abby Mueller, Anna Park, Jordie Hennigar, Justina Brandt, Vanessa Le, Victoria Alexis WOLFIE SUBMISSIONS Cat IIer, Emily Lapidus, Grace Puffer, Grace Usleman, Kayla Lankford, Lucy Drewelow, Lucky Moroukian, Sabrina Chang, Taarena Rathore, Yoko Zhu MANY THANKS Alex Rasmussen, Andrea Raymer, Ang Cruz, Boyish, Branden Ruiz, Brooklyn Music School, Briana de Tomas, Gabriella Hughes, Hailey Knox, Hannah Lauren, Jessica Spiers, Kassi Reyna, Luna Luna, Miya Folick, Quarters of Change, Sammi C Wong, Surely Studios, Tatiana Diaz de Leon, Vivian Chan

LET'S CONNECT Instagram: instagram.com/localwolves Twitter: twitter.com/localwolves TikTok: tiktok.com/@localwolves Pinterest: pinterest.com/localwolves

O N TH E COV E R

SARAH KINSLEY CONTINUED ON PG 52

FEATURING Sarah Kinsley

CREATIVE DIRECTION Vanessa Le

MAKEUP Hannah Lauren

STORY Uma Snow

PHOTO ASSISTANT Vivian Chan

STYLING Kassi Reyna

PHOTOGRAPHER Vanessa Le

LOCATION Brooklyn Music School

STYLING ASSISTANT Andrea Raymer

TOGETHERNESS PLAYLIST CURATED BY ANG CRUZ

1. We're in Love boygenius

2. This House

Japanese Breakfast

3. Sagittarius Superstar ft. Faye Webster COIN

4. Anthony Kiedis Remi Wolf

5. This Must Be the Place Talking Heads

6. Nobody Sees Me Like You Do Yoko Ono

7. Heaven Clairo

8. Despair

Yeah Yeah Yeahs

9. Heart Basel The Drums

10. Twice Charli XCX

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PINPOINT

BY BRIANA DE TOMAS

Scotland, my very first solo adventure abroad. Though I'd often daydreamed of this journey, I hesitated before finally booking that flight. The landscapes surpassed my wildest dreams, resembling scenes straight out of postcards. In this magical place, life seemed to take a slower pace. I found myself in the company of friendly travelers, listening to the beautiful Gaelic songs and delving into the rich folklore that wove through the land. The sky, ever-changing, would shift from blue to moody gray, painting the backdrop for countless unforgettable moments. At the top of the hills, I encountered many sheep, feeling a sense of awe and connection with the gentle rhythm of nature. And then there were the castles, scattered across the landscape, each one with its own unique story and allure, connecting me to the depths of Scotland's past. These moments are etched in my memory, an escape to turn to when life’s stress weighs heavily on my mind.

ISLE OF SKYE, SCOTLAND

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WOLFIE SUBMISSIONS TOGETHERNESS For Local Wolves’ 65th issue, we will highlight the meaning of togetherness. TOGETHERNESS can bring warmth that comes with community. Supporting and being supported by the people we surround ourselves with, spending time to strengthen bonds with loved ones and family, whether it's chosen family or by blood. We asked our community to share their perspective on found family, lifelong friendships, dive deep to the places and cwommunities where you feel most at home, during the amidst of the holidays or where you feel most like yourself.

LUCY DREWELOW / LOS ANGELES, CA, USA Photos: Lucy Drewelow Models: Emily, Lexy, Mars, Yahm, and Mia Creative Direction and Styling: Emily

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CAT ILER / DENTON, TX, USA Photos: Cat Iler Models: Bonnie Bell and Hannah Bahrami Creative Direction: Alyssa Tranbarger Hair: Paige Manzello Styling: Gabi Hill | Styling Assistant: Tauri Partin Studio: The TX Studio

EMILY LAPIDUS / TULSA, OK, USA Photos, Creative Direction, Styling: Emily Lapidus Models: Sarah Kate Synar and Rose DeWeese

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GRACE PUFFER / NEW YORK CITY, NY, USA Photos: Grace Puffer Models: Lilly Willett and Sydneii Cee

NOVEMBER, IN GOOD COMPANY What are your plans for this space? Well, to fill it. I look to you and think aloud: “I didn’t know it could be like this.” “I didn’t, either,” you say, and I recall, as every young woman does once in a while, that not everything has to feel like something else. But this time, this crimped nostalgia-in-the-making is fresh and sweet. Not paper thin, its fabrics are neatly creased over and wait to be crowned with acrylic, then handed off to someone worthy. Through a closed door, I heard you say you’ll only take the ring off to avoid getting paint on it— I think of my hands, the apples I slowly peeled and reverently placed between kneaded folds. While you pick up a fork to savor my finished piece, I am grabbing a pen to start another I try to capture a feeling as simply as one might encounter it floating to the surface: I love you and I love that I get to love you; I love loving you. I’ve learned that People Who Love You hang the canvas in the hall. People Who Love You leave the plate empty. GRACE USLEMAN / NASHVILLE, TN, USA

JULY’S NEW LOVE IS HERE Thank you for finding me here. Where broken hearts lay across bridges I was meant to cross, You grabbed my hand and we found a different route together. An unconditional love wrapped in long distance and phone calls, Filled with laughter and the greener grass I was always searching for. I will never know a love greater than ours. I tracked my growth with the sounds of our laughter colliding; With songs that remind me of you, And colors in the sky that you know I would love. I try so hard to heal from wounds, And here you are so easily mending the heart you never broke. I’ve yet to find a love greater than ours. KAYLA LANKFORD / SAN DIEGO, CA, USA

TAARENA RATHORE / DALLAS, TX, USA Photo: Taarena Rathore

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The Chase is a project about self identity and feelings. I’ve found that everyone in life is chasing a feeling, whether it be the feeling of security and success through money or the feeling of love through community. Do you know what feeling you’re chasing? SABRINA CHANG / LOS ANGELES, CA, USA Photos and Creative Direction: Sabrina Chang Model: Jack Wiegmann

NEW LONDON IN JULY Ginkgo leaf light across your cheekbones the curve where my mouth meets I am absolved of hardness in this moment then the next We’re slow dancing in the pavilion side-stepping beetles You hate summers and you hate the ocean I’m collecting pieces of you to bring home Your heartbeat in my cupped hands in a wooden box The gentle thunder preserved for myself years later when I’m aching for proof that you were really mine. YOKO ZHU / BOSTON, MA, USA

LUCY MOROUKIAN / MINNEAPOLIS, MN, USA Photos: Lucy Moroukian Models: Lily Sall, Carlos Albornoz, Gwen Eastaugh, Rozy Eastaugh, and Charlotte Anderson

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DYING DOGS WORDS BY ALEX RASMUSSEN ILLUSTRATION BY LIZI GRACE

Am I The Asshole? You put your hands in my hair And that was part of the deal But the second you start crying I know this is more than a routine cut and color This time you’re talking about your son My best friend You’re pretty sure he bought his ticket to hell With an IPA And something about Bob Dylan I read that every family has one A black sheep And sure, you can pin it all on him And my family can pin it all on me

Who knew AT&T Could take years of my life expectancy? But the context doesn’t matter If you asked my family they’d say I’m the asshole because I didn’t stay And yes, I’ve thought of my response— Oldest kids remember, oldest kids see So are oldest kids really the assholes when oldest kids leave? Dying dogs hide for protection And every asshole of the family has life left in them

But isn’t that kind of silly?

The two black sheep are older now I’m driving the 101 at sunset to meet him

He fell in love, did you know that? She’s beautiful. She speaks to flowers.

