Sunlight Magazine (Issue 3) by Sunlight Magazine

Sunlight Magazine Issue 3

FEATURING

The Lighthouse And The Whaler

I can’t believe that it’s been a year since we released our first issue. Since then, I can’t describe how much change has fallen upon me. 2018 has brought so much craziness in every way. But, Sunlight Magazine has been a way for me to find creative clarity. I hope it can be the same to you. Issue three features a colorful array of local talent. I want to thank every band and team member who are included in this magazine. They work incredibly hard and deserve a world of recognition. Open up and find your new favorite band.

Sophie x January 2019

The Dream Team Sophie Minello Editor

Sophie Sand Kannberg Creative Director

Anthony Sennett Writer, Artist

Carly Tange-Dye Writer

Cayla Coomer Writer

Jade Pike Writer, Photographer

Kristen Roberts Writer

Sunlight Magazine is a publication based in Cleveland, Ohio. Beginning in 2017, Sunlight has gone from an idea, to an online publication, then finally to a country-wide printed publication. We are passionate about all kinds of art and aim to serve as a platform to spread creativity and positive change. We put out constant musical content on our website. This year, we began our Sunlight Live Acoustic Sessions, and we hope to start several similar projects in the future. Additionally, we release physical issues every 6-months piled with all our favorite artists. Thank you for always supporting us. Find us online:

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Table of Contents 4

Blueberry Eyes Playlist

Favorite albums of 2018 (Described in 3 words)

Briston Maroney

Chase Atlantic

New Music From New Places

The Lighthouse and the Whaler

Littleboybigheadonbike

Outstanding Concerts of 2018

Three Legged Chairs

Late Night Lorde

Polars

Rabbit Hole by Mindy Gledhill

Go To School by the Lemon Twigs

0 Miles Per Hour

Flower Child

Holden Days/Lofty Stills

Tiny Desk, Big Voices

Familiarity

Happy Ears, Happy Eyes

Pacific

Madalyn Stefanek

Suspiria

A Life in Film

Lovesick

Are You There?

Big Blue Butterflies

Everything is Roses

One on One

Running Water Playlist

Favorite Albums of 2018 Described in 3 Words

by Sophie Minello

Be the Cowboy by Mitski Lift your head. Primitive Initiative by The Brazen Youth Lost in time. Big Blue Butterflies by Littleboybigheadonbike The sun sings. Godâ&#x20AC;&#x2122;s Favorite Customer by Father John Misty Midnight neon signs. Into the Moon by casey dubie Wind chime daydream. Modern Female Rockstar by The Sonder Bombs Your 1st breath. Bambi by Hippo Campus Fresh cut grass. Lavender by Half Waif Stars surrounds you. Foxwarren by Foxwarren Road trip blues. All Ashore by Punch Brothers Walking on waves. 7

Briston Maroney by Sophie Minello

Chase Atlantic by Jade Pike

he Australian-grown boys of Chase Atlantic nearly conquered the world in 2018. From playing the final Vans Warped Tour to embarking on their first headlining world tour in the fall, they broke records as one of the most touring bands of the year. On October 27th, they reached the city of Jacksonville, Florida. Bringing along artists RILEY and Cherry Pools, the night would be an unforgettable experience to anyone attending. With a full stage production including LED beams, smoke machines, and a screen to display stunning visuals, their performance brought the visionary of the band to life. Their set began with the fan-favorite “Swim”, a perfect way to hype up the crowd. Performing their latest single, “YOU TOO”, the band brought the tempo down a bit. This gave a taste of all they have to offer, showing off their emotional side and teasing at visuals for the upcoming era.

Complete with an interlude midpreformance, they showed off a darker side in their work. Throughout the tour, they premiered new music, including a track by the name of “Devilish”. It is equally alarming as it is captivating. Lyrics stating “I make sacrifices, you make lies up,” truly show that they are not here to mess around. To add to the array of new content, the song “LIKE A ROCKSTAR” is almost an ode to a reckless lifestyle. Although unreleased, the fans seemed to prove their dedication that night, singing along to each of these songs. Chase Atlantic is not your typical live band. Their shows will leave you speechless, from the incorporation of an occasional saxophone solo to the interaction of the members with the crowd. They attract an audience unlike any other, full of energy and prepared to have a good time. Paving the way for the future of the music industry, you won’t catch them stopping anytime soon.

New Music From New Places Orla Gartland (Ireland)

It’s hard to find an artist who can write such unique and distinctive songs. Orla Gartland is one of these rarities, taking big steps to set herself apart from the crowd through her infectious melodies and stunning arrangements. Though many of her most recent songs aren’t available on Spotify or Apple Music, her YouTube channel is where you can find the majority of her music. You don’t want to pass up bops like these. Listen to “Between My Teeth”.

Giant Rooks (Germany)

At first listen, Giant Rooks were quick to captivate me. I was lucky enough to stumble upon their collaboration with the Mahogany Sessions. Little did I know that I had just discovered my new favorite band. Immediately, their energy as a band pulled me in. It was evident that they were just kids doing what they loved. This five piece from Hamm, Germany have been working their way up in the music industry since 2014. Now, four years later, they have a mighty following and have played all around Europe. Listen to “Wild Stare”.

Aurora (Norway)

The mystical, whimsical soul of Aurora Aksnes is impossible not to fall in love with. Her ethereal look and wide eyes pull in an unbelievable amount of viewers. Her fan community calls themselves weirdos and warriors, embracing all that is within themselves. Aurora recently released a sophomore album entitled Infections of a Different Kind (Step 1). This release proves that Aurora is an artist that stands out. Through her music, we are able to see through her eyes into a whole new universe. Listen to “Forgotten Love”.

Avec Pas D’Casque (Canada)

This Canadian band sings only in French. For those who aren’t familiar with the language, their name can be translated to ‘with no helmet’. Their music reflects the earth, with light, flowing words and melodies. Despite not understanding the lyrics of the songs (though I highly recommend translating them, as the words are stunning), their music serves as a serene location in the mind. Listen to “Hu-Hum”.

I Am Oak (The Netherlands)

I Am Oak is a forest-y band from the Netherlands. Their earlier songs were what captivated me the most. The album Nowhere or Tammensaari is a collection of sounds that bring such a wave of peaceful energy. Writer and singer Thijs Kuijken has a talent in provoking emotion through his music; not only through his lyrics, but his melodies as well. This past year has been a year of big tours for this band, as they traveled through Germany, Tokyo, and Italy. There are big thing to come for this band. Listen to “Palpable”. by Sophie Minello

The Lighthouse and the Whaler

he Lighthouse and the Whaler are one of Cleveland’s most prominent bands. Nearing the 10 year anniversary since the band’s debut album, they’re still thriving in the music community both locally and nationally. The band consists of vocalist and guitarist Michael LoPresti, multi-instrumentalist Mark Porostosky, and bassist Ryan Walker. LoPresti began the project in 2009, when they released their debut self-titled album. This folksy, free-spirited sound propelled them into their next album, This is An Adventure. During this time period, they broke out of the local scene and joined the much bigger music world outside of Cleveland. The album’s beloved “Venice” has reached nearly 8 million plays on Spotify alone. Next came Mont Royal, where they further explored their sound, dabbling with more effects and synths in their songs. Now, three years after Mont Royal, the trio is teasing a fourth album.

