Melisma From the Editors Dear reader,
Staff EDITORS-IN-CHIEF: Ethan Lam Lola Nedic Julia Bernicker
SENIOR EDITORS: Laura Wolfe
MANAGING EDITORS: Michael Cambron Miranda Feinberg
EDITORS: Florence Almeda Ian Smith Andres Lopez Miles Joseph Vinay Arun
SOCIAL MEDIA: Kayla Avitable
STAFF: Max Chow-Gillette Georgia Moore Grace Rotermund Andrew Fellows Sahm Schiller Thomas Felt Taylor Jacobs Anna Minasyan Interested in writing, art, or design? Questions, comments, adulation, spam, scams, or hatemail? Email melismamagazine@gmail.com
It’s been a very rough year for us Melismaniacs. People stopped showing up to meetings (posers!!! pls come back though we can forget about this we just want you back) once it became evident that shows weren’t returning anytime soon. One of us was stuck on the literal other side of the world, and didn’t know if they’d make it back for spring semester until he was on the plane ride to Boston. AND on top of that, there was a bunch of bureaucratic b***shit we had to deal with. As it turns out, putting together a magazine remotely is very hard when people have a global pandemic to worry about. But we’re here now, and that’s all that matters. First up, we’ve got an interview with a beloved Tufts band, Gam, written by Sahm Schiller. If you haven’t heard enough about them before, open up the article why dontcha! Have you ever thought about taping your big mouth shut? Well Rina Sawayama has, and so has Poppy, and so have a lot of other female artists. Anna Minasyan and Taylor Jacobs have got an article all about how pop music has been a bit more… metal-y lately. Ethan Lam finally combined the two cornerstones of his personality (League of Legends and music) and wrote about Seraphine – a virtual musician from the game whose marketing campaign stirred up controversy – the commodification of authenticity, and the nature of parasocial relationships. Next, editor Andres Lopez has an article on why deluxe double albums have been trending in rap recently – and why that may not be a good thing. And then of course, we have the good, bad, and ugly of the pandemic. Starting with the ugly, we have a piece about how Boston’s local music venues are doing in these tough times. Hint: not good! Julia Bernicker misses Great Scott! The good, however, is a plethora of quarantine albums. Even though we can barely put a magazine together when there’s nothing else to do, Lola Nedic reminds us that artists like Charli XCX and Glass Animals can put out a wealth of content for their fans even while in isolation. Big whoop. That leaves the ugly, or that silly little app absolutely no one uses called Tik Tok. You don’t need to be Addison Rae or Miranda Feinberg to see that music is changing, one audio clip at a time. Lastly, our team put together all their favorite albums from 2020, so if you want to listen to Lola gush about Charli XCX even more than she does regularly, definitely check that out. We’ve also made a cute little quarantine quiz, which is very topical and not very overdone at all. We’re almost at the other side of the pandemic tunnel – hopefully we’ll be bumping asses with some of you in a mosh pit come fall! Warmest Regards, Julia Bernicker, Ethan Lam, and Lola Nedic
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Table of Contents 4 6 8 10 12 14 15 17
An Interview with Gam Solub by Sahm Schiller
Twisted Metal
by Taylor Jacobs & Anna Minasyan
Seraphine and the Complications of Virtual Stardom by Ethan Lam
The Rise of Deluxe Albums in Rap by Andres Lopez
Save Our Stages by Julia Bernicker
Staying In by Lola Nedic
TikTok is Music for the End of the World by Miranda Feinberg
Melisma’s Favorite Shitposts
18
Our Top Albums of 2020
22
Quiz: Which artist should you quarantine with?
23
Spring Preview
Cover design by Laura Wolfe
Melisma Magazine is a non-profit student publication of Tufts University. The opinions expressed in articles, features, or photos are solely those of the individual author(s) and do not necessarily reflect the views of the editors or the staff. Tufts University is not responsible for the content of Melisma Magazine. If you would like to submit a letter to Melisma Magazine, please send it to melismamagazine@gmail.com. Please limit your letter to four hundred words or less.
