ISSUE TWO
featuring
“NEW MUSIC IS COMING.” p. 27
sleeptalk
plus!
poetry & prose from our readers p. 14 FALL 2018 suburbanrose.com
+ the unlikely candidates / tri patterns / king complex / peter jessy & more
sponsored
SO, DO YOU ACTUALLY
HATE DRUGS? Hate Drugs, formed in Bakersfield, CA circa 2014, is the beautiful brain child of lead singer David Caploe after he released the self-produced EP Rough Daze. Soon after, the rest of the band joined: Josiah Caploe, John Irwin IV, Norman Skidmore, and Adrian Diaz. Mix in a little sugar, spice, and everything nice and you’ve got yourself a pretty sick band.
After releasing two hit singles this year, “Drive Me Crazy” and “Oh My,” they teased quite a bit about releasing another full length album later this fall, and even announced a spooky southwest tour set to take place this October. I think we can all agree that Hate Drugs is something very special, and their consistent growing fan base seems to be the proof. Big things are in store for these boys, we can’t wait to see what they tackle next! head over to thehatedrugs.com for tour info!
Photos: Jake Tovar (MOTVD)
They’ve come a long way since they released their first EP Beach Weekend, whose most beloved single “Never Wanna Leave” recently hit 1 million listens. This past March they embarked on their Tsunami Soul II Spring Tour, which was their first time traveling all over the nation. Talk about some rough daze *ba dum tiss*. They hit the road again in July for their TSII West Coast Summer Tour, and played alongside some other amazing artists such as Sleeptalk, Jet Black Alley Cat, Ritt Momney, mustrd. and DBMK. Both tours were managed and booked by Bad Attitude Media’s very own Chelsie Byrum.
ROLL CALL Editor-in-Chief
Head of Writing
Writers
Alex Music · Check it:
Silvia Pellegrino · Check it: Peter
Ian Bledsoe · Check it: MRTHA
Spooky Song Recs (58) IG: @alexmvsic
Jessy (46) Twitter: @made0fgiass
(38) Twitter: @yrthroat
Preston Thurler · Check it: Tri Pat-
Junior Editors
Photographers
terns (50) Twitter: @payrentwithfun
Sandra Garcia · Check it:
Taylor Brielle · Check it: SLEEP-
Karoline Wechselberger · Check
FEMALES? In MY Concert Crowd? (22) IG: @garciuhs
Molly McCaul · Check it:
A Celebration of the Record Store (42) Twitter: @houseonalake
TALK (27) IG: @taylorbrielle_
Bethany Camp · Check it: Album Covers Break Their Silence (4) IG: @bethany.camp
Alexandra Thomas · Check it: The
it: Masked Musicians: Getting To Know The People Behind The Costumes (18) IG: @karowech
Brett Wodon · Check it: Politics in Music? (36) Twitter: @sonovthedawn
Unlikely Candidates (10) IG: @aetphotos
Head of Photography Gabrielle Miranda · Check it:
Young Artists of Manchester, New Hampshire (53) IG: @l0vinggabby
WE
Disclaimer: Material from this magazine may not be reproduced without permission from its owner, which when not stated is Suburban Rose Magazine.
Social media icons provided by Icomoon and Bogdan Rosu
OUR STAFF
ONE YEAR OF SUBURBAN ROSE. a note from alex music, founder & editor-in-chief
A
2
Issue Two
little over a year ago, I decided that I wanted to start this magazine. It feels weird to call this an anniversary issue since we’ve only had one other formal issue before this, so I’m not going to. But I do want to dedicate this note to the past year. Last fall is actually the first time I sat down trying to plan out issue one, but I ended up completely abandoning that draft because I didn’t want to begin creating such a time-consuming and important part of my vision so early on and without a true audience or the right resources. It proved to be a good choice to wait, and I advise anyone that might be in a similar position to wait too. I was so pleased with how issue one ended up turning out, with Jena Rose as the cover and the inner pages full of other amazing musicians. Of course, none of it would’ve been possible without the work of both our hardworking staff and community members. This issue is the same. I am beyond excited that Sleeptalk is the cover this time around. How cool is that? Wait until you flip to page 27, because the photoshoot is just stunning. And dead center is a pullout poster, so, yeah, get ready for that. It’s been a pleasure to see the work of myself and the SR staff mature even in just the past few months between this issue and the last. It’s crazy that we’ve gotten this far. So sit back, relax, and enjoy issue 2. Check out the featured artists (because we’re sure you’ll dig them), and check out our extremely talented staff, too. Before you know it, it’ll be time for issue 3.
table of
contents interviews
The Unlikely Candidates 10 King Complex 18 Sleeptalk 27 MRTHA 38 Peter Jessy 46 Tri Patterns 50
galleries Album Covers Break Their Silence 4 The Unlikely Candidates 10 Sleeptalk 27 Young Artists of Manchester, NH 53
other
articles Masked Musicians 18 Politics in Music 36 A Celebration of the Record Store 42 Peter Jessy 46
community Patricia Puentes 8 Poetry & Prose Feature 14 Chloe Menesse 23 Rebecca McLaren 25 Viviana Bonura 40 Nicole Digby 48 Kendall Dennison 52
FEMALES? in MY Concert Crowd? 22 Spooky Song Recs 58 Trending 60
SuburbanRose.Com | @SuburbanRoseMag
3
ALBUM COVERS BREAK THEIR SILENCE bethany camp People always say don’t judge a book by its cover, but in the increasingly digital age of music people are more and more often judging albums based on their first glance at the album art. If someone is scrolling through iTunes or Spotify, with the plethora of options of songs to click on, the album art really needs to stand out in order to get people’s attention. Album art can be used as a way to get people intrigued about the music, but it is also a very important part of the album as a whole. We live in a very visual world, so the album art is a continuation of what that work of music represents. Artists seem to be getting more meticulous about album design, especially when dealing with vinyl record packaging. There are so many different artistic choices that go into it, such as what color to make the album, whether or not to have a lyric sheet or to imbed the lyrics into the actual record sleeve, etc. Lots of records, especially preorders or limited edition runs, even include extras like keychains or matchbooks which match the design and extend the realm of the album. When viewing art, you really have to spend time taking in all of the details so that you can get the full experience. The same is true for records, including both the auditory and visual parts. The more I listen to certain songs, the more I appreciate the lyrics and the subtleties of the instrumentation. I don’t usually pay particular attention to the subtleties of album packaging, so I decided to go through my record collection and pick out some of my favorites to take a closer look at.
4
Issue Two
What Do You Think About the Car? by Declan Mckenna has an incredibly consistent theme throughout the design of the album. The preorder version of the vinyl came with a heat sensitive color changing car keychain along with a CD. The record is also a picture disc comprised of a road with a car on it, so when you play the record the car spins around like it’s driving on the street. The level of detail that was put into the packaging design of this album really helps make listening to the album a full experience due to how the mesmerizing visuals complement the sound. The record sleeve even has a cartoon illustration of the car and in the cover art Declan is also wearing a car necklace, thus extending the theme even more. Declan’s dramatic styling in his portrait on the album cover is what really drew me into wanting to hear what kind of music would be represented by this cover.
Gone Now by Bleachers was pressed as a limited edition white with red marble vinyl and comes with a lyric booklet. This pressing has a gatefold sleeve with a photograph of Jack in his studio on the inside. Jack talks a lot about how important working in his bedroom studio has been throughout his life, so including a picture of that within the album packaging expresses that importance within the music. The cover art appears to be a film photo and depicts Jack wearing an outfit that has a vintage style to it. The combination of these two factors gives the imagery a nostalgic feeling, which is also present within the music. This album deals with the theme of loss and moving on after that. The white and red theme is present throughout the era of this album, including the red circle, which has almost become an icon for this album. Jack also wears the same outfit in the Don’t Take The Money music video as he is wearing in this album cover. This repetition between the two mediums of art also helps make the album a more cohesive entity.
SuburbanRose.Com | @SuburbanRoseMag
5
For Record Store Day 2016, Bastille made a 7-inch Hangin’ single. It includes a white die-cut sleeve with the signature falling man imagery. The vinyl itself is also white, so the all-white color scheme really helps accentuate the silhouette of the die-cut sleeve. This simplicity also helps add a certain drama to the packaging design, which matches the dark timbre of the single. There is also a black silhouette of the falling man on the vinyl label, which spins around while the record plays. The disorienting nature of the man spinning around also complements the lyrics and feeling of the single.