Article by Sophie Minello Photos by Sophie Sand Kannberg & Sophie Minello

“The rumors are true,” states LoPresti as he sips on a coffee from Nervous Dog Cafe in Beachwood, “We’ve been working on it [their fourth album] for a year, maybe even a little longer, which might be the longest we’ve ever worked on a record since This is An Adventure.” Nearly six years after their memorable sophomore album, they’re ready to take their time to make sure this release is exactly what they have been working towards. “We’ve always had an organic vibe to our sound,” says LoPresti, “but the last record we did, Mont Royal, we did some synth stuff and branched in a couple different directions. This new bunch of songs is a little more cohesive with the instrumentation we used. We’ve been a band a while so we’ve sort of grown up a lot in songwriting…hopefully it comes off that our skill has grown. We took a lot more intentionality about adding strings and there are horns and orchestration.”

Earlier in the year, the band headed to Los Angeles to write this record, letting the waves clear their heads so they could understand exactly what kind of personality this album should have. Additionally, since their third album, the band has been through changes such as losing their long time drummer, LoPresti’s brother. “It was the best thing that’s ever happened to us,” he jokes. However, the change didn’t stop them from finding the perfect headspace to craft their new batch of songs. Porostosky adds, “Every record we’ve done has had somewhat of a different style. This one is kind of a balance between the three previous records. There’s definitely a little more depth to it than our first attempts.” Though this new album will be their first big release since 2015, they’ve come out with two singles and an EP within that timespace. These give a hint to what kind of sound will emerge with the new album, finding a way to combine pop synth sounds with classical orchestration. During summer of 2018, they embarked on a large tour around the country in promotion of their new single. This three week tour brought all around good experiences, despite their van’s air conditioning breaking in the beginning of tour. Recalling their most memorable show, Salt Lake City was quick to come to mind. “We always have killer shows in Salt Lake.” LoPresti explains, “The room we played in was just a square room, a small stage. But when it’s packed with people you’re like, ‘This is the greatest experience ever’. Everybody’s into it, you’re right on top of the people that you’re playing for, it’s amazing. The feeling is electric.”

Despite playing shows in cities like Salt Lake City as many as 15 times within the past decade, the shows still have an immense effect on the band. The tour was also special to the trio because, although touring is nothing new to them, they were able to play for the first time in cities like New Orleans and Milwaukee. Comes to show that, no matter how long you’ve been doing something there are still plenty of ‘firsts’ to be discovered. After years of touring, The Lighthouse and the Whaler know how it’s done. “When we were younger, as a band, we wanted to explore cities so now it’s more about staying healthy and putting on the best show possible… That’s my focus.” LoPresti says. The band is sure to do whatever it takes to stay mentally and physically healthy so they can present their best selves on stage each night. LoPresti refrains from talking during car rides to rest his voice, and they even have some fun TV games they play to wind down. “You never know how many versions of Scream is playing on HBO. It’s like, do I want to watch Scream 1, 2, and 3? Or just get through the first one?” Walker says, showing us the true dilemmas of touring. “That was our ritual on the last tour,” LoPresti explains, “We would just go on HBO and whatever it was we’d watch it, it didn’t matter. That was fun.” Taking breaks like this from the exhaustion of tour is a must-do. However, despite the fact that tour can be gruesome, Porostosky states, “It feels simplified when you’re on tour. When you’re home you have more things to think about, when you’re on tour you’re just thinking about one objective.” The objective is to play music that makes a room wake up. They surely know how to do that. 17

“When we were younger, as a band, we wanted to explore cities. Now it’s more about staying healthy and putting on the best show possible… That’s our focus.” 19

I remember seeing them around the release of Mont Royal in 2015. The energy of the show still subsists with me today. The room was packed, and the music opened everyone’s eyes to the wonders of the world. Being a local band, the venue was filled with friends, family, and fans. “There’s something special about the music scene in Cleveland. I think I felt that more and more the longer we’ve been a part of it.” Porostosky states. This music scene is full of friends. Everyone seems to know each other and care about the art that their peers are putting out. “When we started, people really got behind what we were doing,” LoPresti describes. “Beachland and the Grog Shop have been insanely great to us. They’ll email us and ask when we’re going to play a show. It’s a great community, and music fans are great too. Success doesn’t really matter, we’re kind of all just in it together. We’re all for each other, and that’s how it should be.”

“We’re all for each other, and that’s how it should be.”

It’s obvious that the music is where their hearts are at. Though their work has been on popular TV shows, and even the trailer for the 2018 Christopher Robin movie, they feel no need to boast about it. Walker explains, “It’s weird, but also exciting that we’re given that opportunity. It’s like ‘Oh yeah, that’s great that’s awesome’ but it’s not necessarily changing our lives.” The most memorable part of the experience, Walker goes on to describe, was watching LoPresti’s daughter look up to the screen as she heard the song play. “It’s a cool experience that you can tell to your kid,” he says. However, writing songs for licensing isn’t the same as creating songs truly from the heart, it’s all part of the grind of making a living out of something like music. Creating a sustainable career out of their music has been the band’s goal ever since they began. “That’s the main goal, aside from just making good music,” LoPresti states with a nod. The simple goal of making a living from music is much more difficult than it should be.

With the fast moving, highly populated, and ever changing ways of the industry, keeping up with everything can be a struggle. “The industry has changed immensely,” says LoPresti, “I remember when CD sales were still a big thing. To have to evolve with that has been difficult. The industry constantly evolving a nd changing. What matters to labels is changing. All you can do is write good music, and that’s all that matters.” Good music is definitely a goal that The Lighthouse and the Whaler have reached. With three glorious albums under their belt and a new one on the way, they have big things in store. “We’re still demoing more new songs as we speak,” LoPresti tells us, “We’re in the process of deciding how we’re putting it out. We’ve been writing a ton and that’s been the sole focus. I’m really stoked. I think highly of these songs and I haven’t been this excited for a while. An album is a story, all of these songs are there for a reason.”

by Sophie Minello

LITTLEBOYBIGHEADONBIKE

Outstanding Concerts of 2018 Slaughter Beach, Dog

n a recent roadtrip, I played “Gold & Green” through my car speaker. My mother was confused to learn that the band behind this glowing song was called Slaughter Beach, Dog.