GETTING TO KNOW GAM By Sahm Schiller he fresh and unique sound of Neo-Soul band T Gam will no doubt pique the interest of contemporary and classic music listeners alike. Formed at Tufts by Tim Holt, Sam Golub, Nate Hirsch, Ethan Isenman, and Joel Appel-Kraut, Gam blends Funk and R&B, adding a modern twist in the process. We sat down with band members Tim, Sam, and Nate to discuss their history, songwriting process, and recent single “Playground.” This interview has been edited and condensed for clarity. How would you describe your songwriting process? Is it collaborative? Sam: The way we started this band was out of us jamming. Well, technically we started because Tim was like, “Do you want to do this Halloween show?” And then I lived with Nate, and Ethan was our neighbor as well, so we ended up doing a show together. I feel like our songs came out of our early jams, just sort of playing and seeing how our ideas flowed. We’d be inspired by playing with each other, and then Nate would go back and have some ideas, like a chord progression, or I would have something and show it to people. It was just very natural. That’s very interesting. Is that how it’s going to work for the next release? Tim: I think our model in the future is likely going to be singles, but released more frequently. We took a lot of time to write and get those tunes down, but the thing that was so easy about going into the studio for that EP is that we’d been playing live a lot. I think at the end of Sam and my sophomore year and into our junior year, we’d had a lot of gigs on campus. We were really a well-oiled machine when it came to playing gigs. We’d come up, and we’d have those tunes that are on Moments and Spirals. Those we had downpat, it was easy. So when we got in the studio, we basically recorded everything live in a few takes and then layered the vocals over it. That was a straightforward process because we already had the forms and everything. The most recent single that we just released, “Playground,” came about more so in the studio
which I think is going to be more of our model in the future. And that’s definitely what’s happened with the most recent single we’re working on called “Muscle Tee.” Sam and I came up with lyrics, melody, and chord progression while we were abroad in Australia. It’s very beach themed. There are a lot of parts that weren’t really there when we started. It’s been more of a production process, building off things in the studio, while we’re laying it down. We work a lot with Alex Friedman – a junior at Tufts, amazing producer. He’s got a studio in his basement. With the Moments and Spirals stuff, we recorded it in a few takes and it sounds like how it’d sound live. But with “Playground,” we’re taking liberties that we don’t have the chance to do outside the studio. Things like layering. We also have a glockenspiel on it and all kinds of funny synths. It’s just really fun to get experimental like that in a way that you can’t do live. Can you talk more about your experiences playing live? Nate: I think all three of us live for playing live. My favorite moments in college have just been having a really fun house party and playing an awesome live show. And there’s definitely a difference with recording stuff to playing live. When you get there
and you’re in front of a group of people and you’re playing your songs, I feel like the truth about your songs really comes out. On the recordings, you’re trying to get that refined sound that people want to listen to on their phones or whatever. But when you’re actually playing your song live, it’s sort of like you’re having a conversation with the audience – it’s something really cool. It’s definitely where I feel like I can be honest with, I don’t know, how I’m feeling or talking to the audience.
" W h e n yo u g e t t h e r e a n d yo u ’ r e i n f r o n t o f a g r o u p o f p e o p l e a n d yo u ’ r e p l a y i n g yo u r s o n g s , I f e e l l i k e t h e t r u t h a b o u t yo u r s o n g s r e a l ly c o m es o u t. " Sam: Yeah, I consider myself a nervous player live. In high school, especially if I was gonna solo, my hands would be shaking. It'd be like a measure before and I'd be like, “Okay, here it goes,” and the lights would come on me. That’s what happened from time to time while playing live, but when you're feeling music with your band and you're really into it, no matter how many people are in the audience, I'm not focused on their reactions or what they're thinking. It's just completely flowing. And it's in those moments where I'm not caring how I'm sounding and I'm just vibing, I’ll look over and see my bandmates, I'll turn around whatever I'll do, and anything can happen. It's in those moments that true expression comes out. Those are the moments that I totally miss about live playing: interacting with the crowd and having them respond to what we're doing, and being totally dedicated in that moment to producing something really cohesive. Your view of music as being honest, letting it flow — was that always there? Nate: My view of music has shifted so much over the time I've been here at Tufts. Honesty is something that I feel like I've always come back to. When I used to play a lot of jazz I felt like it was getting to a place where it was being less honest and true, and I was doing things just for the sake of having them be complicated or colorful. But now I'm trying to be more frank in my choices when I'm writing a song and what colors I decide to use. I think the ultimate goal of music is to say something, to put whatever you're saying on some sort of platform, and then everything else is to support that message. So whenever I want to say something, I'm like: is this really truthful? Is this how I feel? Or do I need to flesh this out a little bit more? Then when I come up with a piano part to
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support that, I ask myself if this is something that I play because I thought it sounded weird and interesting, or is it something that I feel is honest and frank and cut down to support the thing I'm trying to say? As I've played more and more I've come to appreciate playing less – like the ability to be content with something really simple, because I think it's the simple aspects of music that we're all drawn to.
" H o n es t y i s s o m e t h i n g t h at I f e e l l i k e I ' v e a lw a ys c o m e b a c k to . " Tim: Space is something that I've come to appreciate more. There's so much musicality, just like Nate’s saying, the notes you don't play and being deliberate. As musicians, it’s important to give yourself breathing room. If you're gonna make a statement, don't make something crazy right afterwards - you don't want to take away from deliberate choices you’ve made.
Check out Gam’s most recent single “Playground” on Spotify and Apple Music. Also be sure to follow them on Instagram @gamtheband.