His girlfriend and I share the last bits of a bottle of wine Finally, I feel the sun start to shine

He’s still wild, like he was when he was a kid But now he uses that to fuel his music

My husband will ask, “How has Alex changed?” My best friend will say, “Night and day.”

He asks me often, “What was it like?” And I tell him about the characters of his young life

He gets interrupted but he wants to explain

They gave us such an ick Most men don’t listen, but he’s good at it I bet if you met him, you’d like him a lot Too bad you’re blood-related And that blood has some clots You’re still crying And I’m still listening You wish you had a son with your beliefs Would that be enough to fulfill your needs? A few months after that appointment I called our pastor, my dad, and broke the news “I have to stop pretending I am you” My Dad was clear in his response “I think I’ll choose the cross” I figured he’d take it back, honestly But over time it became clear to me “I’m taking you off the phone plan” Freedom tastes funny, swallow fast if you can

“Alex has become more open to the world and because of that, I’ve watched her change.” I am proud that he’s right It wasn’t a clean fight We’re just sitting at the booth now Comfortable We’ve been 8 & 9 and moving to Texas Two lucky Sagittariuses We’ve been 10 & 11 Leading the pack They liked that we were good at that We’ve been 18 & 19 Losing religion With the windows down blasting, “Yes I’m Changing” And now, both of us doing the final laps of our twenties We somehow still live in the same city I’m okay with being the asshole As long as I’ve got my best friend with me

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PHOTOGRAPHY BY ANNA PARK MODELS – SALLY MA & FLORENCE LIN

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BOYISH WORDS BY ALEXIS MARION PHOTOGRAPHY BY VICTORIA ALEXIS STYLING — BRANDEN RUIZ PHOTO ASSISTANT — JORDANNE HAMILTON

It’s easy sometimes to plot out ideas of what you want to do with your life, only to have it turned upside down, sometimes in the best way possible. That’s the story of Claire and India’s lives, leading to their alt-pop duo BOYISH. Despite receiving praise from Billboard, NYLON and FLAUNT, the pair didn’t always imagine they would be in an alternative rock band together. Lead singer, India Shore, grew up in New York with dreams of becoming an Olympic gymnast. Attending LaGuardia High School of Music and Performing Arts, she was “thrown into” an arts-centered community that inspired her to begin writing music. Shore later learned to appreciate the early 2000’s indie-rock scene in New York which would inspire her to dive into the genre later on. Guitarist, Claire Altendahl, hails from Minneapolis, Minnesota, and had their sights set on being a session guitarist. Altendahl shared they eventually felt burnout from studying so much jazz music and didn’t enjoy playing the genre, eventually leading Altendahl to explore other paths in music. Altendahl’s upbringing in Minnesota brought them onto a clear path to making music and playing live shows. They explained Minneapolis has “one of the strongest music scenes in the country.” Altendahl jokes that Minneapolis’s music scene and sound is so special because of all the time people spend indoors during the snow season. “It's funny, but I always say everyone in Minneapolis is so good because it gets so cold out that they have nothing to do but stay inside all winter, and just practice all day,” Altendahl said.

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They described a strong community where everyone wanted to play live shows and be there for one another. “I was a big School of Rock kid and I went to School of Rock in Minneapolis at the same time as the boys from Hippo Campus,” Altendahl said. “I feel like there was just an environment at the time where everyone was really supporting each other in music.” Shore’s and Altendahl’s paths eventually intersected at the Berklee College of Music in Boston, this being the birthplace of a new friendship and a band. Shore originally wanted to study acting in England, but at the last minute, accepted a spot at Berklee, where she would study writing for orchestra. Although Shore is working in a much different genre now, she explained she was passionate about orchestra and enjoyed her time studying it.

and literally everyone bailed,” Altendahl said. “It was just India and I, and we had to actually hang out for the first time…and we were like, wait, we could be great friends.” Shore similarly explained Claire was one of her most significant takeaways from her time at Berklee. “I met Claire within the first month of college and we started writing music together,” Shore said. “My path kind of revealed itself really quickly and that's the only thing that's stuck out of my time at Berklee…I met Claire, and we started making music together, and here I am years later doing exactly the same.” Shore explained that although she hadn’t originally imagined herself at Berklee singing and writing music, the path she took felt right.

“[Those moments] were like, ‘No, you are here for a reason…you weren't necessarily even going to be here to begin with, so I “One day, those skills are gonna come out of the woodwork,” think the reason I was there appeared pretty quickly,” Shore Altendahl laughed. said. “One day, I'll write an amazing [orchestra] piece and no one’s going to be ready for it,” Shore added jokingly.

After Altendahl and Shore became friends, they knew they wanted to start making music together. “As soon as I got to Berklee and met India, I was like, oh, I want to play in a band,”

Altendahl came into Berklee passionate about guitar, but eventually chose a contemporary writing production major, which combined writing and producing. After an almost forced lunch together, the two musicians started their collaboration at Berklee with a “strictly professional” relationship, as Altendahl put it.

Altendahl said. “It’s like the stupidest realization to come to because you’re like, I'm gonna do something really intellectual and then you get there and you're like, no, I just want to be in a band,” Shore added.

“One time after band practice, we were all going to the cafeteria

The duo started off as a band called The Blue, a name Altendahl jokes is their “biggest regret.”

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The whole goal of their band at that point, as Shore described it, was basically to play “rowdy house shows” that got people excited. “I don't know how or why, but [we were] like ‘we should make country…like yeehaw country music,” Shore said. After gaining inspiration from the folk and indie sounds of The Civil Wars, the duo played as a country band up until their senior year of college. Altendahl and Shore then assessed the genre of their band and how they would continue.

not have hated it more.” Altendahl’s dislike of writing for advertisements came from lacking the “right kind of passion” for diving into someone else’s project. The need to create their own music led to the genre shift and rebranding of their band. Boyish was formed, which Shore describes as having an indie, alt-rock, shoegaze-y sound. Since then, the duo has played shows all over the world and toured with multiple artists, such as Claud and King Princess. Altendahl and Shore traveled around the country with Claud for their Supermodels Tour in fall 2023.

“We were like yeah, I really want to [play music], but we cannot make country music anymore and we cannot call it The Blue,” Shore said. “It was our first time playing Bowery Ballroom in New York and that felt so iconic to me,” Shore said, reminiscing on her favorite The duo decided they wanted to continue their music group, parts of the tour. “Claude’s banter might have been my favorite despite some of the fears they had with making a living as a thing to listen to every night,” Altendahl said. “It was also our band straight out of college. “That's a scary thing to do…to sus- first time in Denver and going through Salt Lake City…it was all tain myself as a band…[but] we were both like we're 100% com- a blast and such a fun crew to hang out with.” mitted to this [and] I can't imagine doing anything else with my life,” Shore said. The Hold on Baby Tour with King Princess took Boyish around Europe in July 2023 as a special guest. The duo played some of their Altendahl experimented with some different career paths, largest venues yet in Amsterdam, London, Bristol and Manchester. afraid of not being able to live off of being a bandmate. “My “It was our first European tour…I don’t think we realized logistically biggest fear going into Berklee was that I was gonna graduate how hard that was going to be,” Altendahl said. and have massive student loans, and I'm gonna have absolutely no way to pay them off,” Altendahl said. “So I was like, let's find Shore set the scene of the two of them and her dad in their rented a job, so I wrote music for advertisements and hated it…I could car in England, trying to navigate the driving differences in an-

other country. “It was Claire and my dad, who’s British, in the car [trying to] drive on the other side of the road,” India said. “My dad has lived in America since he was 20 and so he had to go back and be like, ‘Oh my God, I know I used to know how to do this.’” Both Altendahl and Shore reminisced on the tour, agreeing King Princess was a kind, inspiring performer, and mentor. After a busy summer and fall of touring, the group has some new goals for their live performances. “We went on our first tour ever last year, so it was a huge learning curve…I’m really excited to play some headlining shows in the future,” Shore said. Altendahl added that their biggest goal is to create a live rock show experience. “My biggest dream is to put together a really cohesive show…like I want an outfit change…that’s my biggest goal,” Shore explained. The duo is also involved in the process of creating some remixes, with Shore doing vocals on a remix of friend Ethan Tasche’s song, “Tetherball,” and the recently released remix of Boyish song, “Legs” by Billy Lemos.