Article & Photos by Sophie Minello

A few months later, I was lucky enough to catch this intriguingly titled band at the iconic Mahall’s in Lakewood, OH. Though knowing minimal songs, they were the kind of band who could pull in the crowd in every way, whether they knew the songs or not. I found myself starstruck throughout the whole show.

The New Respects

Article by Kristen Roberts Photo by Sophie Minello

rom that first note of “We Ain’t Going Nowhere,” I was in a trance. I hadn’t heard any band recently that meshed pop, soul, and rock and roll like the New Respects did so effortlessly. They had mini choreography moments that perfectly blended with the vibe of their music and appeared very natural throughout their set. It was tiny elements like this that made the performance so special.

Throughout their entire performance, I had chills. I kept turning to my friend and mouthing “Oh, my God” every time a new song began. The lead singer, Jasmine Mullen, has a breathtaking and powerful voice that seemed to bounce off the walls of the theater. The powerful guitar chords had me dancing so hard that I couldn’t feel my feet.

The chemistry was unbelievable; both the Mahall’s crowd and the band themselves were just goofing around and having a good time. One of their most popular songs titled “Acolyte,” sings the lyrics “gotta get out of Ohio.” At this specific line, singer Jake Ewald couldn’t hold in a chuckle as he looked out into the Lakewood, Ohio crowd. The night held all around good times, putting Slaughter Beach, Dog in my top list of Outstanding Concerts of 2018.

During her solos, Alexandria Fitzgerald would close her eyes and play like her guitar was an extension of her body. Bands like The New Respects are the reason I love music. They built a powerful connection with the audience within the thirty minutes they were on stage. Whether it was pretending they were the band playing at prom, or singing without any microphones while the audience stood in perfect silence, the New Respects knew how to create a beautiful and welcoming atmosphere that I fell in love with. In all of the concerts I’ve been to, this was the first time I just wanted the opening band to keep playing. I wasn’t ready to let go of my new favorite band.

Three Legged Chairs by Sophie Minello

hree Legged Chairs is a rocking band from Akron, OH. I was lucky enough to catch them before their show at Mahallâ&#x20AC;&#x2122;s 20 Lanes as friends, family, and fans began filling up the cramped venue. The band is composed of Justin on vocals, Kyle on guitar, Nick on bass, and Holden on drums. Theyâ&#x20AC;&#x2122;ve been around for a long time, starting when the original members were in middle school. Having just released their second EP, they have big things in store.

What was your inspiration behind band name? N: Should we tell the joke? J: No, because the joke came after. K: There’s a joke version that makes sense, then there’s the real way we just came up with. J: The real way was we had to come up with a band name so we each came up with like 10 different ideas and we just picked the best one. There was nothing really special about it, but then the joke came up. N: Someone said it’s Three Legged Chairs because four legged chairs don’t rock. That’s a good joke! N: Sometimes we take credit for it. Do you remember what the worst band name was that you came up with? K: I just remembered one of the band names was Spilled Milk. J: But then we saw there was another band with the very same name, which was strange that somebody already had Spilled Milk… K: So I wouldn’t say that was our worst idea. J: A lot of them sounded very heavy metal and it just wasn’t going to work.

“

W e ’ r e sensitive as hell.

”

For someone who’s never heard of your band before, what’s the most important thing they could know about you? J: That we’re cute? N: That we’re sensitive as hell. And we like to play shows and have a good time, so everyone should come out. J: We just really like music. A lot of people will start a band because they think it could get them something. We don’t really expect much out of it. K: We just all like playing music and having a fun time at shows. So we want other people to come out and have a fun time. As an Akron based band, how do you like the Ohio music scene? N: It’s underrated. J: Sometimes, especially in Cleveland, it’s very hard to actually get on the good shows because of the lack of connections, but there are a lot of smaller talents. Akron is one, and Lakewood. Just smaller places outside of the big cities. That’s what I appreciate about it. H: Akron has a really good DIY scene, at least it used to. It’s kind of starting to die out now, but a lot of people had houses and smaller touring bands would come through. It was really nice. J: But it’s still really supportive, the facebook group still goes off. The people in it are really sweet and everyone comes out to each other’s shows and listens to each other’s music. N: Even though it’s dying out it created a community. J: It just moved from everyone going to a basement to everyone going to a computer screen. Now it’s more about contact between each other and tips and tricks.

Can you tell me about your writing process for songs? K: Right now, what we usually do is me and Justin figure out stuff on guitar and then write a skeleton of a song. Then we get with these guys (Holden and Nick) and they’ll figure out their parts. J: They’ll help us with the rhythm sections too. K: We’ll add and subtract based on what everyone else thinks. It’s all really collaborative. Right now, we write the skeleton then they’ll do the meat and bones. N: And then we can listen to it and be like ‘what if we did this instead of that?’ We all contribute. Your first EP came out in 2015 then you just released your second in 2018. What was the reason for this time gap? K: Lack of money. J: The first EP we recorded at an actual studio in Columbus and it cost us a lot of money. K: It was at Sonic Lounge Studios. J: Shoutout to Joe. So that was super cool but it was just a lot of money for us. The time we were waiting, we were getting all of our own equipment to get ready to record our own stuff. We were going through some member changes and stuff so that was the reason for that little gap. N: But now we’re completely self sufficient and recorded the new one all ourselves.

I saw the music video for “Taste Test” and thought it was really cool. You have a really vintage, old-timey vibe. What made you decide to go in the direction of that style? J: We weren’t trying. K: We were just thinking of ideas for music videos, and then [ Justin] was like, ‘My grandparents have a basement, so we should film something around that’. N: Didn’t you guys find those newspapers and you had the idea to build it around that? J: Basically, what was happening was me and the old bass player who is my brother -- who is actually in that video -- we were cleaning our grandparents basement. We found the man on the moon newspaper from when it happened, so we just wound everything around that. Then we came [to Mahall’s]. It kinda doesn’t make a lot of sense but it does... K: It works because we were in [Mahall’s main room] and it has a disco vibe to it. N: I feel like the newspaper was from the 60s and y’all were dressed in the 70s and you all jammed out in the 80s. J: See, it was a little unorganized. H: Or maybe that was definitely the point. K: Yeah it was like a rocking through the decades type thing, even though that has nothing to do with the song.

Are you planning on making any more music videos? N: We were actually talking about a music video for “A Slice of Nothing”. J: We’re not really sure when that’ll happen, but it’ll happen. How do you think you’ve grown as a band since you’ve started? K: I think we’re more organized. J: We used to not really have a process. We were also in middle school so it wasn’t really a thing until we got into the second half of high school, then it kind of started become more of an actual thing. [We’ve grown] mostly just organizational skills. It’s gotten, I wouldn’t say easier, but more natural. K: And we have more solidified members now. Before we had trouble finding people who really wanted to do it, and now I think we found a good team. What is in store for the future of Three Legged Chairs? K: Nothing. J: We’re just gonna play this show and quit. *Laughs* J: Nah, we’re just going to keep playing shows as much as we can, tour more. N: We really want to go on tour in August again. We went on tour last July… K: And that was awesome, so we definitely want to keep doing that. J: New music coming out, so that will probably get recorded at some point. That’s basically it, keep rocking and keep rolling.