Will Joseph Cook’s debut LP Sweet Dreamer has one of the most unforgettable album covers. The simplicity of the hand holding the blood orange and the complementary colors of blue and orange really make the album cover stand out. The album cover really represents the music well because the bright taste and color of the blood orange is paralleled by the bright sound present in this album. The vinyl is a standard black pressing, but the vinyl label is made up of an image of the blood orange as well. This repetition is very aesthetically pleasing and really brings the vinyl and the record sleeve together in a more cohesive and unique way.
Holychild’s 7-inch Happy With Me single is probably my favorite vinyl design in my collection due to how unique and symbolic it is. The record sleeve alludes to a Krispy Kreme donut box and the vinyl is a picture-disc with a rainbow sprinkle donut on it. The sickeningly sweet nature of a branded donut perfectly parallels the mood of this single. The instrumentation comes across as being very fun and lighthearted, but when you really pay attention to the lyrics they touch on the objectification that women can never escape in this consumer culture that we live in. In this case, the design of the vinyl further cements the ideas present in the music and creates more visual connections between the instrumentation and the lyrics.
Light Myself on Fire by Mating Ritual was made into a limited edition vinyl in collaboration with Vinyl Moon. The LP has a gatefold jacket with a die-cut cover. The simplicity of the black and pink color scheme makes the design stand out even more, especially the detail of the typography within the gatefold sleeve. The contrasting color scheme also fits well with the mood of the album, which is gritty yet also playful. The black and pink theme is also present in the actual pressing, which is a black and pink smash pattern. Going along with the title Light Myself on Fire, the record also comes with a complementary matchbook that matches the image on the album cover. Clever design details like including this matchbook are what can really add a wow factor to a record and make it even more special.
Matter by St. Lucia is a double LP with a very thoughtful and unique album cover. The cover allows the viewer into the world of Matter. Each object that is placed in the room was chosen by the band and represent different themes from the album. The objects all correspond to a song and are printed next to the lyrics on the inner sleeves of the record packaging. Thus, the album art is a true continuation of the themes present in the music and creates a visual space to go along with the sound. Each band member is also present in the album cover through illustrations, which brings more life to the image instead of it just being a still life image. The almost otherworldly yet familiar room that is created fits very well with the mood of the instrumentation and lyrics present in the music.
Lucius’ Pulling Teeth 10-inch record has a very intriguing album cover that will definitely pull a listener who wants to find out more about this image in. The repetition of their colorful and dramatic outfits mixed with the juxtaposition between their unique attire and a more ordinary environment creates a great amount of interest within the image. The orange vinyl adds a nice touch to the complementary blue and orange color scheme. There are also lightning bolt etchings on side B of the vinyl, which parallels the lightning bolt design on their capes. This is the only album in my collection that has an etching and I think it’s definitely an underutilized technique that can add a very special touch. This detail adds an extra bit of pizazz to the record and shows how much thought was put into the design and how it interacts with the music itself.
SuburbanRose.Com | @SuburbanRoseMag
7
community.
patricia puentes pantaletica
8
Issue Two
Patricia Puentes is a Venezuelan artist currently lving in Poland. Her most recent illustrations are a mix of ugliness, fashion, childness and disturbing feminism.
SuburbanRose.Com | @SuburbanRoseMag
9
unlikely candidates the
shot & interviewed by
alexandra thomas
10
Issue Two
know. It was when I was super young, like a baby, [and] instead of talking I would just sing.
Kyle: I only stopped singing in the shower when I went to college.
Jared: [laughing] He came out of the womb singing.
Cole: [That’s] ‘cause he lived with the communal showers then.
Kyle: Yeah, probably just me as a baby singing! I don’t remember that, though, so that doesn’t really count.
Kyle: If it was completely empty then I’d sing, but once I heard the doors creak I would stop.
Cole: That’s not a memory; that’s a told thing.
What helps inspire you guys to make new music?
Jared: Yeah, that’s kind of just the first song you learn.
Kyle: I don’t know. My sister [and I] would sing NSYNC songs and stuff like that.
Cole: You feel like you can actually play something when really it’s only, like, four chords.
Jared: Kyle is a shower singer. Did you sing in the shower when you were younger?
Jared: And it’s a lead.
Kyle: Mhm.
Jared: I think getting a new piece of gear is always something that’s like, “Cool, now I gotta learn how to do this and use it properly,” and, you know, getting something new and fresh is always fun so you can play around with new [sounds] and things like that. That always pushes me to do more recording.
Cole: [laughs] Yeah it’s a lead. But yeah, that was the first song I learned. Shout out to Blink 182!
Jared: That was a thing?
Kyle: First music memory--oh, I don’t
Jared: It’s been a thing for a long time then.
What are your first music memories? Jared: The first time I ever played an instrument was when I was at my buddy Wesley’s house; I was probably nine or so. He played drums and he [said,] “Man, you need to play bass!” and his dad had a guitar, so his dad taught me my first chord. Wesley taught me to play some Nirvana songs and Blink 182’s “Dammit.” Cole: “Dammit” was the first song I learned too.
Kyle: Yep.
Cole: Finding a new awesome band that you fall in love with. Going to see an amazing show and you’re like, “Ah, man, I want to go do that!” That’s always a big one.
Kyle: Same. Whats been the craziest thing you’ve experienced while on tour? Cole: [laughing] We can’t tell you! We can’t tell you anything! Kyle: Craziest experience while on tour. Hmm. Well, shit. Jared: There’s a lot we just don’t want to tell. Kyle: Cole, didn’t you see Skrillex from the ferris wheel at Bonnaroo? Cole: I did see Skrillex from the ferris wheel at Bonnaroo! Jared: We ate crawfish next to him. Cole: After I saw him from the ferris wheel I was walking to my tent at like six a.m., and he drove past me on a golf cart. And I [thought,] “That is
12
Issue Two
Skrillex on a golf cart at six a.m. That’s ridiculous.”
Kyle: Oh it’s great.
Kyle: I also saw someone get punched in the face and dragged out of the bar at a Skrillex show. We clearly have many fond Skrillex memories.
Cole: It’s great; it’s like all our friends are here, our families are here. It’s like one big party. It feels like a party to us more than a show.
What is your favorite song to play live?
Kyle: Yeah. It’s fun to be here at a bar and a little scary to be out on a 3,000 capacity stage. You forget that you’re not just playing for your friends. [Also,] there’s a lot of people there, so you can’t get too drunk.
Jared: I’ve really been digging “Oh My Dear Lord” recently. [That’s] just always a fun song to play live. It’s great and that chorus hits and [there’s] a big bass thing going there. I always dig that--it’s a head-bopper.
Cole: But here we can!
Cole: “Violence.” I like that one a lot. And “Happy Birthday,” [but] everyone knows that one.
What’s been your favorite concert you guys have played thus far and why was it your favorite?
Jared: [laughing] Yeah.
Cole: Big Gig in Denver, Colorado a few years back. It’s the biggest show we’ve ever played, so that was ridiculous. Plus we got to play with some of our favorite bands. That was a favorite
Originating from the Fort Worth area, what is it like to be back here to play for all your fans?
for all of us, I think.
weird.
Jared: I think one of the most surreal shows we got to do was when we were opening for Fall Out Boy. We were about to get on stage and it was just like, “Well, fuck. We’re about to be opening for Fall Out Boy. Here we go. All right.”
Whats your biggest hopes for the future of the band?
So you guys started out by playing an impromptu performance at a party. What’s it like to look back on that being where you are now? All: It’s pretty weird.
Cole: Stay alive. Jared: Stay alive, stay together, try to make new music, keep touring, watch these guys get really old and have to wear diapers-Cole: --on stage! Jared: Um, yeah, I think that covers it.
Jared: Quite unlikely, you might say.
What was it like getting to collaborate with Dirty Heads for “Celebrate”?
Cole: [laughs] Quite unlikely, yes. [throws food at Jared] Jared, you’re such a dickhead. But no, it’s just really
Kyle: You should ask them what it was like to collaborate with The Unlikely Candidates.