Shore described others remixing Boyish tracks as a fun process where “you feel less ownership over [the song] but in a good way… it’s like giving something that you made a new life of its own.” Involving others in their music-making process is a reminder of the unity and togetherness music makes possible. “I feel like music was my first experience growing up of real community,” Shore said. The internet connected Shore to her first sense of community within music, through a Tumblr community of fellow One Direction stans. “I had friends at age 11 who all loved One Direction,” Shore laughed. “I love how music breeds that in people where they can rally around one thing they love.” Shore translates this experience as a kid to her life now, singing alongside Altendahl for that same community who has a love for music. “I feel like a live show and an audience of people who are really passionate…there’s really nothing that can beat that experience,” Shore said. “Specifically within the queer community of artists, that’s such a beautiful space…especially touring around the world, you may be in a place where that community doesn’t exist outside of these shows for people…it means a lot to me to be a part of something like that.”

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HAILEY

KNOX

WORDS BY MUN AM PHOTOGRAPHY BY GABRIELLA HUGHES

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Hailing from upstate New York, HAILEY KNOX has become a captivating force in the music industry, enchanting audiences with her soulful vocals and skillful songwriting. In the bustling landscape of solo performers and her athome renditions of her songs, Knox stands out for her distinctive sound and the emotional depth she infuses into her music. Drawing inspiration from a diverse range of genres, Knox has carved her own path, creating a sonic signature that is unmistakably hers. As she continues to garner attention and accolades, including millions of streams and a growing fanbase, Knox finds herself on the brink of a breakthrough. With anticipation building for her upcoming projects, Knox is set to explore new musical territories and leave an indelible mark on the industry. I KNOW YOU’VE BEEN MUSICALLY INCLINED SINCE YOUR ADOLESCENT YEARS, DO YOU HAVE A STRIKING CORE MEMORY FROM THOSE DAYS? HAILEY KNOX: Believe it or not, I feel like I started dabbling on piano but then I gravitated towards guitar. We used to visit my family in Florida and I used to bring our guitars down to Florida and jam out. I think I was like seven years old? I remember playing “Blackbird” by The Beatles and learning how to play fingerstyle on the guitar. YOU’VE MENTIONED THAT SELF-DISCOVERY PLAYS A PART IN YOUR SONGWRITING PROCESS AND IT’S EVIDENT IN “FUTURE ME,” WHAT WAS YOUR MOST RECENT SELF-DISCOVERY? HK: I feel like I have a shopping problem. Well, I obsess over items on the internet and I have a hard time committing to a specific thing. I guess that's me with music sometimes since I make a lot of different genres that it kind of ties into a lot of things in my life. I think it's just going full on and trusting that my intuition is telling me this is the direction to go. That's kind of a self discovery. I think it's learning to completely fall into a decision I make and be like, ‘This is what I'm doing.’ YOU’VE SHARED YOUR PROCESS OF PRODUCING YOUR SONGS AND SEEING HOW MUCH HARD WORK YOU PUT IN, IT’S COMMENDABLE. WHAT DO YOU THINK WAS THE LONGEST OR HARDEST SONG YOU HAVE WORKED ON? HK: There's this one called “Already Over” that I've been kind of finishing up. So I write a lot with my boyfriend and we will revisit past times in our relationship and kind of pull from times that we broke up or times that we were just going through rough patches. Having something that we can pull back from makes a good song but it feels weird sometimes since we’re not in that spot anymore. DO YOU HAVE ANY TIPS FOR PEOPLE WHO ARE KEEN TO LEARN ABOUT PRODUCING? HK: When I first started, I was kind of dabbling on GarageBand and things like a loop pedal. You can get on GarageBand and just throw all your ideas onto the computer. I would say, just spend time by yourself and figure out the things you like. While I think collaborating is great, going into a room and not being sure of the direction you want to go can also be kind of confusing. So yeah, just kind of figuring out your likes and dislikes and being able to communicate those things is important. YOU’VE BEEN MAKING IT FOR ABOUT 8 YEARS NOW AND PROBABLY HAVE EXPERIENCED THE DRASTIC RISE IN SOCIAL MEDIA, HOW HAS THAT JOURNEY BEEN? HK: I guess the pressure is there– I also grew up with the change. I think it honestly ties into how important your branding is. Now with putting music out, you also kind of have to create an aesthetic and work on an image for

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yourself while maintaining a balance between those two. I've always been so focused on the music but I'm realizing you not only have to, you know, be making it easy to present it to people so that they can understand your craft better. TO CONTINUE FROM THAT, DO YOU HAVE ANY VAULT TRACKS YOU’D LIKE TO CIRCLE BACK TO AND RELEASE IN THE NEAR FUTURE? HK: I never really thought about it. I mean, I definitely have a lot of songs from when I started really producing and look back to believe that there’s still potential. It might be worth revisiting but I'm also creating a lot of new things that I love. There's this one song by Fanta that I teased on TikTok years ago that people still comment about and I naturally just didn't revisit it but maybe that one. There was something cool about that song! MUSIC EVOLUTION IS PART OF GROWTH AND IS INEVITABLE IN AN ARTIST’S CAREER, ARE THERE ANY SOUNDS OR GENRES YOU’D LIKE TO EXPLORE? HK: Yeah, I definitely would love to just explore and try different things but I wish I could just rap sometimes and go into that space. I don't know, that seems like it’s never going to happen but I like to listen to rap music. It truly does make you feel confident. AS A CREATIVE, THE NEED TO CONSTANTLY IMPROVE AND FIX YOUR CRAFT IS QUITE COMMON. WHEN DO YOU FEEL LIKE A SONG IS COMPLETED INCLUDING THE OVERALL PROCESS? HK: I think that's also a question I've been thinking about. Because you can naturally be an artist, creative or anything and go into a space of overthinking. The second I start to just obsess and overthink, it almost loses the magic. I think for me, the first initial idea I make always feels like the best and then when you sit with something for too long, you’ll find things you want to fix. So I definitely think it's good to give yourself some space and take it slowly so when you revisit it, it gives you a new perspective. I’m still trying to figure this out. SEEING HOW MUCH YOU’VE GROWN OVER THE YEARS, IT’S UNDERSTATEMENT THAT THE FUTURE HOLDS SO MUCH FOR YOU AND YOUR MUSIC CAREER. DO YOU HAVE ANY PLANS SET FOR 2024? HK: I don't really have any touring plans yet. I guess I just want to be in a place where I'm excited about the music I'm making and share more because I think I was quiet for a minute. I am really focusing on what I want this next project to look like and I'm spending a lot of time making things. Yeah, I guess plans for 2024 are continuing to evolve in my artistry and sharing more to the world. Maybe a future tour somewhere in there too! TO END THIS OFF, WHAT WOULD YOU LIKE TO SAY TO YOUR LISTENERS? HK: I read about and touch on a lot of different feelings and vibes within the music. So I guess if I'm giving you a song that makes you feel pumped up, I hope you can feel that energy through the record. And if it's a song where I'm kind of more emotional and passionately singing about a previous breakup, I hope you can feel whatever emotion it is through the music. Yeah, I hope people can feel the time that goes into the songs and the passion that goes behind those records.