Three Legged Chairs by Sophie Minello

Late Night Lorde

by Kristen Roberts

ne is my favorite activities to this day is driving around late at night blasting tunes in my car. Driving aimlessly and discovering new parts of my city has always been an escape for me. It was an hour to get away or an evening spent playing a new album on repeat. I never needed a destination. I just found the moon and headed towards it until I ran out of road. Sometimes hitting the city limits didn’t even stop me. Driving around and listening to music has always been special. The two elements are so tightly woven together in my mind that most of my favorite musical moments in my life are centered around car rides. My family would blast TLC’s “No Scrubs” on the way to my grandma’s house and I would shout the lyrics before I even knew what it meant. My dad woke up extra early to put the new Miley Cyrus album Breakout (circa 2008) on my green iPod Shuffle (also circa 2008!) before we took the twelve hour drive down to the beach. I dragged one of my best friends out to listen to Hippo Campus’ album Bambi for the first time because I thought it would sound even better in the car. Throughout the years, the car playlists have varied, but there has always been one artist that I fall back on for late night car rides: Lorde.

Lorde holds a very special place in my heart. She has released music that has served as the soundtrack for pivotal moments in my life. She is a beautiful, loving human that possesses such a unique talent for lyricism. That obvious bias aside, here’s why Lorde will always be the perfect artist for an evening jam session. Ever since the release of her first EP, The Love Club, in 2013, Lorde has held the top spot for driving jams. Back in 2013, however, I didn’t have my own car so my mom was subjected to this New Zealand native on repeat. My mom also didn’t like that Lorde’s debut album was titled Pure Heroine, but that’s a discussion for another time. Now, many years later, Lorde has recently ended her Melodrama era. As a chapter closes for the artist, I end up looping back through her entire discography and it is like returning to a sacred place after being away for so long. Lorde’s music has a certain quality that has always made me feel cozy and safe. Maybe it’s her distinct, silky voice. Maybe it’s the rhythms pounding their way into my chest. Maybe it’s the lyrics that touch the deepest part of my soul.

Maybe it’s the combination of it all, I don’t know. Whatever it is, it creates the ultimate soundtrack for driving. In the summer, with the windows down and the warm breeze in your face, Lorde is on full blast. In the winter, with the heat on and thick socks on your feet, Lorde is blaring through the speakers. Next time you take a late night drive, put on Lorde and experience the serenity that I’ve held close to my chest for the past five years.

POLARS

by Sophie Minello

Rabbit Hole by Mindy Gledhill by Carly Tagen-Dye

here are few singer-songwriters who have the ability to make a listener fall in love within the first few seconds of an album. Mindy Gledhill, and her latest release Rabbit Hole, prove to be one of those rarities. With four albums already under her belt, she is no stranger to the industry. Although Rabbit Hole is her first release in six years, Gledhill bounces back as if she never left. This time, it gets even more personal. Raised in a Mormon household, Gledhill experienced religion and its values in every way possible - both the good and the bad. This realization has led her to become a prominent activist for equal rights, changing the opinions of both herself and her listeners in ways previously never imagined. Gledhill brings that journey to life in the form of eleven intricate songs - ones that are sure to stick long after their final notes. For fans of Gledhill, Rabbit Hole sticks close to home. Her classic, Ingrid Michaelson-esque sound is still recognizable within the album’s lyricism and execution. However, Rabbit Hole also provides something more. The album is an external and internal trek. With Gledhill as our guide, we follow her through the ups and downs that come with growing older and becoming more in touch with oneself. Title track “Rabbit Hole” kicks off the epic slowly, piano like the church hymns Gledhill is all too familiar with. We are greeted by her gentle vocals, as she soothes our internal worrier that things are going to be just fine.

It is a ballad for those in search of themselves, and in search of a life yet unknown. As she sings, “the rabbit hole is terrifying and wonderful”; it is a beautiful world out there - you just have to make the leap in order to see it for yourself. Within each song is a mantra for how to carry on; words of wisdom that are greatly appreciated. Gledhill is conscious of her power as a writer, making it clear that there is no right way to go about doing anything in life. When you are knocked down, there is no need to worry. As sung in “Boo Hoo”, “you gotta live a little in the dark to appreciate the morning light.” It is okay to feel upset sometimes. In fact, it is something to appreciate, because it only makes the good times that much better. When you are in love, as much as it is about yourself, it is also about understanding others. “Wild Card”, one of the more rock and roll tunes on the record, is an ode to the adventurous souls in our lives, and in ourselves as well. Gledhill croons, “Every win and every loss is teaching me to paint my world in color, to see its beauty through the eyes of others.” It is a song about understanding the ones who seem the least understandable - sometimes, that is just what we need in order to truly bloom. Gledhill’s own story, however, is what makes Rabbit Hole the artwork that it is. With her shift away from Mormonism and towards a life of love for all, there is a different layer added only experience could bring. “Bluebird”, a more delicate song, is both heart wrenching and warming. It feels as if Gledhill is cradling you in her arms, easing any and all worries about where you belong. Freedom is the real prize. For Gledhill, it’s an escape from a patriarchal grasp, both of the Church and society (“You don’t have to wait for the man who says he holds the key in his hand”). For others like her, she represents a reason for breaking free from anything holding them back. “Lines” speaks to the boundaries set forth by the world. It is all “poison in disguise”, yet Gledhill knows that there are ways around it.

Breaking down barriers, like she has down with her activism, is true empowerment. It is alright to color outside of the lines and live outside of the picture created. With the song’s catchy and danceable beat, it is a celebration of uniqueness and being oneself. Gledhill feels those are factors to take pride in, instead of run away from. Most importantly, Rabbit Hole is an ode to reuniting with our truest selves - whoever that person may be. “Wandering Souls” is a call home to those who don’t have a place. While we may appear to be lost on the outside, as Gledhill sings, there is no feat as great as indulging in that journey in the first place. The search of self may take courage, but is worth it in the end. Gledhill ends the album on an optimistic note with the bouncy “Adiós Cariño” - a tribute to her time spent living in Spain as a child. As she sings in some of the record’s closing notes, “For all goodbyes, a new beginning is in the end.” The track is a farewell to past lovers and past mistakes, as well as a hello to a new life. The soul has been set free, and the spirit is ready to soar. There is truly nothing more crucial than that. Rabbit Hole is a gift to all who are willing to accept. From a first listen, it is clear that there is something special woven within the words. Gledhill’s lyrics drip with honesty and meaning. Intertwined with her own colorful journey, they ring truer than they may appear. These songs are heartfelt odes to equality and love for all, making her music all the more important today. Listening to this album feels like floating aimlessly downstream, guided only by good thoughts and wishes for whatever is to come. Rabbit Hole is an invitation for all those wandering spirits at a loss for who they are and where they belong. For Gledhill, that token of gratitude is something that truly comes from the heart.