Cole: [laughs] That’s right! Kyle: I love those guys. It was great. I got to run around and do fun things with them a couple times, like Jimmy Kimmel. [I] just got to feel like the little brother of the band ‘cause I’m a little younger than [they are]. It was a lot of fun. We had a good time. What advice would you give to others wanting a career in music? Cole: Don’t do it! Go to school! Go to school! If you want to make money, don’t do this! No, but just write songs every day. Write as much as you can. Write until you’re tired of writing and then keep writing. Forever. Kyle: Be smart and work hard.
SuburbanRose.Com SuburbanRose.Com | @SuburbanRoseMag | @SuburbanRoseMag 13 13
community.
COMMUNITY POETRY & PROSE an extended feature
Demolished Building haley walker |
haless_yeahhh_
I love the feeling of my mind waking up before my body does. My eyes still closed but my brain aware. Hearing, sometimes smelling what world awaits for me. As if life is waiting at the end of my bed for me to give it permission to continue. And oh how I would love to be in control that way. But this world that awaits for me is is cloaked in exhaustion. I wear a thin layer of tired every waking moment and it never goes away. It doesn’t pause before pressing into me. It doesn’t clock out at five in the afternoon. I wanted to write a poem about it but that is so exhausting. And I’m tired. I love the feeling of waking up because there is a split second where I’m not quite me yet. I’m just existing, no thoughts and pains and memories, I’m just still in the present, something I often forget to do. Then reality collapses on me like an evacuated building being demolished for better renovations that are spoken about but will never really come. So I curl my legs in, gather my broken windows and will, my rubble and determination, and I drag myself along with my close friend exhaustion and we try. That’s all we can really do is try. We are weak but we are persistent. Read more: https://www.amazon.com/Ubiquity-All-Haley-Kathryn-Walker/dp/1548579025/ref=sr_1_1?ie=UTF8&qid=1534967363&sr=81&keywords=the+ubiquity+of+it+all
14
Issue Two
Thoughts From Life Under The Surface mina foutch |
raddmina
With no trace of clothing on my skin, I want to dive into the deep end, and sit at the bottom. I want to see the blur of your face underwater. Eyes open, chlorine hugging my irises, I will stay here for as long as I am supposed to. My lungs pretend to know what they’re doing, though naturally, they push all of the air out towards you. Our bubbles dance to the surface and float, watching this magic from above. I want to know what your kisses are like at the bottom of this pool, under these gallons of water, and under miles of starlight. Lets exchange air. Breathe me in, breathe me out. I have this feeling your lips taste like peaches. Sweet nectar and curiosity, latch onto me. Levitating from the bottom, I can feel this moment almost ending. I never thought holding hands
from
An Unapologetic Expression
TL rodgers |
with someone could feel this beautiful. Tell me this was everything you were hoping it would be.
simplywoke
What is death, if not a beginning or a change of worlds ? Have you forgotten that you were once the sun,moon and stars ? The very air you breathe We are forever changing form Endlessly being reborn Shifting into new shapes and shadows That you have mistaken for a permanent home Read more: https://payhip.com/b/AlvP
SuburbanRose.Com | @SuburbanRoseMag
15
community. poetry & prose
Self-Portrait as a Trumpet Blossom katie rejsek |
letsgetadog
I did not make the missed bed or the desperate wish of a dandelion breeze. The seeds release and flow into jetstream from the brittle other side. Not my fault. No, I am the honky-tonk strawberry. The machine sun’s reflection of fabric napkins and mimosas subwoofers screech and bend just brass misunderstanding. I wanted a whisper an ambient topple. My fault. Your parade I rain I rain with a mint leaf on top— grown in the Big Dirt I am your cool gravity girl with the cool bow with a cool wink a whip of cream smooth and a gulp down of take-a-bite then noise.
16
Issue Two
I PROMISE
maggie wilkinson | imnotactuallymaggie It is the July-time. Let us revel in the way our bodies are still learning how to be bodies, the way our sweat and scrapes and sunflower-hearts (all in bloom) have incriminated us to a life of such a human existence. I will not lie to you, sometimes being so furiously in love with you is difficult. Sometimes I wake and feel utterly undeserving of something that makes me so happy. Other times, I zoom in too closely, struggle with our freedoms and shortcomings, struggle with the way our teeth are not straight, the way we bump noses often, the way we must always fail in some small ways. We are never going to be the perfect couple I’ve always hoped for, but we will be enough. We will fight, we will fail at planting a garden that understands what it means to keep going, we will attempt to conceive a reality with no distractions, we will always come short, at least a little. But I promise you, on the days that we fail each other, I will still treasure you just as much. I will wake beside you and find new joy in you every day, I will justify our love through every inch of your body, today I will pray to the curl behind your left ear and that will be enough. Today, we will be enough. I will let you down, yes, but I will never let you go.
punch a nazi in the face sarah shikooh |
decodingsarah
she walks the streets with her soul captured within her own heart, and so the gods fall from their thrones, the clouds dip and drip sweet apricot juice staining the lace sky. she is never lost because she has made a home in her own bones, the pathways she strolls made of concrete and brick make no impact on her. her eyes glisten like flickering fires like raging oceans like flashing neon lights she sees the world in shades of pink and blue and purple and red, she is growing a garden with her words. there are sunflowers sprouting from her eyelids, a tangle of lilacs between her teeth. when she retreats to the warmth of her mind, she is greeted by bundles of roses growing from her skull, chrysanthemums scattered behind her lungs. she wears her garden like a crown. her skin is where the sun sleeps, all coffee and chocolate and brown sugar. she is vicious and ever loving. the goddesses with their silk hair and coconut skin and bland kisses burn with jealousy, wondering how a mortal wearing nothing but her self-love is more beautiful than them. her thighs are painted with marks like lightening, her body rolled against her skeleton. she know she is crafted from the angel and demon’s dreams and desires, she knows she holds mouthwatering power in each inch of her being. her hands are tired of holding up her sign, painted with the colors of her family’s blood, letters scrawled out please stop killing us, her feet are sore from walking across mountains and nations and cities, her throat is raw from screaming the same thing over and over again. we are human we are human we are human. her voice shakes with fear with anger with sadness; her heart is breaking. she needs herself more than ever, she has one home and one home alone because you have taken everything from her. she confides within herself she has learnt there is nobody who will cherish every atom in her body like she will. if you do not love her she will, if you do not love her color, her soul, her people, she will. she fears no bullet, no storm, no man, she has looked death in the eye and growled. she is a glowing beacon of revolution. the earth has wished to rotate backwards the moon tries to turn its tides just to please her, she is change. she is the future.
sponsored
Masked Musicians: Getting To Know The People Behind The Costumes karoline wechselberger
Wearing costumes and disguising one’s true self is fairly common practice for musicians nowadays. This enables the separation of work and private life and as a result, famous artists can easily go out in public without being flooded by fans wanting photos or autographs. But can masks bring out the artists true self? Suburban Roses writer Karoline Wechselberger had the chance to ask St. Pete (FL) based Electronic Indie band King Complex all about their music and life as masked musicians. How did the two of you meet and why did you decide to start a band together?
18
Issue Two
Bracher (guitar): I saw Cody play before I actually met him and I thought, “Damn, that dude hits those drums hard,” which was really appealing. I think I officially met him when I tried out to sing for the band I initially saw him playing in. Unfortunately, it turned out his percussive dynamics are the only thing he’s got going for him. I think I wanted to start bands together because I dig what he does as an artist. Cody (drums): We met through music and made a decision (influenced by music) to do music together. Music. Your sound is very unique. How did you find your specific style?
Bracher: I passed through the seven levels of the Candy Cane forest, through the sea of swirly-twirly gum drops, and then I walked through the Lincoln Tunnel. There it was. Cody: It’s early in the morning. Too early. I stare at the bathroom floor, head drooping heavily, with my hand pressed up against the mirror. I can hear each and every microscopic drop of stale water falling from the ceiling into the sink. After counting down from 10, my entire being rebelling against the gravity of conformity, I lift my face up towards the mirror and bestially chant “YES YES YES /
ORIGINAL ORIGINAL ORIGINAL / ME ME MEEE.” Then, as a feeling of complete and utter desperation comes upon me, I realize that there’s already another me looking back at myself. Nah we just continually listen to and write music. It evolves as it does.
Bracher: Somebody’s a little nosey…
Hiding your face and wearing masks etc. is nothing new in the music industry nowadays. Why did you choose to appear in that certain way?
Are there any negatives to wearing masks? It must be sweaty under there!