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QUARTERS OF CHANGE 46

WORDS BY ARIELLA NIKITA LAI PHOTOGRAPHY BY JUSTINA BRANDT

In an ever-evolving world of music, QUARTERS OF CHANGE reminds us that the sounds of the 1990s and 2000s will never die. Composed of Ben Acker, Attila Anrather, Jasper Harris and Ben Roter, Quarters of Change first found their beginnings as a high school band in New York. Fast forward to 2024, the quartet is now leading New York’s alt-rock resurgence and are fresh off the road from their major headlining tour. Their latest album, Portraits, is set to be released on January 26th 2024, with singles “Heaven Bound,” “What I Wanted,” “Hollywood Baby,” and “Do or Die.” Returning with new sounds and inspirations, Portraits is an in-depth look on how far the boys have evolved in their music, and could be hailed as their best work to date. CONGRATS ON WRAPPING UP THE TOUR! HOW WAS THE WHOLE EXPERIENCE FOR YOU GUYS? WHAT’S THE MOST MEMORABLE HIGHLIGHT? BEN ROTER: Tour was great– the most memorable part was seeing fans that we’ve noticed at shows before and being able to say ‘what’s up’ again. It’s awesome. BEN ACKER: The first night, when we were playing in Virginia, we played “Do or Die” – the song hadn’t even been released yet, but people already knew the lyrics, probably from the Reels we posted. That was pretty cool. HOW WAS IT BEING ABLE TO PERFORM “T LOVE” WITH THE JONAS BROTHERS IN ALBANY? BR: It was really cool to play in an arena for the first time. BA: It was a trip. It solidified the confidence we have on stage– we played Webster Hall soon after, and I don’t think we would have been so animated and present if we hadn't played the Jonas Brothers show. I GOT THE CHANCE TO HAVE AN EARLY LISTEN TO YOUR NEW ALBUM, PORTRAITS AND I ABSOLUTELY ADORE IT. THE ALBUM REALLY ENCAPSULATES THE SOUND OF THE LATE-1990S/EARLY-2000S ALT ROCK SCENE IN A WAY THAT I COULD DESCRIBE AS NOSTALGIC, BUT IT’S ALSO FRESH AND DISTINCTIVE. WHAT WAS THE ALBUM MAKING PROCESS LIKE AND HOW DID YOU PULL FROM THAT INSPIRATION AND MAKE IT YOUR OWN?

BR: We wrote in a live room and then translated that material into demos we recorded in our bedrooms. Then, we went into the studio and re-tracked everything. I went to Jasper’s, finished all the vocals, added production, gave notes on the mixes. We got it mastered and that was the album! Definitely a lot of inspiration from 2000s/90s rock, a lot of British rock influences I would say. For me, I decided to base my artistic process – at least lyrically – on Thomas Mars from Phoenix. Some Radiohead influence, Thom Yorke– speaking more to a feeling than a stringent narrative structure. We created songs that really scratched our brains. BA: It was a cool one. Much faster than Into the Rift, but a lot more detailed. We went originally to a cabin in Woodstock, just the four of us, no computers. Then we brought the songs home, demoed, and re-recorded them. The whole process took about 6-7 months. Probably way more influences than I can name. Off the top of my head– Deftones, Prince, The 1975, Red Hot Chilli Peppers. SO FAR YOU’VE RELEASED FOUR SONGS FROM PORTRAITS AS SINGLES (MY PERSONAL FAVORITE IS “HOLLYWOOD BABY”), WHAT WAS THE REASONING BEHIND CHOOSING THESE FOUR SONGS OVER THE OTHERS IN THE ALBUM? BR: We chose these songs because they were some of our favorites, maybe with more pop appeal. We believe in all of the songs of the album, so it wasn’t hard to choose. BA: Each single was supposed to portray a band member, with the visuals aligning. I think “What I Wanted” is the one that represents where we’re going as a band, so that one made sense to lead with. Generally speaking, it’s easier to lead with the ‘rock’ song, and gradually get more pop-leaning, rather than the opposite. “Hollywood Baby” was one of the first ones written for the album, we were always proud of that one. It came about so simply and easily. As for “Do or Die” and “Heaven Bound” we all agreed that there was a banger element to both – I don’t know how else to put it. Unfortunately, the album wasn’t completely finished at the point we had to choose singles, so we didn’t actually have the entire album to choose from. It might’ve gone differently! But we don’t regret it, we’re all proud of those songs.

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HOW DOES PORTRAITS REFLECT YOUR GROWTH AS A BAND? WHAT MAKES IT DIFFERENT FROM YOUR PAST RELEASES? BR: It’s a real step up in professionalism….we took the project very seriously. There’s a Rick Rubin quote I always think of when we’re writing something new, he says something along the lines of “if you don’t think what you’re about to produce is some of the best stuff you’ve ever made, there’s no point in doing it.” We went in with that attitude of pushing ourselves to try new things, new styles, new patterns, new writing techniques – stuff like that, to see how we can play with our minds and drag out the gold. BA: I would hope that the music compared to Into the Rift sounds like a matured version of us. To me, the whole process of it just felt so much more professional. The way the four of us wrote, produced, and thought through these songs just felt more mature. A LOT OF ARTISTS ARE VERY PECULIAR WITH THE TRACKLIST OF THE ALBUM. IS THERE ANY PARTICULAR EFFECT OR STORY YOU GUYS WANTED TO TELL BY THE CURRENT ARRANGEMENT YOU CHOSE AND IS THERE A REASON BEHIND CHOOSING “WHAT I WANTED” AS YOUR FIRST TRACK AND “KEEP MY BLOOD” AS THE END TRACK? BA: “What I Wanted” is the first track because it’s the most representative of where we’re at as a band. “Keep My Blood” is the last

song because it’s got a great outro. It felt like a good way to end the album and say goodbye to this chapter. BR: It flows well, we opened the album with this hard-rock thing and then ended it with this really epic track that goes into a new style at the end. ARE YOU GUYS PLANNING ON TOURING FOR THIS ALBUM? WHAT TRACK ARE YOU MOST EXCITED TO PLAY LIVE? BA: We will definitely be playing this album on tour. Most excited to play “Turn It Away.” BR: “Heaven Bound” and “What I Wanted” are so much fun to play live but I can’t wait to do the whole thing live. FOLLOWING THE ALBUM RELEASE IN EARLY 2024 WHAT ELSE DO YOU GUYS HAVE PLANNED FOR 2024 AND WHAT ARE YOU LOOKING FORWARD TO THE MOST IN THE NEW YEAR? BA: We’re most excited for festivals– can’t say which ones just yet. Such a confidence booster and a solidification of “we’re here, we came this far.” So many bands have dreamed of this– we have dreamed of this. Otherwise, we’re always writing and will be writing through the year. Will continue releasing until we die.

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10 THINGS TO KNOW ABOUT: QUARTERS OF CHANGE WHAT ALBUM IS YOUR 2023 ALBUM OF THE YEAR? BR: I’ve been pretty obsessed with The Enemy We'll Live and Die in These Towns by The Enemy. JH: Space Heavy by King Krule AA: Aftërlife by Yeat BA: New Paramore album

IF YOU COULD ONLY EAT ONE THING FOR THE REST OF YOUR LIFE, WHAT WOULD IT BE? BR: I love waffles. JH: Spam AA: Good pizza - even though I’m gluten free BA: Sushi

WHO WOULD YOU LOVE TO COLLABORATE WITH IN THE FUTURE? BR: Rick Rubin would be sick to work with and Mark Ronson. JH: Playboi Carti AA: Rick Rubin BA: Hayley Williams

WHAT ERA OF MUSIC WOULD YOU KILL TO EXPERIENCE FIRSTHAND OR EXPERIENCE AGAIN? BR: I am dying to experience the future. JH: 80s. AA: 90s! I would have thrived. BA: I would’ve loved to see the first Woodstock.