Twisted Metal Meet the women who are revolutionalizing the genre by: Taylor Jacobs & Anna Minasyan
W
ith the emergence of new artists veering away from the constructs of existing genres, categorizing these new sounds that blend metal, pop and EDM among other sounds, is no longer a straightforward task. In cases where the artist is the only one to define their own genre, the task of labeling them becomes even more unclear. What makes it so difficult comes down to the ever-changing relationship these artists share with their sounds. This ambiguous genre has been referred to as “post-genre,” “death pop” or “nu-metal,” however, even these titles seem too limiting when describing artists at the experimental forefront. Artists and listeners alike begin to question if labeling these “genres” are even relevant anymore considering the pace of their evolutions. The most dominating sound introduced in these genres is metal. Heavy guitar riffs, strong bass, drums and the occasional screams morphed with pop and EDM make for stimulating аnd powerful songs. Notably, artists such as 100 Gecs propelled this trend in their debut album, 1000 Gecs, and their remix album, 1000 Gecs and the Tree of Clues. “800db cloud” from 1000 Gecs features heavily distorted guitar and vocals that echo classic metal with their distinctly hyper-pop sound. From 1000 Gecs and the Tree of Clues, the “hand crushed by a mallet” (remix) [ft. Fall Out Boy and Craig Owens] pulls in distinct guitar riffs and screaming vocals reminiscent of the early 2000s metalcore sound. The “ringtone” (remix) [ft. Charli XCX, Rico Nasty, and Kero Kero Bonito] combines Rico Nasty’s metal-influenced vocals with Charli XCX’s bubbly rendition of the chorus. Other artists such as Grimes and HANA took a similar approach to incorporate metal influences in their 2018 single “We Appreciate Power.” The single includes Nine Inch Nails samples, piercing screams, and a classic metal guitar chug woven into its dark, dystopian lyrics. For these artists, it’s clear that metal
influences served as one of many experimental approaches to breaking away from genre labels. Heavy guitar riffs and vocals have made their way into projects regardless of their artistic intentions. With the release of her second studio album I Disagree, Poppy surprised listeners with metal instrumentals and fierce lyrical imagery that starkly contrast her light-hearted and upbeat pop albums. Even looking at her macabre cover art one could guess that I Disagree is heavily influenced by metal, however; some songs weave in and out of metal and pop. The best example of this genre weaving is in her single “Concrete” where the song rapidly changes from screaming or speedy electric guitar to a playful tune about ice-cream, sugar and coffee. Towards the end of the song applause and crowds chanting “Poppy! Poppy!” precede an upbeat chorus “Bury me six feet deep and just bury me in concrete turn me into a street.” The mismatching in melody and lyrical content perhaps shows her feelings towards her initial success with her pop album and strange online persona that garnered millions of views. Each song on the album explores and morphs the genres listed above showing Poppy’s divergence from her strictly pop sound before I Disagree. In a 2019 NME interview, Poppy says that she likes to refer to her new sound as “post-genre” even though most people categorize it as metal. Poppy has undoubtedly succeeded in breaking away from distinct genre categorization. She is not limiting herself because she is proving that she is capable of
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“
There’s a lot to be angry about in this world; for me, raging against microaggressions and satirising them worked with the whole genre
“
Rina Sawayama’s debut album SAWAYAMA similarly spins metal influences into a cathartic voice that’s not afraid of being angry– and loud. Backed by moments of grungy guitar and screaming vocals fused with upbeat pop rhythms, Rina’s lyrics explore the pain rooted in family history, facing years of microaggressions, and the struggle to find self-worth. Regarding the nu-metal sound of her music– roughly defined here as a mid-90s subgenre of metal-influenced pop– Rina stated, “There’s a lot to be angry about in this world; for me, raging against microaggressions and satirising them worked with the whole genre.”
Her angstiest song on the album, “STFU!” features blaring electric guitar progressions that lead into a mockingly peppy chorus of the repeated lyrics,
“
Through metal-driven vocals and clear lyrical messages, Rina reclaims her once suppressed anger and gives it a rightful place in the music world.
“
mastering more than one sound and beyond that, creating a new one. While her motivations to do so attest to her artistic capabilities, it also signifies her regained control over her sound. On December 29, 2019, Poppy released a statement confirming her separation from longtime music partner, Titanic Sinclair, citing instances of emotional abuse. In her statement, she wrote, “I was trapped in a mess that I needed to dig my way out of - and like I always do, I figured out a way to handle it.” I Disagree, fully released the following month, proves that Poppy did just that. The album’s second single and namesake, “I Disagree,” includes some of her most powerful statements. In a catchy chorus driven by a heavy guitar riff, Poppy sings, “Down, let it all burn down,” soon transitioning into the second verse, rightfully screaming, “I disagree with the way you continue to pressure me! / I disagree everything is going how it’s meant to be!” In ten metal-driven songs, Poppy duly voices her rage through I Disagree and gives herself a new image free from the painful influences of her past.