Go To School by The Lemon Twigs by Carly Tagen-Dye

t has been two years since the world was introduced to Brian and Michael D’Addario, also known as rock duo the Lemon Twigs, and two years since the world was invited into their eccentric coven of music. With the success of their first LP titled Do Hollywood in 2016, the brothers have quickly risen to fame for their eclectic songs, toned with an intense classic rock influence. They are unafraid of avoiding the mainstream by experimenting with synth, sound, and story. Despite this, Go To School, their sophomore album released this past August, might be their most ambitious project yet. The album tells the story of Shane, a chimpanzee raised as a human boy. As he enters high school, he soon realizes that the world outside is not as pure as he imagined it to be. The record is heavily influenced by the showtunes from their days on Broadway. However, that doesn’t stop them from going bananas with frantic guitar solos, intricate orchestrations, and the crossing of various musical genres. It plays out as perfectly crafted chaos, while still keeping the signature sound the Lemon Twigs have managed to create - whatever that may be. At a first listen, Go To School could be viewed as an attempt at remaking classic concept albums of the past.

There is a fine line between inspiration and imitation, and the Lemon Twigs have often been criticized as walking too close to the edge. However, the D’Addario brothers take that influence and celebrate it. Songs like “The Fire” have a 70’s style fingerpicking and folk bounce, balanced out by Michael’s incessant vocals. The wailing guitar in “Queen of My School” jolts listeners back to the album’s rock core, while “This Is My Tree” could easily be found on a 1950’s jukebox. It is everything good about classic rock music, while tying in an original and modern twist. Michael’s fast-paced songs are contrasted with his brother’s soulful ballads. “The Lesson” is the first of Shane’s soliloquies. With its whimsical keyboards and lighthearted chorus, his optimism is highlighted through Brian’s gentle falsetto. “Home of a Heart (The Woods)” is a song for the vagabonds who feel they don’t belong, backed by emotional strings andorchestrations. The final track, “If You Give Enough”, is short and simple, yet the most impactful of them all. This track brings closure, as Shane finally makes peace with himself and the world around him. While a rock record, the messages in Go To School creates something much more meaningful. This is a story of a chimpanzee with an unrealistic view of the world, but it is also a story about us. We can feel the D’Addarios’ concern for a society that lives off of trivial, selfish achievements, as Shane wallows that his peers “live their days in mass delusion”. We can feel their pity towards those who don’t fit in, crooning “I feel so out of sync with my friends”.

It is hard to avoid feeling hopeless nowadays. The Lemon Twigs understand that, and present an outlet to sympathize. Shane also represents that small sliver of innocence and purity we all have inside. It is hard to keep optimistic in a society that is full of negativity and hate. However, the D’Addario brothers express a hope that we can survive. However, they express a hope that we can survive. As sung in the album’s closing lines, “Please don’t let them destroy you / your life’s only good as love, if you give enough”. It is not about what people give you; it is about what you give back. Learning to think for yourself, and be the bigger person, is what will save us in the end. Go To School, in its full crazy and complicated glory, might take some time to fully grapple. With its wild orchestrations and arrangements, it has a free for all feel, while still keeping a classic rock and roll sound. As much as it is a rock album, Go To School is also a clear indicator of the brothers’ maturation as both musicians and people. Through their intricate lyrics and story, the Lemon Twigs have shown a true understanding of the world; their ideas about how to interact and grow within it are all the more impressive. The D’Addario brothers, as absurd as they may appear to be, are onto something big. It is with great anticipation that the world awaits what they will do next.

0 Miles Per Hour by Jade Pike

miles per hour is a punk rock band based out of Orlando, Florida, consisting of members Jack Dee and Christian Mckeever. Taking inspiration from the 90s punk era and 50s pop music, the two have been working to create a sound unique to themselves. Guitarist, Jack, explains, “The California punk scene, specifically the Bay Area, really inspires us.” Merging sounds from bands like SWMRS, The Frights, and FIDLAR, they strive to bring more awareness to this genre of music. Playing shows around all of Central Florida, the band is very appreciative of the local music scene. Lead vocalist and bassist, Christian, states “Everyone we’ve met in the local music scene is very nice to us and gives us support.” They even mention, “The Frights let us play with them every time they come here.” As they have found support from bands like this with a greater following, they show they have what it takes to reach an audience beyond the small town they live in. Every one of their shows has “very high energy.” They are the type of band to put all they have into a performance. Reflecting their energy off of the crowd, they radiate a very good vibe as a live band. You can be sure to catch plenty of circle pits and moshing at the shows. Always appreciative of those who go to their shows, they make an effort to get to know everyone who comes out to support them.

Aside from music, I had the opportunity to speak with them about some of their favorite things to do. They claim they like to skate sometimes, not taking it too seriously of course, but they have a great time whenever they go out with their friends. (Author’s Note: According to Jack, “We like to say we skate, but we just kinda cuff our pants.”) Each of them takes interest in the world of film as well, showing a love for classic directors such as Quentin Tarantino and Wes Anderson. Referencing the works of Tarantino, Jack explains, “Honestly, if you can’t understand his genius, then you can’t even cuff your pants.” As they are in the studio this winter, you can find updates on the record, as well as show information at @0.mph.band on Instagram. 35

by Sophie Minello

Holden Days / Lofty Stills by Cayla Coomer

Holden Days is the collaborative dream-folk project of Timothy Jude Andrews, and various friends. Andrews crafts intricately woven songs comprised of tape samples, effected guitars, and multi-layered vocals to create senses of interactive melody, intended to capture a range of emotional atmospheres from song-to-song. Lofty Stills is a roots-tinged, starry-eyed dream pop project led by Seattle based musician and producer Luke Culbertson, with Jamison Dewlen on pedal steel and banjo, and Brennon Knott on drums.