WHAT’S SOMETHING YOU ALWAYS HAVE IN THE FRIDGE OR PANTRY? BR: Seltzer water JH: Beer AA: A backstage pass BA: Coconut water FAVORITE THING TO DO THAT ISN’T RELATED TO MUSIC? JH: Drink beer. AA: Paint. BA: Skating. WHAT’S A MUST-WATCH WATCH TV SHOW OR MOVIE? BR: The Breakfast Club JH: Poor Things AA: The entire Godzilla movie franchise, specifically the American one, the Minus One. Godzilla is amazing. BA: Almost Famous is a banger. So is Leave the World Behind. WHAT WAS THE THING YOU MISSED MOST DURING TOURING? BR: I miss my parents JH: My bed AA: My sweet comfy bed BA: Good sushi IF YOU COULD MEET ONE PERSON (OR BAND), DEAD OR ALIVE, WHO WOULD IT BE? BR: John Lennon. The Beatles. With John Lennon. Paul would be pretty sick too. JH: Larry David AA: Dan Carey from Tool BA: Prince. RIP. WHAT’S THE BEST HIDDEN GEM IN NYC? JH: Hungry Burrito AA: M Shanghai in Greenpoint BA: Freemans Alley. You know it or you don’t. BR: It wouldn’t be a hidden gem if I exposed it.

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Sarah Kinsley WORDS BY

UMA SNOW

PHOTOGRAPHY & CREATIVE DIRECTION

VANESSA LE

PHOTO ASSISTANT – VIVIAN CHAN MAKEUP ARTIST – HANNAH LAUREN STYLIST – KASSI REYNA STYLING ASSISTANT – ANDREA RAYMER ONSITE ASSISTANT – JESSICA SPIERS

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MUSIC LIVES IN

Sarah Kinsley.

I can see it in the tender care with which she speaks of it, in the way she fondly recounts its constant presence in her life. Over an afternoon Zoom call, she tells me of how she grew up alongside the violin and piano, how she shyly began to sing in her teenage years, and how she studied music at Columbia University. Now, a few years since she began producing her own work, Kinsley has cemented herself as a rising star in the realm of pop. With the momentum of her viral 2021 release, “The King,” Sarah Kinsley has sold out headlining shows, played the most coveted festivals, and increasingly experimented with her music.

All of Ascension was made in Kinsley’s apartment recording studio, alone. With the time it takes to put out a record, I wonder if the solitude ever drives her crazy. She says that it can be isolating and demanding, but also cathartic. She treats her work as something with a life of its own; the process is endlessly asking, “how does this song demand to be expressed?” and its completion is a feeling of having “discovered something rather than made it.” She breathes life into what already exists inside her. On days that words come slower than usual, she finds that people-watching helps clear writer’s block.

Kinsley’s latest creation is string renditions of key singles from Ascension—her alternative-pop EP that explores passing time and memory through lyrics and melody. I listen to Ascension religiously these days, so the upcoming release feels extra special. The first two songs, “Oh No Darling!” and “Black Horse,” accompany me on my ten-minute drive back from work, when I roll my windows down and screamsing into the cold evening air. The other three, “Ascension,” “Lovegod,” and “Sliver of Time” are mellower; they play in my bathroom as I wash off the grime of the day and wind down for the night. Between the EP’s synths and beats, inseparable from her identity, are hints of Kinsley’s classical roots. When I ask how she balances classical with pop, she tells me “the compromise comes very naturally nowadays.” She used to struggle with reconciling the desire for poise and perfection with the experimental nature of pop. Now, it’s fun to play with the two, to see how she can blend “violins, quartets, ensembles, the piano, or different styles of classical or romantic texture” that she loves into her music.

“Sometimes it's very hard to feel like there's this world inside of you that you need to get out, or something that you need to say. And then you go outside and you realize that everyone else has a sort of life that lives within them. A world that is so intricate and detailed and maybe even more complex than your own.” Here, she laughs, pausing to make sure I know that she people-watches in the least creepy way possible. I tell her, don’t worry, I do it too. She continues. “It's really awesome to remember that there's so much life outside of you—that's always a good reminder for me about writing.” Despite being a self-evident truth, the vastness of the world continues to awe. “It's such a simple thought. It feels almost silly to say out loud. Obviously everyone has their own thoughts, but it can sometimes make you feel really small. Sometimes, you think, ‘my god, there's billions of people who laugh at the same things that I do and enjoy the same music I do.’ . . . It's nice to feel a bit smaller sometimes because it makes the art that we make feel slightly bigger.”

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DRESS & TROUSERS: Allina Liu BOOTS: Charles Keith EARRINGS: Notte

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The art she makes is already leaving its mark. “This is the stuff that really makes me tear up,” says Kinsley. “I've read stories from people about relationships that they've gone through or people that they've lost, . . . how they've sort of woven songs from Ascension and other EPs into their life. . . . And it awakens something just really emotionally tender within me. I always say this, but I do really feel connected to people who listen to my music and know it front to back, because I just feel like they relate to it in a way that I can't express via language. . . . I really carry it with me when I’m writing new stuff as well. It’s very brave. It’s courageous of people to share that with someone they don’t even know on the Internet.” Kinsley has noticed that “Black Horse” especially resonates with fans, making it her current favorite song to play live. The lines “To stop playing your first born daughter / In your American dream” elicit a reaction from the audience like no other. “That’s very cathartic for me to sing. And having it echoed back to me through other people was just really, really beautiful.” I say that it must be surreal to have words written in solitude sung back to you by a crowd. Kinsley emphatically agrees. “It’s almost overwhelming. . . . It really baffles me every time it happens. I really hope I don’t ever get over that feeling.” Just as Ascension has impacted its listeners, the EP has also brought about a shift within Kinsley herself. The core of the concept is fairly spiritual—it explores ideas of alternate universes, where feeling and memory exist tangibly. Despite not being particularly religious, the creation of this almost divine world for parts of herself to exist in saw one of the first times Kinsley felt truly grounded in her music. She says her biggest emotional release came from “Sliver Of Time,” which revolves around an idealistic moment or a memory of love. For Kinsley, the song serves as a reminder that, no matter what happens in her life, she has had moments of true happiness, of real love. These slivers of time, she explains, are more meaningful than any future she can promise herself. Writing Ascension, working through her worries and emotions, brought to Kinsley a philosophy she had not allowed herself to believe in, one of “being happy with the temporality” of things.

DRESS: 3.1 Philip Lim BOOTS: Charles Keith RINGS & EARRINGS: Keane

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DRESS: July Li BOOTS: Charles Keith RINGS & EARRINGS: Keane

Understanding and accepting the swiftness of time is as difficult as it is important for somebody like Kinsley, who is in her early twenties and recently out of college. Years of education passing in a blink of an eye is jarring. It’s bizarre, she says, after having spent your whole life studying, to have that suddenly no longer be a part of you. She misses it sometimes, but the transition from student to full-time musician has been made easier by her team, friends, family, and partner. “I feel like I'm surrounded by people who understand my vision and understand what I want to do in the time that I have as an artist.” Keeping smart and powerful women in her circle is especially important to Kinsley. I understand wholeheartedly—the support and genuineness found in these bonds between women are nothing short of magical. Kinsley tells me stories of her best friend, who now lives halfway across the world. She tells me of her mother, who has given Kinsley the same advice for years. Everything happens for a reason. Words that, for a long time, she found to be extremely unhelpful. In retrospect, Kinsley thinks she would now give similar advice to her younger self. “I regret sometimes worrying so much about what’s to come, what my life is supposed to look like, . . . or what I’m supposed to enjoy instead of just allowing [things] to make me feel good.” While those fears may never completely disappear for anyone, Kinsley has slowly grown to live in the moment and accept life as it comes. The process of writing and releasing records has been integral to that growth. She takes bits and pieces of herself to weave into her art and it, in turn, transforms her into someone new. Speaking to Kinsley, I was struck with how she spoke, so eloquent and measured, injecting thought and care into every word. Her examination of time, memory, and herself are just as transparent in the poetic introspection of her music. Now, as Sarah Kinsley’s journey through the ethereal realm of Ascension comes to a close, I can only wait to explore whatever new worlds she builds next.