“Shut the fuck up / Have you ever thought about taping your big mouth shut?” Rina shared that this song discusses her lifelong struggle to confront her aggressors, instead resorting to bottling up her emotions. In “STFU!” Through metal-driven vocals and clear lyrical messages, Rina reclaims her once suppressed anger and gives it a rightful place in the music world. Each artist uniquely uses the elements of metal and its connotations to shape their sound. For artists like 100 Gecs, their use of metal is purely a form of genre blending for their own satirical purposes. For artists like Poppy and Sawayama, it is a manifestation of their traumas and anger. Each artist has used these metal influences to break away from the preconceived notions of the genres they have been grouped into, and created a sound that can only be defined by them.
Seraphine:
The Complications of Virtual Stardom by: Ethan Lam
On June 26th, two accounts under the handle “seradot-
wav” were registered on Twitter and Instagram by a user named Seraphine. The first post to both accounts was a trio of selfies captioned “hello world ” from Seraphine herself - a young woman with flowing pink and purple hair that covered parts of her face as she smiled at the camera. An accompanying tweet explained that she had started her accounts “to share music and hopefully connect with people :)” In the following days and months, Seraphine would continue to post, revealing more and more about herself. Of the pictures she posted, some were of herself as a child, of her with her cat, of her journal entries and doodles, of candid polaroids, of her playing instruments, etc. She would tweet out her most random and sporadic thoughts - “today i learned some people cook rice on the stove????what,” “baddie of the week is Dr. Doofenshmirtz he knew what was up” - and retweet art and music that caught her eye. From time to time she would also release some covers of her own, including her take on Russian pop duo t.A.T.u’s 2002 hit “All the Things She Said.” Based on this information alone, you could come to the conclusion that Seraphine is a typical young internet-savvy musician - she certainly tweeted and posted with all the casual, relatable, self-aware mannerisms of one. But Seraphine doesn’t actually exist - she is a virtual influencer, a digital avatar who posts to social media as if they were a real person. Fans began to speculate that Seraphine was actually an upcoming character in League of Legends - one of the most popular video games in the world - a theory that soon proved to be correct. While the idea of a virtual pop star or virtual influencer is still a bit novel, it certainly isn’t unheard of. In fact, Seraphine wasn’t even Riot Games’ – the company behind League of Legends – first foray into the world of music and virtual influencers. Using the game’s characters as band members, Riot has produced 3 different groups, the most successful of which is 2018’s K/DA, a virtual K-pop group whose 4 members are voiced by Soyeon and Miyeon of (G) I-DLE, Madison Beer, and Jaira Burns. The group’s return this year was tied in with the release of Seraphine, who helped “produce” their new EP and featured on lead single MORE. Some virtual pop stars have become normalized
and present within the popular music canon. Blur’s Damon Albarn and artist Jamie Hewlett teamed up to form Gorillaz in 1998, a virtual band that has achieved massive success over the course of two decades. And Hatsune Miku - a holographic “Vocaloid” who sings with a fully synthesized voice - is a pop culture icon in Japan who has played on Letterman, opened for Lady Gaga, and toured globally (she was even supposed to play Coachella this year.) Virtual pop stars aren’t all that common, but listeners are generally open-minded enough to accept them. At the very least, they won’t immediately roll their eyes at the concept. This is all to say that it wasn’t the inherent “weirdness” of the virtual star concept that, in October, suddenly thrust Seraphine under the scrutiny of the internet. She isn’t even the first virtual star to use social media like a real person might – that honour goes to influencer Lil Miquela, who started posting in 2016. Instead, Seraphine began to draw the ire of an audience beyond the League of Legends player base after she began to tweet about her “struggles” with imposter syndrome, anxiety, and self-doubt. On October 10th, Seraphine tweeted: “we’re going to shanghai [The location of this year’s League world championship] in 2 days and it’s finally setting in, all at once. i’ve been working so hard, and i’ve been trying my best to love myself, but i still can’t find the confidence i need… i’m realizing that i can’t do this alone. and maybe i need to be the one to ask for help... so could you give me some encouraging words? i need something to believe in right now.” It wasn’t the first time that she tweeted about struggling with her mental health, but this particular tweet drew widespread attention to her. Replies varied between words of encouragement and affirmation, critiques of Riot over the ethics of this marketing technique, and expressions of disbelief at the users who replied to Seraphine as if she were a real person. “you really just typed a whole essay out for a fictional ad campaign for a video game,” one user wrote in response to another. Perhaps Seraphine is reflective of something more pertinent than an extension of “woke” and “relatable brand” capitalism. The Seraphine project illustrates how
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twitter_discourse.exe
I do not mean to suggest that artists undertake these actions to gain attention on social media, or that their social media personalities and music are artificially tailored for the sole purpose of increasing the size of their fanbase and their sales figures. For many musicians, navigating these increasingly interactive relationships with their fans comes rather easily, and they genuinely enjoy enhanced levels of communication with their fans. Regardless, these actions lend them qualities of openness and honesty that subsequently increase their authenticity.