Bracher: We were just trying to fit in. Cody: It’s fun, I don’t want anyone to think about who I am as a person, and I don’t want to think about other people. I think it helps everyone, including us, focus on the music.
Bracher: I think the positives outweigh the negatives, not just in the sense of the overall show. I feel a lot less pressure to be “cool” when we suit up.
Cody: What he said. You have been a band for about two years now, if I’m correct. Looking back, would you change the style of the masks and outfits or the fact that you’re wearing masks at all now? Bracher: Can we take a second to just talk about the masks and suits?
Cody: Yeah, it sucks.
Cody: Nope. No regrets. Pronounced “ragrets.” Anyone still watch RugRats?
Do you think your shows and general appearance would change without the masks?
Do you get compared to other masked musicians like Daft Punk etc.? How do you feel about that?
Bracher: I’d still be playing music I
Bracher: I mean you can make plenty
All photos courtesy of artist
Why exactly black masks and suits? Is there any specific meaning behind that?
Cody: It gives off an air of professionalism combined with ambiguousness. You know, like how every guy on Tinder lists their occupation as “entrepreneur.” Riiiight.
really care about. I’m sure it’d be different from the other side of the stage more so than for us.
SuburbanRose.Com | @SuburbanRoseMag
19
of different aesthetic observations (none of which are necessarily incorrect) about us so I don’t really care about those immediate comparisons. I get people’s need to try and categorize or relate us to something, but I’m much more interested in the people who have actual artistic and human things to discuss. Cody: We do! Humans are very good (dangerously so) at compartmentalizing the world around them into categories so we can feel like we really understand things. But surprise! We don’t! What musicians do you look up to and take inspiration from? Bracher: I look up to all of the tallest ones. Cody: The weird ones. Flying Lotus, St. Vincent, Damon Albarn, etc. Are you planning on ever revealing your identities to the public? Bracher: I mean we don’t really hide in person, we want to meet anyone that wants to meet us. I’m not sure either of us find ourselves particularly interesting so why go out of our way to say “IT’S US”? We’re just some dudes who like art. Cody: Let’s rip this band aid off now. Hello. My name is John Stamos. I am rich and successful and happy and look sick in leather. I am hoping to start a family in the sunny hills of San Francisco. Please contact me for more information. Who knows, maybe there will be a TV show about this in the future. And now last but not least: Do you ever wash your masks? Bracher: What masks? Cody: My mother has never looked more disappointed than when I answer that question truthfully so I’m going to lie and say, yes.
20
Issue Two
King Complex is just one example of musicians utilizing masks. This is not necessarily a unique phenomenon as there are currently a number of artists performing in costumes across all different genres. While the common concept of using masks is the same, the underlying reasons and the specific approach are different. Following is a short introduction of a few other masked artists and their relationships with their costumes.
Cro – German Rap/Pop Cro (also known as Carlo Waibel) is a German singer and rapper. In Germany, Austria, and Switzerland he is most famous for his rubber panda mask, which he wears during all his concerts and public appearances. Cro has stated in multiple interviews that it is his protective shield, that he needs to stay unrecognized in public. Without it he would act different towards strangers, supposedly aloof, he told Spiegel Online, a German online newspaper.
Slipknot – Alternative/Nu-Metal The Metal band Slipknot has been active in the music industry since 1995. They didn’t originally plan on wearing masks, but when Shawn Crahan (also known as “Clown”) brought a clown mask to rehearsal, they just went with it. Various members stated that the masks are a way of wearing music on their bodies and that they became a part of their bodies. “It’s always gonna be about the music first, and us later.” -Corey Taylor
Daft Punk – Electronic The French electronic duo is best known for their hit singles Harder, Better, Faster, Stronger and One More Time, as well as the members’ helmets and gloves which suggest a robot persona. Their costumes resulted out of their initial shyness and it also turned out to be exciting for the other point of view, the audience, the band stated in an interview. They chose these specific outfits to merge human and robotic characteristics into one.
sponsored
every issue of suburban rose magazine delievered right to your door for only $5/month? (plus exclusive content, early access to podcast episodes, & more)
patreon.com/suburbanrose
FEMALES? in MY concert crowd?
by
sandra garcia
22
Issue Two
I
’ve been to a decent number of concerts, and nothing gets my blood boiling quite as much as the sight of females in the crowd. Because there are so often so many of them, they are inescapable. The varying pitches of their voices, their general unwavering excitement, the way hordes of them queue up hours and hours before doors even open—it all sickens me. None of it is beneficial to the environment that we music fans have so carefully crafted. Instead of behaving like this, they could be like me: silent, introspective in my cuffed denim-and-Vans outfit, the picture of what a real concert-goer looks like. A concert intellectual, if you will. When I go to a concert, I go to appreciate the music. Maybe I throw back a few beers to get situated. It can be difficult to stand in the pit for hours at a time, but in my experience, the only way to truly feel a concert is by moshing. It’s an eyes shut, running-inplace, arms swinging affair. And the best people mosh at concerts. Females don’t, though. (Maybe some do, but they’re never at the shows I’m at.) They squeeze themselves against the barricade at the very front of the pit, and the only movement they make is when they sob into the stage. As a fan, I must say that quite frankly, it is mortifying to see because these females do not represent any percentage of music lovers. They nearly ruin everything for the rest of us; nothing is quite as
enjoyable as when a girl isn’t crying in front of everyone. Further, girls who go to concerts do it for aesthetic purposes. This is made evident by the countless photographs they take, whether it be through the lenses of expensive-looking DSLRs or the inferior screens of their smartphones. Rather than live in the moment, they want to share the moment with anyone who will give them the attention: “Look,” they scream, “I went to a concert! Look at how close I was!” They post huge galleries on music blogs that are pointed toward other music fans when they could instead just enjoy the sights in real time. I couldn’t imagine taking pictures like that. In fact, I am always too enraptured by the performance to even think to take my phone out, but I imagine that if I tried, my photographs would end up better than anything any of these girls take. The worst thing to me is the shrieking. I cannot hear the band’s voices over the sounds of these girls yelling words back to the stage. The problem here is not with the words themselves—somehow the girls know every word, every inflection—but with the sheer volume of it. If I wanted to hear someone else sing one of my favorite songs, I would go to karaoke bar. A concert is not a karaoke bar. I paid good money for this—a whole twenty-two-and-a-half dollars plus tax—and I would prefer if I could appreciate the music and not have to
hear the disturbing sounds of females enjoying themselves. Mid-show, my view is blocked by their obnoxious shows of physicality: They throw their hands up toward the lights and straighten, reaching toward the outstretched free hand of the lead singer who has no choice but to graze his fingers along the grabby palms of these young girls. He has moved off of the stage and onto the barrier itself, leaning forward into the crowd, reaching too, but he is reaching toward us in show. He doesn’t actually want to touch anyone. But the females push forward from several rows back, all extending their limbs as much as possible in order to find some physical contact with a man who’s only here to do his job. I never don’t feel bad for him. Besides, it’s strange to me that they know the words, since it’s not like they can actually understand what the songwriter is trying to say. A certain musicality goes into songwriting, and I’ve found that females don’t really have the intellectual capacity to know about this musicality. Much of their interest stems from the way the band members themselves look. A conventionally attractive man who makes good music is automatically a win in any female’s book, and they jump straight on the chance to be a fan. It is a complete and utter disregard for the sheer amount of effort that he puts into his craft. Music is art, but the girls don’t seem to care. They don’t seem
community. the music industry: a boys only club? by chloe menesse chloemenesse [and our top 3 artists breaking that mold] In previous times, it’s undeniable that the music industry has been of easier access to males- with 78.2% of performers being those who identify as such. Time in its eternity follows a tradition: female artists grab the headlines, whilst male artists grab the awards and top seats within the charts. Millennials are labelled as mouthy, opinionated and controversial- but are they loud, or the generation to stand up to inequality in industries that are dominant in modern life? Characters in the music industry are rarely ones to shy away from topics such as these, so here are our top three emerging female artists changing the stats of performers for the better. SuburbanRose.Com | @SuburbanRoseMag
23
GIRLI.
ANTEROS.
MAHALIA.
Otherwise known as Milly Toomey, her effect on her seemingly “school-age crowds” are greater than what meets the eye. Blasting lyrics such as “hypermasculinity drowning the vicinity,” it’s clear to see that hidden within her playful personality and retro clothes is a paramount message to all juvenile girls.