So you both had a individual song on this EP, what made you choose the songs? Timmy: Longest Hallway was recorded while I was staying in Seattle at Luke’s house. He was in the shower or something, or making breakfast, and it ended up just sort of capturing the same essence that we found in “Pull The Moon Down For Me” and “Cicadas”, even while these two individual songs are so miniscule in arrangement compared to those other two mentioned. I guess it turned out to be the synonymous feeling of being in that room together, which was something that we never got a chance to tap into otherwise, since we always work long-distance, between California and Washington. It wasn’t a clear intention until a few months down the line that we would even have these two acoustic songs on the EP. Luke: I think I chose “Maybe” because we both wanted to include a song that was very stripped down in a very pure form. The final song you hear on the EP is actually just a voice memo that I recorded with my phone, and I really resonated with the song because it was fully improvised and captured a very specific and lonely mood. It really felt like nothing I’ve ever made before. T: Yeah, I remember when you first sent “Maybe” to me and I listened to it like 25 times in a row. I was really sad or something and it just really cut deep. L: And I remember hearing the chorus of “Longest Hallway” and it just struck me and felt so cohesive with the other songs, and it got stuck in my head at so many random times i just knew it had to be included! How did you get the inspiration? T: Writing the lyrics for these songs were very streamof-consciousness. I like to think of them as dreams you’ll sometimes have, where it’s heavily circumstantial, but heavily indicative of real life events and emotions. “Cicadas” was a particularly wild one for me, since I wrote it so vaguely, and didn’t really have an idea what it was about until the following month. Albeit heavily poetic, it perfectly encapsulated what I was going through spiritually that month after writing it. Almost like it’s some sense of emotional prophecy. L: I get inspiration from almost everything, from music, to movies, to people-watching at a cafe. Inspiration for these songs specifically came from listening to Timmy’s unreleased demos, to bollywood soundtracks, to John Cassavetes movies, to riding in a ferry to Port Townsend with Timmy when he visited.

What did the making of the EP look like? T: Initially, we just had the idea to record something together during my first stay in Seattle. We ended up with “Pull The Moon Down For Me” which was called “idkmix-1” until we got back in the same room again a year later to make “Cicadas”. Both of those songs weren’t necessarily pre-meditated, and were just a product of us being in the same room and being able to create together. At some point before making “Cicadas”, we decided we would turn this project into a “Split Single,” which would later be a Split EP with the addition of the two individual songs and so it was more of a focused attempt to make my half of it, going into “Cicadas”.

“Writing the lyrics for these songs were very stream-of-consciousness. I like to think of them as dreams you’ll sometimes have, where it’s heavily circumstantial, but heavily indicative of real life events and emotions.” L: Some people might not know this, but my friendship with Timmy kind of began with musical collaboration, and we produced Timmy’s first Holden Days album together remotely before we had even met in person, sending each other files back and forth. We knew that whenever the opportunity could arise for us to be in the same room together that we’d want to make songs together. That time came when two summers ago, Timmy visited Seattle and we created “Pull the Moon Down for Me”, hunched over in front of the computer with my modest studio setup, messing with cassette tapes and sampling records. It was a very natural and collaborative process, just bouncing ideas, recording things and following them where they led. I actually came up with the verse melody for “Pull the Moon Down for Me” when Timmy was taking a nap! It was a very natural and collaborative process, just bouncing ideas, recording things and following them where they led.

How did you pick the cover art, and how does it fit with the music? L: I had initially tried something like 5 or 6 designs myself, and nothing felt like it fit, until I found a collage artist named Waldemar Strempler. His work really resonated with me and the piece we ended up using captured a sense of mystery and longing that I can’t really put into words. I think it ties in with the music because the combination of the blended red and white (Red is also often associated with love) brushstrokes and the veil they create over the character’s face mirrors a lot of the album’s themes, like the dichotomy of togetherness and loneliness, and how love is so intertwined in both of those states of being. It’s a very visceral, graphic piece that I knew I wanted for the cover as soon as I saw it and we’re super thankful to Waldemar for letting us use his work.

“...the piece we ended up using captured a sense of mystery and longing that I can’t really put into words.” How does Wilder Shores of Love translate with each song to you? T: For me, it’s a reflection on different breadths and contexts of that super malleable concept of ‘love.’ “Pull The Moon Down For Me” is depression borne of failed love, but then hope for (or only dreamlike) reconciliation, with allusions to confidence in divine guidance and peace. It’s very bigpicture “Longest Hallway” sort of follows that same motif, but on a more circumstantial level. It feels to me like these very specific events in a dream, and it all makes sense while you’re there, but upon waking, it’s like you’ve lost all understanding of why everything seemed to make sense. Again, it’s conflict-resolution. I almost feel like I should be a school-counselor.“Cicadas” is love and understanding between a human and God, essentially. “Maybe” delves into the depths of the individual, and even the way it’s recorded, it feels sort of obstructed, like you can’t see anything else but the individual. It’s a very ebb-and-flow sort of album for me. It has long washes of grandeur and ecstatic love, and being drowned in senses of reverie, but then a more concise wading, where you can see the finer points of a concentrated tidepool. I should be a Marine Biologist.

L: The phrase Wilder Shores of Love comes from the title of a Cy Twombly painting, and that painting to me feels very much like music, and in choosing that title for this collection of songs, we both felt a sense of connection to that phrase, the painting, and the images that it conjures up about love. I think each song explores so many facets of love (platonic, romantic) and the breathtaking ways it shapes all of us. I can speak to “Maybe” as a very specific expression of a time of depression I was experiencing when I recorded it, and a loneliness that I could only really process through song. I can’t really explain a lot of my lyrical contributions on this EP because they were all ad-libbed and feel like a deep part of me that I can’t quite understand, which is I think what love kind of feels like, too. How did you come up with the instrument arrangements in the songs? T: “Cicadas” was birthed from this one drum loop I had sampled and made something out of a while back. Luke ended up really liking it, and desperately wanted to use it, while I hated it and thought it was the worst thing ever. We ended up chopping and altering the sample further, and layering it with other old Bollywood drum samples to make something I actually wanted to work with. I remember sitting down with the electric guitar and Luke said, “just play anything” and the chord progression just sort of happened right there, which never happens, because I always have to revise. I remember working in a really different way. I was on the floor while Luke was engineering a lot of the parts. Meanwhile, I was messing with pedals and feeding old Yamaha keyboards through them and whatnot. We were thinking of adding bass, but it oddly felt really nice with the absence of that. It pushed me to be way less symmetrical to my production, which was very liberating. I remember not being too sure of how I felt about the whole thing until we put in these little keyboards that sort of sit in the back, that sound like little fireflies floating around and drunkenly bumping into eachother. I wanted the song to feel like the noise of “Cicadas” in the summertime during evening, without actually deliberating to put, like a sample of actual cicadas in the song.