But the fact that marketers have identified this authenticity and openness as a central trait of modern-day musicians is worrying. It’s indicative of how the culture of authenticity that we’ve built up has become a parody of itself, as evidenced by some of the overly adoring responses to Seraphine’s tweets. What originally facilitated the expression of real feelings and thoughts of real-life musicians hwwas virtually become its own pure simulacrum. It is the job of advertisers to figure out how to lend products and brands contemporary ideals of authenticity have intensified the an air of authenticity, and they’ve managed to draw inspiraparasocial relationship between musicians and fans – how tion from modern-day musicians and the fan cultures that fans have placed increased expectations on their favourite surround them. Perhaps fans need to take a step back and musicians to “be themselves,” and how as a result, these fans reevaluate exactly why they appreciate musicians, and the feel like they personally know their favourite artists inside ways in which they express that appreciation. and out. Seraphine is only the latest figure in a surprisingly long line It could be argued that the relationship between fan and of virtual musicians. In all honesty, she’ll likely be rememmusician has always been parasocial. The appeal of a mu- bered as nothing more than a minor footnote in the wider sician – through both their music and their public persona history of the concept. But the controversy over her has set – is often tied to their marketability, and thus, their ability the precedent for future virtual musicians, which we will to generate income. Once a fan feels as if they relate to a undoubtedly see more of in the coming years. Spirit Bomb musician, they are more likely to support the artist finan- – a “virtual artist label” from media production company cially. However, this relationship has become increasingly Strangeloop Studios – completed a seven-figure pre-seed intertwined with notions of authenticity. As Nancy K. Baym funding round earlier this year, receiving backing from notes in “The Perils and Pleasures of Tweeting with Fans,” companies such as Warner Music and Chinatown Market, “fans identify with musicians because of the felt authenjust to name a few. And Braud, the media company responticity of the connection forged through music. As a result, sible for Lil Miquela, raised $30 million in venture funding. authenticity can paradoxically be an important branding As long as the teams behind virtual musicians and influencstrategy.” Even though authenticity humanizes the artists ers try to emulate the authenticity of human musicians, the who we so frequently place on pedestals, it actually has the world will continue to see more Seraphines. contradictory effect of increasing the intensity of our fandom and adoration. There are many ways that musicians increase their authenticity, especially via social media. They are expected to constantly share things other than music – behind-the-scenes content, vlogs, pictures of their personal lives, etc – with their fans. They are increasingly outspoken about social issues, a behaviour that most popular musicians of the past avoided for the sake of their marketability. And through social media or their music, many are vocal about their mental health.
The Future of Music Releases Deluxe Double Albums and Their Impact on the Industry by Andres Lopez
D
eluxe albums are nothing new in the world of rap, or for that matter, the music world in general. Since the heyday of the CD, artists have boosted sales by adding a handful of bonus songs to the end of their albums on an updated release of the album. This made a lot of sense back then, since this strategy did not require much effort from the artist. They could essentially put out a few b-sides or throwaways and sit back and watch as superfans bought a second CD. Attention to their album inevitably went up again, and they stayed on the charts for longer. Deluxe albums in this style still exist, but there has been an emerging trend in the rap scene specifically when it comes to double albums: the deluxe double album. Does this new formula for deluxe albums make sense in the streaming era, though? Lil Uzi Vert notably began this trend when he released an entire album worth of material as a deluxe addition to his long-awaited album, Eternal Atake. The deluxe edition, Lil Uzi Vert vs. The World 2 was released just one week after Eternal Atake. This was certainly an interesting strategy, as most deluxe editions of albums historically have been released well after the original, or released alongside the original. This strategy helped Uzi keep the public’s eyes on his album(s), which in turn maintained his number one spot on top of the Billboard 200. Since a deluxe album and its regular version are considered the same album for the purpose of sales, Eternal Atake was on top of the charts for two weeks instead of just one. After Uzi saw so much success with Eternal Atake/Lil Uzi Vert vs. The World 2, many other high-profile rap artists such as DaBaby, G Herbo, Nav, Pi’erre Bourne, Lil Baby, Gunna, Eminem, the late Pop Smoke, and more released deluxe editions of their albums. Some just about doubled the length of their album while others added just over 20 minutes of material, but it is important to note the actions of all of these artists. In an interview with Complex Magazine, Don Cannon, a producer who worked on Lil Uzi Vert vs. The World 2, said that “Uzi started the deluxe [trend]. It’s like he’s doing a whole other wave of visionary shit.” What explains this sudden tendency to quickly release a full album as a deluxe album? First, with the COVID-19 pandemic affecting not only the music industry, but the world, artists need more income due to being physically unable to go on tour, although
virtual concerts are starting to become more popular. Second, artists are always looking for increased attention and want to excite and surprise their fanbases. Releasing two albums of music is bound to keep the core fanbase of the artist satisfied while intriguing new listeners to give them a shot. Third, releasing an extra album will help artists catch the eye of the public. This is especially important in the era of streaming, since the market is oversaturated with new music and people have extremely short attention spans. For example, in 2020 alone, Youngboy Never Broke Again released six full-length projects, ranging from solo studio albums and mixtapes to compilation albums and collaborative mixtapes. His frequent releases have garnered him considerable attention. In a world where artists generally wait a year or more to release a new album, this could signal the arrival of a new wave in how often artists release music. Lastly, as previously mentioned, the deluxe album is tied to the original, which keeps the album on the charts, increases the number of firstweek sales, boosts overall sales, and increases the amount of money in the artist’s and label’s respective bank accounts.