Undeterred by the uneven ratio within – 3:1 to boys – this London quartet is undeniably deserving of an honourable mention as lead vocalist Laura Hayden overrides the unequal dynamic. Introducing female-proud tune “Bonnie,” it has become concert tradition for all those who identify as female in the audience to rejoice and join the band on stage.
An example of a girl who you yearn to befriend – each of Mahalia’s songs could be envisioned as a diary entry in which she is pouring her heart out. Her songs take the listener along her journey of self-worth – telling the tales of her relationship (“Sober”), girl dilemmas (“Silly girl”) and hurtful men (“I wish I missed my ex”).
Undoubtedly known within the British indie music scene for her unapologetic feminity- she is knowing of what she deserves and radiates the true definition of 80’s girl power. 2018 has brought her from strength to strength, spreading her message to more than thousands in the US and UK.
She refreshingly proves herself as a true idol for female empowerment within an otherwise male-dominated band and industry, and her effects have not gone amiss. BEST GIRL ANTHEM: BONNIE
BEST GIRL ANTHEM: HOT MESS
to care much about anything, actually. They are inconsiderate, and they act as though the pit is theirs to control. I cheer through the encore. The girls do, too, but it’s different when I do it. Where most of the venue files out and heads home, I tend to stay after, waiting by merch or the buses. It’s easier when it’s by the merch table because there’s no way I can miss the band. Usually, I have no idea who the opener is, but when they are right in front of me, I chat with them. We become friends. Sometimes there’s a line to talk to them and the girls take too much time hugging the band members and playing catch-up. No one cares. I don’t have the time to listen to females talk about their feelings at concerts. I just want to tell the artist that they did a good job and then get a picture with them (these pictures go onto my carefully curated Instagram account, which mostly features a collection of pictures I have with band members). So as not to make the band members feel bad when I meet them, I tell them, “I had no idea who you
24
Issue Two
were before tonight, but you did a good job. I enjoyed your set.” They are always immensely pleased and much happier than when girls talk about their personal lives, to which the band members say their name and reply, “It was good to see you again.” That line is pure refinement: somehow the musician knows the fan’s name, but that doesn’t mean they care about the girl herself. It is important to note that music is for everyone. I wonder what it’ll take for girls to understand that, for them to civilize and educate themselves. I imagine that there are girls who are able to comprehend the music they listen to, but it is similarly difficult to imagine that there are girls who listen to the music I do who have that unique talent. My only hope is that, at the very least, they will realize their behavioral errors and correct themselves by the next show we are at. Females, leave concerts to us men. If you really feel like you need to come, then at the very least you should behave as we real music fans do.
BEST GIRL ANTHEM: I WISH I MISSED MY EX
community.
babygotbecs Rebecca McLaren is a spunky and spirited Toronto-based artist who loves challenging herself
and using slang words ironically. She finished 2 years of Media, Information, & Technoculture at Western University and is now pursuing an HBA at the Ivey School of Business. One day, Rebecca hopes to combine her passions of media, business, and social justice by starting an advertising agency for non-profit organizations. For now, she spends most nights eating veggie pastas. SuburbanRose.Com | @SuburbanRoseMag
25
sponsored
from the cover
sleeptalk photog ra p h e d + i nt e r v i e we d by
taylor brie l le
SuburbanRose.Com | @SuburbanRoseMag
27
Your debut album Sleeptalk turned one on July 28th. Congrats! Looking back on your journey, how much has changed since the beginning of this album until now? Sleeptalk: Thank you! It’s so crazy to think it’s already been a year. A lot has changed over the last year or two with the growth of our band and [the] family that we have been able to obtain. The shows have grown massively, kids are lining up early, singing all the words at our shows--it’s great. The [number] of people who want to work with us has grown massively as well; it has definitely been such a great thing to see happen right in front of our eyes.
28
Issue Two
sleeptalk + for suburban rose magazine
Are you guys in the works of writing any new music? If so, elaborate on what you like to do outside of music that rejuvenates inspiration to write again.
What are your opinions on social media in the music industry? Do you feel like it has been a disservice or a benefit to how people discover you and your music?
Sleeptalk: Yes, we are currently in the studio working on tons of new music. I find a lot of inspiration in life itself. It depends [on] how I’m feeling at the time and what is currently going on around me and inside my head. For the new music we have been writing, the songs have been ranging from being on the road so much over the past year touring as well as things that have happened over the last six to twelve months. I don’t listen to a lot of music, but there are definitely inspirations I take from certain bands. I mean, the new The 1975 tracks are so unbelievably great.
Sleeptalk: Social media is [both] a very great thing and a very toxic thing. I feel like it takes away from a lot of great bands out there [who] don’t have the numbers to justify just how good they are. But it definitely has helped our band in such massive ways. Sleeptalk has had much success in the past few years, but looking into the future, what are some goals you have as a band?
to get on a support tour here in the near future that allows us to hit cities that we have not been able to get to yet, as well as different countries. That’ll all come with time and we are extremely ready when that time comes. Any last words or exciting things you would like Suburban Rose readers to know about Sleeptalk? Sleeptalk: We love you guys so much and really appreciate those of you who care for our band so much. You guys [who] travel hours to our shows [are] such a blessing and we can’t thank you enough. New music is coming.
Sleeptalk: Continue to be real with what we are doing and write songs that are for us, that we love and enjoy. We hope
SuburbanRose.Com | @SuburbanRoseMag
33
we will see you soon. love you. - Sleeptalk 34
Issue Two
OPINIONS!
POLITICS IN MUSIC?
by Brett Wodon
P
robably the most touchy subject in this day and age is politics. So many things are brought under the banner of politics these days. There are so many topics that, when talked about, get people so antsy. Nobody can seem to agree, and any time ‘politics is brought up, people get very defensive. The argument seen so often is that politics should stay out of music. No one should be able to express their opinions on socio-political matters in their own art. This seems like a ridiculous claim, and that’s because it is. So should politics be allowed in music? Should artists be able to express themselves? Does a mouse like cheese? The way that people say politics should be removed from music is a stifling and hindering opinion. I don’t think that many people realize how prominent political statements have been in musical history, especially during the 1960s and the Vietnam War era. Bands like Creedence Clearwater Revival with their song “Fortunate Son” and Bob Dylan with a song like “Blowin’ in the Wind” made humongous waves in the music scene and world culture as a whole. Those are some of the most important artists and songs in the entire history of music. The argument being made by so many people defies the history of music by so many decades. As a big metal fan, I often see people in Facebook comments talking about how politics
in music is ruining metal and that the artists we love don’t have a place to talk about what they believe, and they should just focus on making music. Many of the metal publications are left leaning, and the Facebook comments are usually angry conservative people who don’t understand the history of music whatsoever. Black Sabbath’s “War Pigs”, Metallica’s “Disposable Heroes”, Megadeth’s “Symphony of Destruction”, Anthrax’s “Indians”...
“So should politics be allowed in music? Should artists be able to express themselves? Does a mouse like cheese?” The list goes on forever. I think people like to overlook the fact that classic bands used politics and social commentary to drive their music simply because of their classic influence and status. The current social climate has everyone’s panties in a
bunch all of the time. For some reason the issues presenting themselves these days are untouchable by many people’s standards. When Stray From the Path released their single “Goodnight Alt-Right” in 2017, people lost their minds. So many people don’t understand that politics is a part of music. It is ingrained in its DNA. Music is one of the best ways for people to express themselves and how they view the world. Whether that be about emotions, relationships, and especially politics and social issues. People always want to tear down creativity to fit their agenda of how they think the world should function. In the case of keeping politics specifically out of metal and extreme music? I think that is especially bogus. Extreme music has always been angry, and what better way to express why or how you’re angry about the politics of today? I have seen people say that pop punk should also stray from political messages even though it’s roots are clearly in punk music, which has been political from the start. If someone told the Sex Pistols to stop talking about politics that would have just made them angrier.