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WORDS & PHOTOGRAPHY BY JORDIE HENNIGAR MODEL & MUSICIAN — RACHEL HIRST

The mirrorball is infamous for lighting up a space with ‘70s bliss and disco fever, but in Rachel Hirst’s upcoming track “Disco Ball” it becomes a beacon of hope. In Hirst’s recent step into the world of music she shares that writing has been an outlet for coping with anxiety since she was a small child growing up on the west coast of Canada. Hirst has a shy, but playful nature and explains– “I’ve always leaned into expressing myself through sound and I’m finally finding the confidence to turn it into concrete music and visuals... which feels so strange and fulfilling.” In recent work she expresses the idea of using a disco ball to brighten up a room that seems to lack light; a representation for her own journey with her mental health. The “Disco Ball” visuals, which were brought to life through collaboration with Jordie Hennigar, reflect a dreamlike world where Rachel’s bedroom is displayed on an empty beach. The shoot embodies an ethereal space of reflection and loneliness, reminiscent of Hirst’s layered vocals and raw lyrics in her “Disco Ball.” The track, produced by Vince Vaccaro, is set to be released in the summer months on her debut album about personal growth and the occasional lonely disco.

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PHOTOGRAPHY JORDIE HENNIGAR MODEL & MUSICIAN RACHEL HIRST

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LUNA LUNA WORDS BY MUN AM PHOTOGRAPHY BY ABBY MUELLER

In the heart of Dallas, a musical constellation known as LUNA LUNA has emerged, casting a spell with their mesmerizing blend of indie-pop enchantment. Comprising the talents of Kavvi Gonzalez (lead vocals), Danny Bonilla (vocals/ keys), Kaylin Martinez (drums) and Ryan “Gordo” Gordon (bass/backup vocals), Luna Luna is on their way to captivate more listeners through their infectious energy. As Luna Luna continues to garner attention and ignite stages with their magnetic performances, it's evident that this quartet is poised for a meteoric rise. Step into the cosmic realm of Luna Luna, where musical magic meets the undeniable chemistry of its talented members, and discover the sonic universe they are crafting with each captivating note. I’M CURIOUS TO KNOW IF YOU REMEMBER EACH OTHER’S FIRST IMPRESSION, CAN YOU SHARE IT WITH ME? KAVVI GONZALEZ: When I first met Kaylin, I was really different. I was still in my bubble, I was still in my shell. She definitely met a different version of me. Kaylin is how she is now, chill and laid back. I didn’t know she made music till later. As for Ryan, I only knew him as a musician. I would see him play bass for other bands. So, I just saw him as a musician. I met Danny when he was doing an open mic and he asked us to stay back and watch his performance. So my first impression of him came from watching him perform. KAYLIN MARTINEZ: Oh, it's been so long. I met Kavvi not as a potential bandmate but as a friend over coffee. I was like “Oh, this guy's really, really sweet” and he was also kind of shy. I also had no idea he made music until two years later. As for Ryan, we met at my storage unit. I remember him being the best bass player I've ever met. I remember meeting Danny when he was very young and thought he could really sing. He had this drive to him. RYAN GORDON: Yeah, Kaylin hit right on those impressions. I didn't think I was going to be making music, let alone,

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years later with Luna Luna. I heard the band buzzing TION), DO YOU HAVE ANY SPECIFIC GENRES YOU’D around in the beginning and just how talented they were. LIKE TO EXPLORE IN THE NEAR FUTURE? I didn't know what I was getting myself into but it was KG: Brazilian Funk, the rhythm just hits and the drums are a beautiful thing. When I met Kaylin, I was blown away. heavy. That’s a genre I like right now, I don’t know if we She’s one of the best drummers, if not, the best drummer could do it but at some point, maybe. I’ve had the pleasure of playing with and still have the DB: Same with Kavvi, Brazilian Funk. We should try that pleasure of playing with. I remember catching Luna Luna someday! at a house show and really thought they had the whole KM: I would say Hyper Pop, we already kind of dipped package. So, I was trying to play off cool when they asked our toes in that genre and it’s a cool genre. me to join the band but seriously, I was screaming inside. DANNY BONILLA: Okay, I think I recall our first practice to- YOUR DISCOGRAPHY IS A BILINGUAL MIX OF SPANISH gether. At that point, I hadn't really known anyone. I’ve talk- AND ENGLISH. WAS THIS SOMETHING YOU WANTED ed to them but never really got the chance to get to know TO INCORPORATE FROM THE BEGINNING? HAS THAT them. We were practicing in a very small room so we had no SOMEHOW LED YOUR CREATIVE PROCESS IN MAKING choice but to be close, physically and in every sense of the MUSIC? way. I was definitely terrified and intimidated. Up until then, KG: No, it happened organically. We were never like, I knew everyone was pretty much an expert at what they do “Hey, let's make a song that has English and then let's and I've never played piano, let alone in front of other peo- sing the Spanish part in between.” It just came naturally ple. I embraced the “fake it till you make it” mindset for sure. and if there’s something missing, I guess that’s when the I was extremely scared but I could tell that they're all really Spanish parts come into play. Lately, for our new songs good people. It never even crossed my mind whether I was and the new EP, even Danny's solo stuff has more Spanin the wrong place, I always knew I was in the right place. ish in it. It just feels right. Everyone had a very warm, loving energy so it already felt KM: Yeah, to add on, I was just gonna say it's cool when like family to begin with but I think proving my worth was we're playing songs live and since half of the songs are what scared me so bad. also in English, you start hearing people sing back to you. It really elevates the mood. YOU JUST CAME BACK FROM TOUR WITH MICHAEL SEYER, WHAT WAS THAT LIKE? KG: I feel like it hasn't registered yet for me. We've been back for like less than 48 hours and it just feels like a whirlwind. While on the road, I feel like you become a different person because your life is what you do. We were performing nearly everyday and so we just became performers for a month, that’s what we were. TO CONTINUE FROM THAT, I KNOW TOURING TAKES A MENTAL TOLL ON MANY ARTISTS AND BANDS, WHAT WAS IT LIKE FOR YOU? KM: Mentally for me, I think it's pretty good for the first few weeks and then I think I eventually run on kind of a routine. I definitely thrive on alone time and I think that is what’s good about all of us, we know how to read each other and when to give each other space. So even if we are feeling a certain way, we are comfortable enough to kind of navigate those feelings around each other. That helps us a lot. DESCRIBE YOUR RECENT EP L.L. AS A HINGE BIO. KG: I think it would be “wanna dance?” KM: Something short and sweet, maybe a dancing emoji RG: Mine would be “bedroom to club?” DB: I’d pick a lyric from one of the songs BEATING THE BEDROOM POP ALLEGATIONS IN YOUR RECENT EP (AS TAKEN FROM YOUR INSTAGRAM CAP-