are always looking “forArtists increased attention, and want to excite and surprise their fanbases
”
What does this mean for the rap scene and the music industry at large, though? We can definitely expect more deluxe double albums in the future, but will this new trend become more popular than releasing albums with bloated tracklists like Migos’ Culture II? Will it become more popular than releasing a double album like Drake’s Scorpion? Many critics have noted that these albums do not have nearly enough good songs to warrant their runtime. Perhaps they would have been received better if they were split up into two distinct albums. Even though said approach would probably sit better with fans, it would just saturate the music industry even more than it already is in terms of the
sheer number of albums out there, which raises some concerns. However, it seems like this new deluxe formula is here to stay, even after the pandemic ends. For example, in addition to the plethora of deluxe rap albums released after Eternal Atake, Jhené Aiko, a prominent R&B artist, released a deluxe double album for her album Chilombo. The original version released on March 6th, 2020 and debuted at #2 on the Billboard 200 and sold 152,000 album-equivalent units that week. The deluxe released on July 17th, 2020 and slingshot her album from #43 to #6, netting her around 52,000 album-equivalent units. Chilombo made the greatest jump on the charts that week and proved that a deluxe album brings considerable attention to both the new album and the original. Despite the benefit to the artists, this trend is a little worrisome because it incentivises artists to mindlessly pump out music for the sake of making money and racking up streams. This is already something that has been happening, as shown by the aforementioned Culture II and Scorpion. Generally, long albums and double albums are an artistic statement, but it is really easy to tell that Migos and Drake were in it for the money with those albums, as they have a lot of filler songs meant to increase streams. Drake has said that his next studio album will be “more concise” than Scorpion, noting the reception of said album.
“
Instead of being its own artistic statement and entity, it became an accessory to another project
”
With the deluxe double albums though, most of the time it is hard to tell whether the songs were new or b-sides that were not included in the original. Quite a few of the tracks that ended up on Lil Uzi Vert vs. The World 2 had been teased on Instagram live streams for a quite a long time, while other songs seemed newer. It remains a mystery whether Uzi spontaneously released the deluxe edition to please fans that were irritated with the omission of said teased songs or not. I do commend him for the cover art and naming it the way he did, as the original Lil Uzi Vert vs. The World is one of his most popular albums. Treating the album like a sequel was smart, but I think that instead of feeling like a true sequel, it felt like a slightly underhanded way to boost Eternal Atake. Instead of being its own artistic statement and entity, it became an accessory to another project. Thus, this trend allows artists to not have to create a brand new concept or aesthetic for the new deluxe album since people will think of it as an extension of the first album.
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In sum, the age of streaming has brought upon us new ways in which artists market and profit off of their work. Ever since Lil Uzi Vert started the deluxe double album trend back in March of 2020, the rap game changed for the foreseeable future. The trend even spread outside of rap. R&B artist Jhené Aiko released a deluxe double album and saw considerable success in said endeavor. With a slew of deluxe double albums dropping throughout 2020, artists found themselves staying in the limelight for longer than usual and bringing in extra cash. The deluxe double album formula also keeps fans satisfied given the fact that artists cannot go on tour because of the pandemic. Regardless of the advantages this new marketing strategy gives artists, I fear that the deluxe double album trend is the next version of the strategy to finesse streams, as deluxe double albums present the opportunity to put a lot of filler tracks on an album, sit back, and watch the money pile up. However, only time will tell if this will negatively affect the music industry and the overall quality of music we consume.