Album covers via Spotify
classic works from metal bands over the years that have addressed political issues
Granted Neck Deep (for example) and Sex Pistols are two very different things. I still feel that the point stands. Just because a certain sound is incorporated to another, it doesn’t mean it detracts from the ethos of the base sound. It is understandable to a degree why people would think that this is something that should change. Politics is tiring. Not everyone wants to always hear why they’re wrong and why someone else is right. Since much of political music is left leaning, right people may get sick of opposing views being pushed at them by all of their favorite artists, and that is understandable. Even if they agree they don’t always want to hear about these issues that are present in the world. They
want escape. They want something to drift away with. There is plenty of music for that. There is so much music that has a more surface level meaning or that isn’t about our political climate. The people who say that politics and music don’t mix, though, are being ridiculous. Punk music and metal music especially have their very roots in political statements. Music has been a vessel for huge protests and huge change all across the world. There are many ways to enjoy music without hearing politics, but let the artists who want to express their opinions do so. That’s the grander statement here. Trying to censor art and opinions is a dangerous concept and a slippery slope that can fall in any number of ways. It starts with poli-
tics, but who know what else could be unacceptable in music after that? In the grand scheme of things, political music makes up a minority of music. I think that most of the time people get uptight when their favorite artists make a political statement that they don’t agree with. They feel like they can’t enjoy the music. It’s understandable in that regard, but it still doesn’t make sense why people would think politics as a whole is ruining music. I suppose many things don’t make sense when it comes to politics. People tend to just get angry at what they don’t agree with. All I can say is let artists do whatever they please with their art, and if you don’t like something, don’t listen to it.
SuburbanRose.Com | @SuburbanRoseMag
37
MRTHA Photo: Beast York Records
IAN BLEDSOE 38
Issue Two
You’ve recently built a following through social media despite little musical output so far in your career. How would explain your music under MRTHA to those that might not be familiar with the project and what it represents? MRTHA: Combining my love of Martha Stewart with classically trained piano skills and chopping up jazz inspired danceable pop music and mixing it with beats that sound like a street junkie’s fever-dream. I believe my music is fresh, fun and easily consumable yet beautiful and heartfelt. I am trying to start a movement with my art, a concept, a way of life and an attitude that wants to change the world. I give ZERO fucks [besides] how my art can speak to others listening or watching. I want to make the world a better place one fan at a time even if it means breaking into your home and cooking you the best breakfast you’ve ever had. Since you’re from Toronto, has the local music scene had a key role in your artistic development? If so, is there anyone in particular that you would credit? MRTHA: I’m trying to create “ear worms.” Songs that stay in your head. Songs that sound like a mix of acid jazz sensibility smashed against a hooligan/punk lifestyle played to an urban hip-hop backbeat reflecting the blue collar grittiness of the Eastside Toronto community I was born in. I’d like to shout out my long time friend David who goes by the artist name “Davy” he’s helped me out immensely with my projects over the years running a fully functional studio for young artists like me who are on a budget In the east end of my hometown.
Your debut single “Downtown” has a lot of slick R&B tinges that compliment the trap beat and flows behind the song. What are some specific influences you’ve tried to incorporate into your sound? Is there anything you’d like to experiment with in your music in the future? MRTHA: I have a lot different influences through my sound, it sounds very corny but I like to think that I have created my own sound. By listening to every genre of music there is to listen to throughout my entire life, I’ve tried to build a sound that is completely obscure and different although somehow very relatable to the people around me. I want to experiment with every sound, technique, rhythm and what have you I possibly can throughout my career. I can’t rest without having said that I’ve done it all. So, on your Instagram, you’ve been teasing a documentary, called WHATEVER THE FUCK IT IS WE’RE DOING, THIS IS A MOVIE OF US DOING IT. and it seems like quite the interesting trip. Do you have any particular scene/moment that stood out the most to you when filming it? MRTHA: WHATEVER THE FUCK IT IS WERE DOING, THIS IS A MOVIE OF US DOING IT. is something Me and my good friends/ business partners have been working on for almost half a year now. It is a documentary shot almost like a found footage video diary of an insanely long road trip we took from Toronto to California in search of a magical substance to find ourselves in the mountains and also to record a single. We are all very excited to release the film. If nobody watches it or cares about it we are totally fine with that, as it was more about the
journey for me and my colleagues than for people to watch it. Me and the camera man had only met once before leaving for the trip, [and] we got lost in the streets of San Francisco on a psychedelic journey together while our guide had lost his phone. Not being able to get into a hotel and not knowing where our third man was,was probably my most unforgettable moment of the trip. With your creative output having an unfiltered/DIY ethos, under the music, collaborations with Beast York, and having just recently teased a web series through your Instagram story entitled “who it be” — do you intend to keep that same mindset with your output for the coming future? MRTHA: My goal is to make things that I am incredibly proud of with the help of my equally talented colleagues. Whether it’s a hit single, a full length feature film, a cap, or just a sticker. Whatever we make we want to promote it with a clarity of conscience that it is the best we can do. We want to make useful products that we love and our customers love. It is with this attitude and vision that we have founded Beast York Records. I believe in my own talent and the talent of the people we stand for and there is no limit to the effort with which we will promote and support each other. We are new to this industry and so we aren’t afraid to try alternative venues of promotion and find new avenues of success. Art is the goal but rest assured that art will profit and expand the equity of everyone inside our circle.
SuburbanRose.Com | @SuburbanRoseMag
39
community.
(viviana bonura) vivianabonura 40
Issue Two
A Celebration Of The Record Store Molly McCaul
42
Issue Two
T
here’s something pure and evocative about the vinyl record. Watching it spin, with the needle snaking its way across the grooves, is encapsulating. The music itself feels richer, warmer, more present. Songs that have been played for ages can instantaneously sound like a brand new track, as the full range of sounds and ambience is finally drawn out. Yet, this is all often encased in a slim, 12inch disc of glossy vinyl, inconspicuous enough to add to the surrealism of it
all. Add in the fact that the format is nearly 120 years old, and it becomes just shy of miraculous. In the past, the look of a traditional record wasn’t just for show. Without the convenience of streaming, Walkmans, iPods, or even cassettes, the record’s large format was the only viable option that could hold and reproduce the same rich sound repeatedly. Its size demanded that music be front-and-center. It was a fact of the matter that to listen to the
latest singles or a full-length outside of the radio, there would be an element of personal involvement. Placing the record on the table, dropping the needle, carefully tuning and adjusting the speed and volume- it all was part of the day-to-day listening experience.
“In the past, the look of a traditional record wasn’t just for show.” Now, with the instant gratification the Internet and other tech advancements give us, the antiquity of holding music in your hand and flipping a record is not only a rarity, but a point of nostalgia. So many people have returned to physical formats to rejoice in the small joys of decades past that there’s been a resurgence of life for record stores everywhere. Nearly every major music, book, and even fashion store seems to have at least a corner dedicated to a shelf of towering, shining square albums. People are turning out in droves to buy albums again, and have in turn put energy back into an industry that was crumbling under a lack of sales. But why such a return? There seems to be a laundry list of reasons: the ability to physically hold and share music beyond the screen, the sound quality, the availability, or even sheer meaningless preference. Regardless, for all of the wondrous advancements in music tech and music recording, the record has stood the test of time. And with such a sudden spike in record sales, it’s invigorating to see independently-owned record stores thrive as well. Those same stores that fed into the various cultures, countercultures, and underground communities of music fans are still standing thanks to the cyclical return to vinyl. Their secondhand buckets full of decades’ worth SuburbanRose.Com | @SuburbanRoseMag
43
of stories and music still fill the room floor to ceiling, front to back. They still feel like a home away from home, or maybe someone’s only refuge, with the smell of aging paper, the lights, and the soft sounds of a featured album playing through the building bringing peace and belonging to people of all backgrounds. Record Store Day isn’t until April, but it’s never too early to patronize and celebrate the local record store. They’ve been the backbone of multiple generations’ love of music, and to this day continue to inspire a life of listening. Those storefronts have endured the test of time, and can inspire countless stories. The record store is an opportunity and open invitation to fully immerse yourself into the music that so many of us already passively consume. It sparks conversations, connects fans, and is a truly
“The record store is an opportunity and open invitation to fully immerse yourself into the music that so many of us already passively consume.”
incomparable and intrinsic part of the entire atmosphere surrounding music. To see things come full circle and have so many rediscover the beauty of the record and, consequently, those who sell records, is a truly once-in-alifetime experience. Because, though society may be rapidly moving away from its roots and forging its own path, in the bustling cities and innocuous suburbs of the U.S., music - and how we enjoy it - is still very much the same.