YOU’VE BEEN A BAND FOR ABOUT 6 YEARS NOW, DO YOU HAVE A STRIKING EPIPHANY OR LESSON YOU’VE LEARNED FROM YOUR MUSIC CAREER? KG: I think growing up like in school, I was kind of quiet and I didn't connect with many people in my class. I was struggling to find a deep connection with these people and I think it's because there probably weren’t any creatives around me. I guess that’s my epiphany, if you do have the right skill set and there are the right people in the room, things will work out. When you're in the room with the wrong people, that can demotivate you but you just have to keep trying to meet like minded people. RG: I think for me is just the acknowledgement of the chemistry we had, especially from the beginning. I was in three or four projects before and I guess I never really knew what chemistry was in a band until I was in this one. That's something you can't really force. Sometimes, you just get a group of the most talented people and something could be missing from that equation. It's kind of hard to explain but it definitely goes a long way in terms of how the band functions. Yeah, that’s my recent epiphany. DB: My recent one I believe is trusting the universe. That's kind of how I've been treating a lot of things lately. Just don't worry about it and take care of it from a distance. It’ll be fine and if it's not, it'll let you know. OUR THEME FOR THIS ISSUE IS ABOUT TOGETHERNESS, I’M CURIOUS TO KNOW IF YOU HAVE ANY MOMENTS IN YOUR MUSIC CAREER WHERE YOU FELT THAT SENSE OF COMMUNITY? KG: Maybe more with the openers. Every time we tour, we usually have different openers, so it's kind of cool getting to build that community with other artists that also grew up in their own way and have their own journey to become musicians. Also, when other people come to see us, they're also a part of that community. It's just like being in a room with people that are fans of music. KM: Yeah, I agree. I think on tour especially, we're kind of all each other have. I mean, we have our openers and stuff but we see each other day in and day out, we wake up with each other and we brush our teeth in the same room. I think that's the definition of community. We're also living together while on tour, so we're looking out for each other, making sure everyone's eating and drinking water. We all kind of have our roles in the setting. Danny, Ryan and I all but I think on the road is like the closest we ever get.

TO END OFF, DO YOU HAVE ANY WORDS FOR OUR READERS? KG: I would say new music– an evolution from our music. They can expect new things. RG: We have a lot of songs in the vault and many new ideas to share.

EVERY ARTIST HAS “THE” RECURRING SONG THEY PLAY ON TOUR, WHAT DO YOU THINK YOURS WAS? KG: Water by Tyla KM: Second Chances by Shinedown RG: Rush by Troye Sivan

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TRIVIA ROUND WITH LUNA LUNA WHAT'S YOUR GO-TO CARPOOL KARAOKE SONG? DANNY: “I Feel It Coming” by The Weeknd KAVVI: “Lose Yourself” by Eminem KAYLIN: “Semi Charmed Life” by Third Eye Blind RYAN: “Drinking Problem” by Midland WHAT IS ONE SONG THAT I CAN CATCH ALL OF YOU BELTING THE LYRICS TO? DANNY: “With You” by Chris Brown KAVVI: “Give Me Everything” by Pitbull KAYLIN: “The Reason” by Hoobastank RYAN: “Water” by Tyla IF YOU COULD PERFORM ANYWHERE IN THE WORLD, WHERE WOULD IT BE? DANNY: The Bean Cave in Denton, TX KAVVI: Space KAYLIN: Tower Records in Tokyo, Japan RYAN: Wimbledon Stadium in London, England WHAT'S YOUR IDEAL MUSIC FESTIVAL LINEUP? DANNY: Crazy Frog, DJ Khaled, NBA Young Boy, The Rock KAVVI: Luna Luna, Michael Jackson, Beethoven, Peppa Pig KAYLIN: SZA, Deftones, Staind, Slow Pulp, and Momma RYAN: Tame Impala, SZA, Tyler, Frank Ocean, Still Woozy ANY VAULT TRACKS? ONES YOU’D LIKE TO REVISIT IN THE FUTURE? DANNY: No looking back, only future tracks! KAVVI: A Cumbia song that’s in the works KAYLIN: I wouldn’t say it’s in the vault, but I’d love to do a remix of our song, “Fierra.” RYAN: I would love to revamp and remix Fierra IF YOU COULD COLLABORATE WITH ANY ARTIST, DEAD OR ALIVE, WHO WOULD IT BE? DANNY: Prince/Stevie Wonder KAVVI: Tyler, The Creator KAYLIN: Kacey Musgraves RYAN: Tame Impala DO YOU HAVE A FAVORITE TOUR SNACK? DANNY: Quest Bar KAVVI: Fudge brownie from Love’s KAYLIN: Monterrey chicken rollers from the Love’s gas station RYAN: Trail mix and beef jerky

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In the midst of the droning synthesizers and earworm melodies, an arresting voice sings “Crush me under the weight / Bitterness, jealousy, hate / ‘Cause I’m a fucking cockroach and you can’t kill me.” The title track, is in fact, a short yet powerful song that reckoned sincerely with resilience to the tiniest detail — a beautiful introspective that narrates the story behind Roach. That is not all, of course. Listen closely and notice how the record perfectly captures the head-spinning highs and soul-crushing lows of one woman’s imperfect life. But at its heart is her truth. MIYA FOLICK’s truth, to be exact. Folick continues to shine as a brilliant writer whose lyrics brilliantly narrate the ugliness, joy, and struggle of a personal transformation. “It’s an album about resilience, growth, and honesty. It’s about trying to get to the core of what life really is,” she detailed. “I think over the course of writing this record, I actually did the work and got closer to the person that I really want to be. But that path isn’t linear, I still have moments where I disappoint myself, where I’m angry with myself. That’s why the album might feel a bit emotionally dizzying. It’s not a straight path.”

FOLICK

MIYA

WORDS BY MARA GO PHOTOGRAPHY BY JUSTINA BRANDT

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CAN YOU WALK US THROUGH YOUR WRITING PROCESS AS AN ARTIST? MIYA FOLICK: I think that the reason why my music is like that is because [I think] that’s generally my outlook or my feelings. I don’t know exactly where it comes from. Like most people, I can get pretty down and depressed, but there’s a little seed of hopefulness that always lives inside of me and that is reflected in the music. It’s not something that I’m necessarily trying to do. It’s just the way that I am and my music is very honest so it reflects where I am at. There is definitely some editing and curation that goes into choosing which songs are going to be in the album and trying to tell a story there. So when I’m writing it’s pure expression: What do I like? What feels good? What feels honest? What feels good to sing? And I carve out the story a little bit more — at least that’s what I usually do. Everytime I make a new project, I approach it a little bit differently, so we’ll see what will happen on the next one. LET'S TALK ABOUT ROACH — HOW IS IT WORKING ON YOUR SOPHOMORE ALBUM? MF: Working on Roach was like speed writing — think several songs a week. It just feels like I have so much to say and to express. The album is definitely like a comingof-age story — there's a lot of growing-up that happens and I think that is what I was writing from. I was writing from this place of wanting to change my life, trying to be the person that I wanted to be but continuously failing. There’s so much emotion in that place because you’re constantly striving and you’re constantly disappointing yourself. And so there is just like this pendulum swing of intense emotion. It's interesting now that I’m working on my next body of work and I’m writing a lot slower this time. Rather than writing a million songs and paring it down, I’m trying this time to carve out the exact songs that I want to make and those are the ones in the record. On Roach, I wrote a ton of songs and pared it down with the idea of the album feeling like there was some sort of growth and discovery happening but not making it feel too much like a happy ending where I just learn all the lessons that I was supposed to learn and then become a perfect person. I was trying to build a narrative but allowing it to have a little bit of backsliding built in and a bit of a cyclical nature to the story. HOW IS ROACH DIFFERENT FROM YOUR FIRST ALBUM PREMONITIONS? MF: Roach definitely feels more direct — something that speaks volume about the difference between the first and second record. My interest is now set on a raw kind of unadorned lyrics, the sort that narrates a very slice of life that feels conversational and honest. While Premonitions is still a very personal and honest record, it was