save our stages A
fter 44 years on Commonwealth Ave, local music
club Great Scott announced on May 1 that they would be closing due to the pandemic. For Tufts students and Boston locals alike, Great Scott was a mainstay of the Allston neighborhood—a place where communities came together to watch local and national acts perform on the same stage. In an interview
with NPR, Great Scott’s General Manager, Tim Philbin, said, “I think we’ve also lost a space that was open to all, a space that was welcoming and genuine. This was a place for art and culture. Where does that go?” Philbin isn’t the only one who is feeling Great Scott’s loss. Following the announcement, the club received over 25,000 signatures on a petition to “Save Great Scott” and $300,000 in crowdsourced investment dollars. Although Great Scott were still unable to reach an agreement with their landlord, the outpour of support from the community enabled the club to sign a letter of intent to relocate to a new location on Harvard Ave. But with the pandemic still raging, nothing is set in stone. Great Scott was the first of many independent music venues across the country who have been forced to
COVID-19 and Boston’s Music Venues BY JULIA BERNICKER shut their doors because of COVID-19 and who might not ever open them again. According to a survey by the recently founded National Independent Venues Association (NIVA), 90% of arts spaces are expected not to survive after COVID-19. These spaces were the first to close and will be the last to reopen, even as restaurants and other indoor businesses are resuming operations at reduced capacity around the country. For context, indoors performance venues will only be allowed to reopen in Massachusetts during phase 3 and 4 of the state’s reopening plan, and will likely be forced to operate at reduced capacity. Should ticket sales not resume until 2021, an estimated $9 billion in losses are expected, according to the same survey. While venues attached to large corporations like Live Nation or AEG might survive, it is the small, indie spots that are hit the hardest. These losses also hit closest to home, as Somerville spots Bull McCabe’s Pub and Thunder Road Music Club have also announced their closures. Bull McCabe’s Pub owner Brian Manning said to Wicked Local, “Legal battles, construction, an ever-changing neighborhood, and many other causes have made it increasingly difficult for us over the past few years.”
MELISMA | WINTER 2020| 13 Manning highlights that these venues have been struggling for years, and that COVID-19 was simply the final straw. As Boston becomes more gentrified, not only are historic venues being priced out of neighborhoods, but the patrons who frequent them are too. For Bull McCabe’s Pub and Thunder Road Music Club, which are situated in the surrounding neighborhoods of Tufts, the university plays a big part in this process. Tufts’ expansion, with the increase of their student body and construction of new buildings, inevitably drives surrounding prices up, pushing locals out of Somerville and Medford. And with the imminent arrival of the Green Line extension, even more changes are on the horizon. However, when these venues are forced out of their neighborhoods, the economic effects reverberate throughout the community. NIVA estimates that for every dollar spent at a local venue, $12 is generated in surrounding businesses such as restaurants and hotels.
“fans are realizing more than ever how important local venues are to music, and to the communities that they serve.” But regardless if the closure of these venues is due to gentrification, COVID-19, or even both, the loss of local music venues is about more than just the money. These venues are what draw touring musicians to a city and without them, smaller artists who are unable to fill a large arena wouldn’t have a place to play. And for up-and-coming local artists, these spots are crucial for introducing their music to the community and building a fanbase, which provides a stepping stone to translate their success nationally. Independent venues are where a local music scene is crafted and encouraged: both defined by the fans in the audience and defining the neighborhoods they are situated in. Local venues also provide space for marginalized communities to come together. Great Scott was home to the longest and largest queer dance party, “Don’t Ask Don’t Tell”, started in 2011. Another queer
nightlife spot, Machine, closed in July to make way for a new highrise, proving these spaces are becoming harder and harder to find. In response to the loss of venues like Machine and Great Scott, NIVA has rallied together a coalition of more than 2,000 venues nationwide including The Middle East, Bull McCabe’s, and Once Somerville. Partnering with politicians, NIVA is calling for government action to provide the financial support independent venues desperately need. The SOS (Save Our Stages) Act, which is sponsored by Sen. Amy Kloubuchar and other high profile musicians, along with the RESTART and ENCORE Acts, all work to provide loans and credits to independent music venues to help keep them afloat. As these spaces need more assistance to cover high operational costs instead of payroll, these bills would reach a hard-hit industry that other government loans don’t cover. In addition to proposed government assistance, venues are taking it upon themselves to come up with creative solutions to stay open. To leverage the space they already have, some venues are turning into working spaces for local artists or hosting socially distanced community events during the day. This keeps their patrons engaged and strengthens these spaces as community landmarks. Or, to get around local restrictions, smaller venues that serve food are capitalizing on the ability of some restaurants to reopen and petitioning to be reclassified as such. Venues are also utilizing technology to create virtual and hybrid options for fans. Despite sounding eerily familiar to the Tufts’ class modalities, subscription based or pay-per-view virtual concerts with limited attendees in person could be the new norm. Despite the efforts of coalitions like NIVA and independent venue owners, it will likely be a while before live music can resume even if these venues bounce back. COVID-19 regulations and protocols change so rapidly that it is impossible to plan for the future. And even if Boston welcomes live music back, musicians are unlikely to tour until the whole country is safe enough to travel. The outpouring of support after Great Scott’s closure is a testament to one thing: fans are realizing more than ever how important local venues are to music, and to the communities that they serve. When these venues open their doors again it will no doubt look