L: A couple of years ago, I was starting to explore new production techniques, and that informed a lot of the songwriting, arranging, and sounds in “Pull The Moon Down”, and “Cicadas”, and our collective minds collided in a way to where we could bring out the best in eachother. We fed a lot of things through several of my portable cassette recorders, and played guitar and sang things on the floor sometimes. We came up with a lot of instrumentation on the spot, and it ended up being very home-spun. Production-wise, I think we both influenced each other a lot, and continue to influence each other to this day! What were you most excited about when creating this whole project? T: Getting it out after sitting on it for like two years, haha. L: Working together! And I was super excited to work with Dylan Wall to mix “Pull the Moon Down” and “Cicadas”. Getting in the studio for that was amazing and he really gave the songs a whole extra dimension. T: That too! Of course. Is there a storyline to the songs/how did you decide the order? L: There isn’t a super strict overarching storyline to the songs, mainly just the common theme of love. We decided to order the songs dynamically, going back and forth between the loud, bombastic songs we created together, to the quiet, intimate songs we created on our own. T: It’s actually exactly chronological. PTMD was recorded one year, “Longest Hallway” and “Cicadas” were recorded the next year- one after the other- and “Maybe” was made in May of this year (2018). L: Oh! I actually didn’t realize they were chronological haha. What was your favorite part of creating the EP? T: For me, it was the element of being… well, out of my element. I do pretty much all my Holden Days recording at home in California, so being in Washington gave an entirely different atmosphere to me, and inspired me in an irreplicable way. It was interesting figuring out the realtime dynamics between how Luke and I work individually, and seeing how that comes together. We were frustrated at times, but we learned to grow it into something we could work with.

L: I think my favorite part of making the EP was just being in the same room with Timmy, and just focusing on pure creation. We always create something really special together but when we’re in the same room it adds another level of pure collaboration. Do you both have any future plans collaborating, and what can we look forward to from both Lofty Stills, and Holden Days? T: I think we’re always more or less going to be working with eachother. We both just sort of resonate in a really special way. We’re kind of like musical soul-mates, I guess. I’ve got like three albums almost finished, and Luke’s had a hand in co-producing and overseeing it all, and playing some parts here and there, so there’ll be enough to last you a while, even just with that.

“We both just sort of resonate in a really special way. We’re kind of like musical soulmates, I guess.” L: Timmy and I have another collaboration song in the works, and I’ve been working on the second full length Lofty Stills album for the last year. Lofty Stills is regularly playing shows in Seattle and we’re hoping to do our first tour in 2019. We’re both so excited about what we’re working on and neither of us are planning on slowing down anytime soon! T: I need to start playing shows again, but it doesn’t really help when the rest of your band lives in different states.

Tiny Desk, Big Voices by Sophie Minello

f you’ve never heard of NPR’s Tiny Desk Concerts, you’re seriously missing out. The Tiny Desk Concerts are the most iconic intimate music sessions in existence today. These sessions bring in a multitude of different musicians from different genres: from pop to r&b to soul to folk to alternative. The sessions often last between 10-20 minutes of uncut, up close performance. The personal atmosphere of the session is enhanced as the musicians move through their sets. Often interacting with a small crowd out of camera view, it’s hard not to feel like you’re right there in the desk space.

The setting -- the most important part -- is the desk of NPR program host Bob Boilen, the brain behind the Tiny Desk Concert series. It’s space is littered with posters, CDs, vinyls, bobble heads, mugs, books, and countless other knick knacks. Perhaps the next project Boilen should embark upon is creating his own iSpy game out of the tangle of his desk space. All in all, the Tiny Desk Concerts serve to be the most intimate, creative, and well branded music sessions.

Haley Heynderickx

Daniel Caesar

Half Waif

favorites of the...

2018

Boygenius

Hobo Johnson and the Lovemakers

Iâ&#x20AC;&#x2122;m With Her

Inspired by the song Familiarity by Punch Brothers.

Familiarity by Sophie Minello

Art by Averi Campbell

Pacific

Happy Ears

Hey! Will speaking. “WYAF” is the name of our newest song. WYAF is an acronym for Where You Are Forever - a playful, innocent title for a happy, larger-than-life love song. “WYAF” is a song about a love that you want to exist, the kind of love you dreamed of when you were young and still believe exists somewhere in the deepest part of your heart.

fter releasing our debut EP in January 2018, we started to play our first shows as a band and they were so special. Friends were literally singing our songs back to us that had been out for a month - it was a magical feeling. But I noticed that as we played a few more shows around Nashville, I kept wanting to change these songs. Speed them up, slow them down, sing certain phrases differently – anyway I could make them match what I felt in the moment. I quickly realized – dang, I wrote too many slow, introspective songs. How I felt when I would perform felt so different from how I felt when I would write. I wanted songs that felt like somebody else wrote them and I could just sing along like karaoke. So I decided to write songs for how I would feel later – whatever cloud nine feels like! “WYAF” came out of that realization. I love anthems. I love love songs. When people ask my favorite style of music, I often reply with those songs that play in the credits of movies with happy endings, where you stand up on the couch and dance around the room still dark from watching the film. I had also just gotten out of the longest relationship I had ever been in and was reimagining what it meant to be in love. Asking questions like - Can love really last a lifetime? Or Is there really somebody who you could spend every remaining day with and still want more? I think love is hard fought for, absolutely, but I do think there are these moments when love comes easy and that’s what we fight for in our relationships.

This song in a lot of ways symbolizes the beginnings of our relationship as a band. The first line “Now this could be the start of something beautiful.” In any relationship, whether romantic or a band or any new adventure, there is this initial stretch where you have no clue what’s going on, but you think you love it. All of a sudden, all your plans start to change and revolve around this one new thing. Feelings of euphoria may not last forever, but sometimes their memory is what keeps us loving strong. And I’m gonna stop there before I give away every song we will ever write from now on.

Madalyn Stefanek Happy Eyes

adalyn Stefanak is a portrait artist and illustrator from Cleveland, OH currently living in NYC. My process is exactly that: a process. For me, process is just as important as product. Aside from commissioned work (which I do a limited amount of currently), art making is about the ten hour journey I take to complete a drawing or painting, and the mess I usually make along the way. Most of that time is spent listening to music, drinking tea, and soaking in how it feels to be in a space for a long period of time. I love nothing more than peaceful days at home spent making art. When I’m doing work that isn’t commissioned, I typically choose subjects based on the music I’m listening to at the time. Music guides my entire life - both professionally and personally - so it makes sense that it would affect my art as well. I love how people respond to seeing a recognizable, well-known face in my art, and want to pay homage to as many musical greats as I can. Before starting a piece - like most artists - I always consider the space and context it’s going to end up in. I gather this information through talking with the buyer about what specifically the art is for. This heavily guides my process (digital or physical, printed or original, etc.) and materials (graphite, paint, charcoal, etc.) I use, but I’m often given freerange to create however I feel. That’s always fun for me. Keeping this fun is a huge part of my process right now.

Making and creating (drawing, painting, sewing, cooking, etc.) have always been huge parts of my life. The relationship I have with my craft is constantly changing and flowing through different periods (one of which included two years of serious fine art college before I realized that wasn’t the path for me). Right now, I draw mainly portraits simply because that’s what feels good - I try not to overthink it. I’ve always admired artists who commit to one style or subject for years and years. I find a lot of joy in learning how to make small improvements to my style with each piece. I also think the human face is interesting enough to make an entire artistic career out of. But I imagine my art will change with me as I grow.