Photos: Wikimedia Commons & Photy/ Tomasz Sienicki
44
Issue Two
sponsored
BREAKUP SHOES Harnessing the power of late-night sad boy hours, pure teen rebellion, and a dash of The Beach Boys sitting in the rain, Breakup Shoes have found a way to take Arizona’s local scene by storm. Formed in 2015 by frontman Nick Zawisa, drummer Matthew Wistoe, guitarist John MacLeod, and bassist Derrick Lafforthun, this indie band explores the ups and downs of modern romance and just how lonely your 20s can be.
Photos: Riley J. Warr
The band has accomplished quite a lot since releasing their full length album Unrequited Love (& other cliches) in March. They’ve toured the west coast with Kid Cadaver of LA, opened for Men I Trust in AZ, headlined Tempe Festival of the Arts, and even teased fans with a few new singles. Breakup Shoes is set out to conquer the nation, one shower-beer at a time. Stay tuned for more.
SuburbanRose.Com | @SuburbanRoseMag
45
peter jessy by silvia pellegrino
“I’ve been making music my whole life but I never took it as seriously as I do now,” Canadian singer Peter Jessy told Suburban Rose this summer. For someone who “[doesn’t] talk about [himself] a lot,” he gave us a wide and clear overview on his life, being, and music.
46
Issue Two
He’s always had a special relationship with music, but he reached his introspective peak when he realized that people were actually interested in what he had to say. The few electronic tracks on his SoundCloud were the final push to convince him to produce his own sounds and lyrics, along withthe support of his family and friends— even if he lives in his own world with
his feelings and sensations, as every respectable artist does. At times, it is hard to explain what a lyric or a song means individually, and this is the true power of music: it shapes itself according to who listens to it. No one else will understand how much it means because it is multifarious and hides under different capes. When I asked Peter how he would define his music, he answered: “I’m inspired by people who push the boundaries a little, like Lorde, Maggie Rogers… they are not afraid of talking about the weird stuff or using different
Photo: IG- @liv.viljoen
“I saw the music that was coming out and I had a message to share that I didn’t think was being shared. I do come from a background with mental health, and [with] the LGBTQ+ community, and that’s something that I really think needs to be pushed
forward more […] Not everyone can be 100% happy all the time.” This is what inspired him to make music, and it struck me how open and sincere Peter was while articulating his answers.
sound samples. I like to think about my music as ‘fake-happy,’ and in this generation full of anxiety, I want to make music for the underdogs and for people who think their stories are not valid, [...] to let them know that it’s okay not to be okay.”
ist has overcome with time.
July 15th saw the birth of Peter Jessy’s first single, “Play Pretend,” an emotional “fake-happy” song that talks about the last emotional year the singer had to face. “I feel like I’m behind, and I find it very hard to express. I had a really rough year emotionally. I’m at that point when I’ve never had a solid job, or a serious relationship, while I see all my friends getting married at twenty-one and everyone seems to be happy. It’s just easier to pretend everything is okay because I don’t want to be that person who wants attention, and I don’t want people to pity me.” This is a strong statement, and even though the facade of this track is happy-go-lucky, it is possible to hear the emotional restraint which the art-
“BUT TRUTH IS, MOM, I’M TERRIFIED / I CAN’T REMEMBER A NIGHT I HAVEN’T CRIED / SO I PLAY PRETEND”
It starts with a slow beat accompanied by the smooth, young voice of Peter, but at the chorus a soft electronic sample is inserted in the melody and the bass track is more audible.
This song is the perfect transition to Peter Jessy’s synthetic past and his acoustic future, as he described it. “I wanted the music to sound very artificial. I didn’t want any of it to sound real because the message sounds happy, but it’s not.” This statement is reminiscent of the music of LANY and Thomston. At times, people hide who they really are because of a variety of reasons, but the most intimate productions, such as music and songs, give a valid insight on who they really are. Peter Jessy has been very brave lyrically and humanly, and we cannot wait to hear more.
In this case, the music’s vulnerability is a strong trait; it testifies how young and honest Peter still is. He is exposing his persona to the eye and ears of the public, confessing that he thinks he’s “wasting [his] life” and “losing [his] mind.”
SuburbanRose.Com | @SuburbanRoseMag
47
community.
48
Issue Two
photos by Nicole Digby middaysun SuburbanRose.Com | @SuburbanRoseMag
49
tri patterns
by preston thurler
I sat down with Nathan and Dawson of tri patterns, an indie trio from Indianapolis, IN. They’re hot off the release of their debut EP, Feels Like Color, which is currently streaming on all platforms. We chatted about the band’s influences, the new EP, and what we can expect in the future, as well as the exact weather conditions to complement a listen to their music. How did the group form? Dawson: Nathan and I became friends in high school [during our] sophomore year. We met in middle school band class, but I actually wasn’t a big fan of Nathan at first [laughs]. But in sophomore year, we were still in the same band class and realized that we liked the same music, and we started becoming friends all of the sudden. We decided to hang out one time, and that’s when we started writing music together. Nathan: Yeah, we would write music until the bell rang, messing around with riffs and stuff. The first time I ever went over to Dawson’s house we wrote “What To Be,” which is the last song on the EP. We met Logan (Drums) at our church, and he was the only drummer that we knew who was talented [laughs]. We practiced with him, and that was it, we were just like, “you joined the band.” That was a year and a half ago now.
50
Issue Two
You said that you guys bonded over similar taste in music. Is there an artist or band specifically that you took influence from? Nathan: There’s a band called Hippo Campus that we’re all huge fans of, that’s the first band we started bonding over. Oh, nice! I’m from the Midwest too, [and] Hippo Campus plays everywhere around here. Great band. Dawson: Yeah, they’re so tight. Nathan: Also stuff like the Beatles, which is actually a funny story. Dawson and I weren’t friends in middle school, but back then we would play “Secondhand Serenade” on piano. [laughs] Nathan: And we would just sing it in the most emo voices we could get out.
Dawson: I forgot about that actually. Another influence of ours is Tame Impala. You guys covered the song “LOVE.” by Kendrick Lamar. I was surprised by the song choice since it’s quite different from sound on your record. Who are some other influences that listeners may be surprised by? Nathan: Not so much for the older songs on the EP, but in our new stuff we started to listen to a lot [of] hiphop. Kendrick is an influence dynamically and from an artistic standpoint. There’s a rapper named Saba, out of Chicago, who is just a great storyteller. In addition, Dawson listens to a lot of jazz and electronic music. Dawson: Yeah, there’s this guy named Tom Misch who influenced us guitarwise. He uses a lot of jazz chords, but he’s got this element that has a lot of electronic music. It’s cool because jazz
with electronic isn’t [a combination] people would think about, so it’s refreshing to listen to. It’s just a refreshing thing to hear.
off of the record, what song would you want that to be?
If you could pick one word to describe the sound of Feels Like Color, what would it be?
Dawson: Yeah, “What To Be.” That’s what I was gonna say.
Dawson: [laughs] Nathan, do you want to start? Nathan: Yeah. I would say “life.” Dawson: Yeah, that’s pretty good. Nathan: “Life” or maybe “stories,” but a lot goes into every part of each song. What weather would pair best with a listen to Feels Like Color? Nathan: I actually have a really specific answer for this. You know right after it storms a lot, where there’s a really quick rain and then a really hot, bright sun after? That would be my answer. Dawson: I agree completely, actually. What is your favorite lyric from the record? Nathan [to Dawson]: You have to choose one of mine.
Photo: Tri Patterns Facebook
Dawson: Actually, it is one of yours. In the song “Blue,” there’s a line that goes “she’s got her mother’s eyes, no wonder she can’t see.” I think it’s a really cool visual for me, even if it’s not exactly what Nathan meant while writing it. We have some lyrics in our songs that leave open for interpretation, and we think it’s an exciting thing. That line really sticks out to me.
Nathan: “What To Be” for sure for me.
Nathan: That was the first song we ever finished together. That song is about our dream of pursuing music. It’s all about why we’re doin’ what we’re doin’. What new music are you guys listening to? Nathan: I’ve been listening to a lot of instrumental stuff lately. It’s really inspiring because I love to interpret art for myself, even if it’s not what the artist had in mind. It’s so interesting to find different parts of life in music, you know? One of the producers we worked with, Nathan Johnson, is in a project of all instrumental stuff. Each song – it’s gonna sound cheesy – takes you on a journey. Dawson: Yeah. I’ve really been into Death Cab For Cutie’s new stuff, I’m super excited for their new album. Also this big British band from the 80’s called Prefab Sprout. You guys touched on how much instrumentals influence you, can we look forward to an instrumental track of your own in the future? Dawson: I’d love to do that.