focused more on experimentation where the meaning wasn't as obvious. It was a little bit more obtuse compared to my sophomore album where there is just a simpler approach. I guess it doesn't necessarily reflect a change in me. Now that Roach is out, I’m starting to reconnect with the idea of making something that is a little bit harder to penetrate lyrically again. It doesn’t mean that the songs won’t be approachable. I don't like making abrasive music or music that makes you feel like you don't understand. But it’s more on allowing the lyrics to be more open-ended about what it could be about. THE TITLE ALSO PAYS HOMAGE TO CLARICE LISPECTOR'S THE PASSION ACCORDING TO G.H. — A LITERARY MASTERPIECE THAT ALSO INFLUENCED YOUR WORK. CAN YOU TELL US MORE ABOUT THIS, HOW IS IT REFLECTED IN THE ENTIRE ALBUM AND HOW YOU RESONATE WITH IT AS AN INDIVIDUAL? MF: The book was so arresting for me. It is more of a philosophical fable of a novel — not much really happens but the main character is basically grappling with what it means to be alive and these small moments of clarity that we have where suddenly life feels so much easier. Of course, everything will feel like you're gonna everything is going to be easy from now on because you figured this thing out and then lo and behold moments later something happens and you behave just as you had before you had this realization. I think this is where I resonate the most. Beyond that, Clarice Lispector has one of my favorite writing styles. Every sentence is like a knife — there is so much passion. It's a really interesting way that she writes so I think it was very inspiring for me philosophically and then also just as a writer and as a language lover. Reading the book probably put this idea of a cockroach in my head subconsciously. I eventually wrote the song “Tetherball" which references a cockroach in a verse: “Curled up like a cockroach in the dirt, curled up like a roach in the dark.” It was the time where I started thinking about this idea of a cockroach and started kind of like soft floating the idea of naming my album a name. Soon enough, I wrote Cockroach and then it felt like okay this makes sense to call the album Roach. It was at the same time the pandemic happened and my album was put on hold for a bit due to lockdown. I think after going through that year it made it seem like or through those years it made it seem like Roach was an even fitting choice. Everyone was feeling like a little bit burnt out on having to be so resilient and um and so yeah it made sense I feel like everyone was kind of in this like roach mode we're all just like surviving and and yeah so I called it Roach.

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WHAT IS THE MOST PERSONAL TRACK OR VERSE YOU’VE WRITTEN IN THE ALBUM? MF: It’s probably “Tetherball.” The track feels lyrically the most revealing. I honestly don't know what it's like to listen to that song as a person who didn't write it. When I sing that song or when I hear it really takes me back to a certain point in my life. It reminds me of like apartments that I used to live in and it feels very personal. YOU ALSO RELEASED “WHAT WE WANNA” FROM THE BUCCANEERS! NOW, WE WANT TO KNOW THE STORY BEHIND THAT — HOW DID IT FEEL THAT YOU WERE GOING TO WRITE A TRACK FOR A SERIES? AND HOW WAS THIS DIFFERENT FROM WRITING TRACKS FOR YOUR ALBUM? MF: I love writing on a prompt. It feels so freeing because it doesn't need to be about me. I really enjoy the feeling of being in service to somebody else's vision because I'm constantly having to be the person with the vision and that can be a lot of pressure and pretty exhausting. Warpaint’s Stella Mozgawa showed me the scene that we were trying to write. The track is already built — it has some bass and drums so I wrote it super fast. It was just really fun. Also, the scene that the song is meant for is such a fun scene — something that you can really relate to if you are a person who's ever gone out with your friends. It’s the idea of walking down the stairs and drinking champagne with an air of brattiness to it. But there's also this youthful energy, this camaraderie. And so I feel like it was pretty obvious to me what to do. LCD Sound System was also one of the references and I love that band. So I found it really enjoyable. YOU ARE ALSO OPENING FOR MITSKI IN HER LONDON TOUR THIS MAY 2024! ANYTHING YOU ARE LOOKING FORWARD TO? MF: I love Mitski's new record and I'm excited to see her show and at the same time open for her show. I also love London so it's nice to have several dates in one city. The weather is said to be really beautiful at that time. I hope it's warm enough for me to go swimming. It could be really fun to go swimming in the ponds! HOW WOULD YOU WANT TO BE REMEMBERED AS AN ARTIST? MF: I don't really think about that. I think I've had some interesting conversations with friends but I don't really think about my legacy. I just hope that people find comfort and joy in my music. I just love sharing it with people.

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cherry

coconut

dragon fruit durian

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grapefruit

guava

horned melon

longan

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papaya

persimmon

pink lemon pitaya

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pomegranate pomelo

rambutan raspberry local wolves • 93

TWIN FLAMES

WORDS, PHOTOGRAPHY & CREATIVE DIRECTION BY VANESSA LE PHOTOGRAPHY ASSISTANT & GAFFER — ASHLEY CHANG & VIVIAN CHAN BTS VIDEO & PHOTOS —KENNETH TAN, BELLASIMA DELARA, JORDAN WEISS SPECIAL THANKS — MARTIN MAMANGUN, JUNG KIM, MATT DIEGO

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Twin flames, often referred to as "mirror souls," embody an intense spiritual connection between two individuals who are believed to share a profound bond. Picture a single soul divided into two, and you encounter the essence of twin flames – two halves magnetically drawn together. This soul-deep companionship elicits a sense of profound unity and familiarity, akin to finding one's true home. A shared understanding creates an unbreakable "us-against-the-world" union. However, the intensity of a twin flame connection can also give rise to challenges. The convergence of such similar energies can lead to clashes, surfacing latent toxic traits. Yet, this seeming contradiction serves a purpose. The twin flame's role transcends that of a life partner; it's a catalyst for self-discovery and spiritual evolution. As twin flames navigate the intricate dance of closeness and contrast, they embark on a journey towards profound self-love and personal growth. This voyage of transformation is the very heart of the twin flame experience. Drawing inspiration from body thermal imaging, my photo series seeks to visually translate the depth of the twin flame connection. Body thermography employs color to reveal temperature variations within the human form, offering insight into inflammation and anomalies. Within this visual narrative, the heart, hands, and heads emerge as sources of the most intense hues – a testament to their association with the diverse love languages inherent to human nature. Through this series, I aim to capture not only the intense heat of twin flame unity, but also the contrasting coolness that signifies individuality. The imagery resonates with the paradox of twin flames, celebrating their ephemeral nature while emphasizing their profound impact on catalyzing self-awareness and inner growth.

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Tatiana Diaz de Leon

she/her

Content Coordinator; Buyer at local buy-sell-trade

Ontario, California

@t.atiana7

N/A

Young Dong Tofu House in Chino Hills oat milk matcha latte or oat milk hazelnut latte depending on the day

started my third rewatch of Grey’s Anatomy; Boys Planet! “Waiting to Blossom” from Devotions by Tara Monjazeb on Substack Honey by Troye Sivan Crochet, experiment with outfit combos, take bubble baths 102

Morning walk while listening to a podcast, take a fresh shower and put on a fun outfit, get a breakfast burrito from a new local spot Go thrifting and hit the jackpot, stop by a cupsleeve event with friends, get to-go sushi picnic in the park Concert for one of my favorite artists, late night munch (in n out or a bowl of ramen, depending on the mood)

FOR YOU TO KEEP IN PRINT magcloud.com/user/localwolvesmag

SHOP NOW, SHIPS WORLDWIDE.

In retrospect, you just say, yeah, everything happens for a reason.

And it’s the most comforting advice I’ve held onto.