Music guides my entire life both professionally and personally so it makes sense that it would affect my art as well.

Because I travel for work, my art right now is mainly digital, though I wish it weren’t. I absolutely love the freedom working digitally offers me, but sometimes wish I had the time and space to work in the same way I used to - wide open rooms and seemingly endless amounts of time to create large things that would end up hanging on a wall. I know I’ll get back to that eventually, but right now I’m focusing on improving everyday. I’m constantly focusing on making art that feels good, because what’s the point if it doesn’t feel good?

Aretha Franklin & Johnny “Guitar” Watson.

Suspiria

by Anthony Sennett

emaking a movie. At this point, this has an incredibly negative connotation. In an industry of money hungry studios, these films usually end up being heartless and uninspired. Every now and then there are exceptions, and Luca Guadagnino masterfully crafted one. When I first heard a new Suspiria with Luca was in the works, I was weary. With his last film Call Me by Your Name being so masterfully created and emotionally visceral, I knew he was a more-than-competent director. Even with this knowledge, I was simply scared of anyone touching Dario Argentoâ&#x20AC;&#x2122;s masterpiece. Upon seeing the 1977 film a few years ago, I was completely blown away by the style the film possessed. With stunning set pieces and imperial red blood, Dario constructed a fascinating world for the story to take place within. Although it was a horror in every sense, it almost felt like a fairytale.

The story revolves a young American transfer named Susie uncovers supernatural and evil forces within the walls of a Munich dance company. In his youth, Luca was infatuated with Darioâ&#x20AC;&#x2122;s film. Praising it endlessly, he says the film continues to influence his psyche. After watching the first trailer for his 2018 remake, my preconceptions were washed away, becoming incredibly excited to see what they concocted. After watching the entire film, I was floored.

Luca’s Suspiria went above and beyond what I could have ever hoped for in a remake. His love for the original is wonderfully evident. Instead of relying on nostalgia and the creativity of the first film, he took the basis story and made it all his own. With dull, gloomy Berlin as a setting, the dance school immediately has a new aura. Unlike the enchanting escapism of Dario’s, Luca’s is grounded in a realistic, historical moment. In fact, it is set in the same year the original movie was filmed. With an aura of mystery, Dario’s work focused much less on deep characters and much more on gruesome horror. This left so much for Luca to interpret and expand upon, which he wholeheartedly did. With a much longer run time, 2018’s Suspiria dives deeper into every topic of intrigue in the first. The theme of motherhood was the driving force for this film, taking the cold-hearted sinister aspects of the original and giving them an emotional and versed edge. This also helped Luca decipher which new side-plots and backstories to emphasize. Since the students are at this school to dance, it was fantastic to see so many scenes revolve around their choreography and performances. Even with all these new plot points, the gore is still very, very present. Unafraid to leave anything unseen, the bloody hooks, ripped open stomachs, and mutilated bodies are hard to miss.

Accompanying these wild visuals, Luca did not cop out and modernize the iconic 1977 Goblin score. Instead, he convinced one of music’s most impressive and experimental forces, Thom Yorke, to craft an astounding palette of new sounds. Using hypnotizing repetition, he carried the supernatural spells of the characters into the sonic landscape. Leaving no opportunity missed, Luca shaped one of the most awe-inspiring cinematic experiences I have seen in years. The definition and connotation of a remake has been so construed that even Luca refused to call this film one. Instead, he categorized it as a ‘homage’ to the original, which, in all honesty, is just one way a film can be a remake. Whether it be by delving deeper into the themes, telling the story through a unique lense, or repairing the damage of the first, remakes can be such a fascinating project to tackle. Going into 2019, a year bound to be dominated by Disney shoving lifeless live action remakes down our throats, we need to remember the glory of what Luca taught us.

“Leaving no opportunity missed, Luca shaped one of the most awe-inspiring cinematic experiences I have seen in years.”

Kississippi at Mahalls 20 Lanes in Cleveland, OH.

Queen of Jeans during the cover shoot for Issue 2.

A Life in Film

by Sophie Minello

Some friends in a park in the good ole NYC.

Waiting for Flee Foxes with Ms. Cayla Coomer.

Sophie Sand Kannberg, love of my life.

Hello from the hills of Wyoming.

A hidden home of Wyoming.

Fleet Foxes in a blue atmosphere. 55

love·sick /’ləv·sik/

adjective: lovesick; in love, or missing the person one loves, so much that one is unable to act normally.

My heart began to beat differently when I met you. You made my face red, you made my lungs breathe. You gave me one hundred different reasons to stay awake. When you were sleeping in my arms, I felt as though I had everything.

I thought about you more than I should have. You were addictive, you made me lovesick. I craved you, I ached for you. My mind was raw from thoughts of you. I wanted all of you.

sophie sand kannberg “lovesick”

love·sick /’ləv·sik/

adjective: lovesick; in love, or missing the person one loves, so much that one is unable to act normally.

I’m tired of not sleeping next to you. I am delusionally in love with being in love with you. You won’t let me soothe your aching heart on days when it hurts too much. My life changed for the better the moment you became a part of it, and I never wanted to be strangers again.

I crave you, I ache for you still. My heart still beats for you.

sophie sand kannberg “lovesick”

thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. i have dreamt of you one thousand times. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. please take care of yourself. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you too much. thinking of you

ARE YOU THERE? I NEED TO TALK TO YOU. you are loved, you are so deeply loved. be kind to yourself. you are perfect the way that you are. you are enough, you are loved. you are so loved.

you get better every day. all of your problems have solutions. forgive yourself for your mistakes. youâ&#x20AC;&#x2122;re perfect the way that you are. you matter.

today can be a great day, you control your own happiness. itâ&#x20AC;&#x2122;s okay not to know everything, you can get through anything. you can do this.

you can make a difference, you are in charge of your own life. good things are coming. every day is a fresh start. you are kick ass. you are doing your best.

Big Blue Butterflies

Photos by Sophie Minello

“The big blue butterflies land on my face...” Inspired by Littleboybigheadonbike’s sophomore album.

Everything is Roses by Jade Pike

One by One by Jade Pike

Running Water by Kristen Roberts

come out and play: billie eilish surrounded by heads and bodies: the 1975 too late, colin: lunar vacation make my bed: king princess what a heavenly way to die: troye sivan greek god: conan gray thereâ&#x20AC;&#x2122;s a honey: pale waves torches: half waif real like you: model tenant flaming hot cheetos: clario canâ&#x20AC;&#x2122;t tell: loftii, kerri home soon: yuzu blur take me on (chilled): joan