Campus? I am thinking Hippo Campus. Dawson: [laughs] I think that would be tight, but in my opinion it would be Young The Giant. Nathan: I was just about to say that. They write this great pop music that has this grit that I don’t really think anyone else really has. I know you guys are focusing on the EP right now, but is there anything we can look forward from you guys? Nathan: I mean we’re always writing, so you can expect new music at some point in the future, [in] hopefully not too long. There might be a music video at some point as well. Would you like to add anything else? Dawson: Umm….. don’t do drugs. [all laugh] Nathan: Buy our album on iTunes! [all laugh] ---------------------------------------Tri patterns is Nathan Davis, Dawson Freeman, and Logan Morrison. Check out Feels Like Color on your preferred streaming service, and be on the lookout for tour dates near you. Talking with Nathan and Dawson was a pleasure, and I’m looking forward to what the band has in store going forward.
Nathan: Yeah, I can see that happening in the future.
Nathan: For me it changes all the time, different lyrics jump out at me at shows. Right now I would say it’s the chorus from “Simpler Times.”
I might already know the answer to this one, but let’s say that you’re able to be the opening act for any active band’s U.S. Fall tour. What band’s audience do you think would be most susceptible to your sound?
If listeners only had access to one song
Dawson: Are you thinking Hippo
SuburbanRose.Com | @SuburbanRoseMag
51
community.
THEY THEY GROW UP UP GROW SO FAST! FAST! SO
“my name is kendall dennison. with recently turning 18, i made this playlist of songs that i associate with growing older, moving away, and the bittersweetness of it all. i hope ya like it.”
kendalldennison
a playlist by kendall dennison
COLONY HOUSE - WAITING FOR MY TIME TO COME COASTAL CLUB - ALLEYWAY ARMS AKIMBO - REARRANGE EARLY EYES - COMFORTABLE HIPPO CAMPUS - THE HALOCLINE COIN - DONT CRY, 2020 EARLY EYES - PENELOPE BAD SUNS - 20 YEARS TRI PATTERNS - SIMPLER TIMES COLONY HOUSE - THIS BEAUTIFUL LIFE CHASTITY BELT - DIFFERENT NOW
(be sure to follow us on spotify @suburbanrosemag) 52
Issue Two
young artists of manchester, new hampshire by gabrielle miranda
SuburbanRose.Com | @SuburbanRoseMag
53
DRIVE-IN 54
Issue Two
Cam Tessier, Cole Tessier, and Lars Ljungholm of DRIVE-IN, the up & coming electronic/ alternative band from Manchester, New Hampshire, had a chat about their background and being young artists in Manchester. Growing up in New Hampshire, Cam, Cole, and Lars started playing music at a young age. Like most young kids all of them were forced to take piano lessons. Eventually, they got older and branched out and discovered many other things. They tried garage bands and even producing. Lars says he started off playing around with different software on his computer and eventually started to expand. DRIVE-IN started as a few family members and friends coming together and has slowly grown. As they rapidly evolve and improve as artists, their hopes grow larger. When asked about where they’d like to see “DRIVE-IN” in a year or, so one for sure answer was that they’d love to be signed to a label. Of course, another certain wish is to hop on a tour with some amazing artists. But overall DRIVE-IN just hopes to grow larger and larger. Overall DRIVE-IN is an amazing 3-piece indie/electronic band who deserve so much recognition. They recently put out a video for their song “sleepless” and even some new merch. DRIVE-IN plans to keep putting out new music and videos and to keep going up from there. These guys are some of the sweetest people I’ve met and deserve all of the support in the world!
SuburbanRose.Com | @SuburbanRoseMag
55
KRISTY 56
Issue Two
Kristy is a 17-year old from Manchester, NH just trying to pursue her dreams like any young artist. Making covers has been her one way to really get herself out there. One struggle that she truly faces, like any artist, is doubt from other people. When asked how she handles the people that doubt her, she answered, “I don’t let them get me down! I say [that] no, i’m not gonna have a backup plan. I am going to be a singer!” Another struggle she has is being young period because [many] young people are underestimated, which makes it hard for her to do a lot of things like book deals and shows. Kristy will soon be recording covers in a professional setting and be posting them to a SoundCloud as a step in the right direction to becoming a star. The future for Kristy is bright. She’s a bright and beautiful person with a heart of gold. With her mindset and amazing talent, she will go very far.
SuburbanRose.Com | @SuburbanRoseMag
57
(in a fun word search this time) dead oaks (now, now)
devil town (cavetown)
scary love (the neighborhood)
spooky ghosts
(SNCKPCK)
tombstone poetry (field medic)
vampires (le trouble)
58
Issue Two
Photo: Gabrielle Miranda
TRENDING VISIT SUBURBANROSE.COM FOR MORE
Was The National Live A Disappointment?
Rising Artist: Parker Twomey (Gallery + Interview)
SILVIA PELLEGRINO
ALEXANDRA THOMAS
Review: Retrolux Release Stunning New Track “Dial Tone”
Eighth Grade’s Soundtrack Is Just As Blisteringly Honest As Its Movie
MOLLY MCCAUL
PRESTON THURLER 60
Issue Two
sponsored
YOU GOT A BAD ATTITUDE, KID Bad Attitude Media is responsible for many of the tours and shows you’ve attended this year, and they’re looking to take over the music industry one indie artist at a time. BAM was founded by Atlanta’s own Chelsie Byrum in early 2018. Originally called “Fairly Local” (a shameless Twenty One Pilots reference), Chelsie helped book Georgia locals from her senior year of high school all the way through college. Ranging from rebel punk to indie pop, BAM’s roster is quite impressive. On the list: Hate Drugs, King Shelter, Breakup Shoes, The Aquadolls, and many more of your faves. Chelsie has been very open about her struggles in the industry. Even though BAM is less than a year old, she’s been battling both the unknown and very well-known struggles of the music industry since about 2013. From cancelled shows, to constantly being told “no”, to even the most outright sexism, her journey has been a bumpy one. The next part of this article will be from her perspective. What’s up guys, my name is Chendo and this...is Jackass. Just kidding, it’s an independent talent and tour managing agency. But don’t worry, there’s still just as many embarrassing moments. Let’s talk about life on the road: it’s sweaty, it’s amazing, and it lacks a little something called Personal Space. I wouldn’t trade it for the world. I never thought I’d find myself lusting after a 15 passenger van like an accomplished caterer or handyman, but here I am: in traffic, thinking about all the ways to utilize two rows of seats and a “trunk” full of music equipment, and how comfortable I feel to call those vans home. Each tour I’ve been on has taught me a valuable lesson in tact, dressing fashionably out of one duffle bag, supporting friends, and how no matter where you go there will always be one man there to remind you that sexism is alive and well. From every rude email implying that I’m nothing but a silly confused girl, to every single time I’ve been called overdramatic and been accused of letting feelings get in the way of a decision (and I mean, who’s more dramatic and full of feelings than a guy whining about a girl who dumped him on stage for all to hear?), to every man who has straight up ignored me at a gig (guess they must not know who runs the show), please know that I will never stop trying. And please know that I’m taking note of your blatant sexism and will keep it in mind as I work my way up the industry and above whatever you consider successful. At least I can proudly say that I’ve never been belittled or disrespected by any of my current touring bands, so there’s some good news amongst the storm of sexism. In fact, it’s the exact opposite with my artists. They are my support team, just as I am theirs. I’m not writing this article to get your pity for my struggles, and I’m really not even writing this article to promote the bands I work with. I’m writing this piece to show even the most discouraged person that no matter how hard you struggle, there is still a light at the end of the tunnel. Keep your head up, and don’t let anyone tear you down. And when you rise above everyone who told you “no”, remember to share your success with others and don’t let it go to your head. Behind every truly successful person is a team of people who never stopped believing in them. Don’t forget to thank them. So with that, I say thank you to all of my supporters. I love and appreciate you, and look forward to meeting each and every one of you someday x Stay bad, Chelsie aka Chendo
thanks for reading! visit our website for more! suburbanrose.com
@suburbanrosemag @suburbanrosemag @suburbanrosemag