How musicians are adapting to life at home by Lola Nedic
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part from the thousands of other negative consequences the Covid-19 pandemic has brought us, it’s also left the music industry gasping for air. Live music is all but dead, leaving venues and artists starving, and collaborations between artists are few and far between, as social distancing mandates make it difficult for creatives to meet up. But while we wait for our indefinitely postponed concerts to be rescheduled, a few inventive artists have shown us sides of them we’ve never seen before. In an industry that’s otherwise suffocating, these quarantine projects have given us a breath of fresh air. Charli XCX, an English electropop artist, was in the process of creating a new album when the pandemic hit. Unfortunately, this project had to be put on hold as everyone was sent into isolation. Instead, Charli started creating daily video diaries on her Instagram story to document how she was feeling in quarantine. While self-isolation was taking a toll on the artist, perhaps it was a blessing in disguise - being in quarantine gave Charli the inspiration for her sixth (and best) studio album, How I’m Feeling Now. Soon after she started her video diaries, Charli announced that her album would be coming out in 5 weeks. The only problem? She hadn’t started it yet. Glass Animals, an England-based psychedelic pop group, had planned to release their third studio album “Dreamland” when quarantine hit, but had to postpone the release to August and cancel the tour they had planned. But, instead of moping about the valuable time on the road they’d missed, Glass Animals decided to make the best of a bad situation. The band released a wealth of content, from a cover series by lead singer Dave Bayley, to several music videos filmed in isolation, to a personalized newsletter for fans. But perhaps the most creative way the band engaged with fans in isolation was
the release of their open source website (opensource. glassanimals.com). The website gave fans a chance to create content using art created by the band. Shortly after the release of this website, the band encouraged fans to join the website’s “Dream Machine.” The more fans that tuned in to the dream machine, the more music the band released. It was Glass Animals’ way of bringing their fans together, giving them “a momentary screen detox encouraging collective dreaming.” But these few artists aren’t the only one to crowdsource their quarantine content. Isolation gave artists the opportunity to create more stripped-down, authentic content. Similarly to Charli XCX’s “Forever,” Tove Lo created her “Mateo” music video by putting together clips of her fans at home. Katy Perry filmed her “Daisies” music video alone in the woods - a sharp change from her usual bright visuals, but well received by fans nonetheless. Both Jeff Tweedy and Phoebe Bridgers performed from their bathrooms for Jimmy Kimmel, showing themselves at their most vulnerable. 100 gecs held a series of concerts over minecraft, letting fans join in on the server. The list goes on a multitude of artists have used the pandemic as an opportunity to show fans a different, more creative side of them, and even create content themselves. Some artists have even posted stems of their music online to allow fans to remix it however they please, making the creative process more open than ever. Though the pandemic has had an overall negative effect on the music industry, some arists are making the best of a bad situation. Shows from home, open-source content, and heightened social media presences have allowed artists to stay connected to their fans in more engaging and creative ways.
MELISMA | FALL 2020|15
TTikikTTokokisisMMusic usic for for the the E Endndofofthe the W World orld BY MIRANDA FEINBERG In these crazy, unprecedented times, it seems as though every part of life is changing, warping to fit the oft-discussed “new normal.” Definitely not the greatest, but perhaps the best, of these changes is the ever-rising popularity of TikTok. The video-sharing social media app has blossomed, exploded even, amidst the teenage boredom of a global quarantine. Allowing for videos that showcase creativity and talent, spread memes, start trends, create pseudo-celebrities, and so much more, the app is inextricably changing pop culture. TikTok is by no means the first app of this nature— it’s often compared to the now discontinued Vine. What sets it apart from other apps and social media functions, though, is its relationship with music and audio. One of the more unique features of TikTok is its users’ ability to search for and save audios. While apps like Vine bartered in video only, TikTok doubles its content by allowing video and audio to be separated and used again in different contexts. This allows for a larger, more deep-rooted focus on music itself. Videos and trends, from all the various niches within the app, all are reliant on music in a very impressive and compelling way. The catalogue of music uploaded to TikTok is immense. This in and of itself is important; the sheer volume and diversity of uploaded music ensures that those songs that become popular on the app mirror this diversity. Songs from practically every genre and source have, at some point, reached some level of pop-
ularity. Music from tv shows, movies, even anime, find notoriety right alongside pop chart toppers and popular indie-pop music. Furthermore, songs from past decades, forgotten eras, songs that were barely ever popular to begin with, are finding their way, somewhat, into the internet-mainstream through TikTok. Music finds context on the app, and the trends associated with each different song help give them a second life. It’s kind of insane how many different types of trends have popped up over the course of this quarantine, all of which center around music. Challenges where users sing along to hard-to-perform songs (see All I Wanted by Paramore), videos where songs are used to set up a confession or punchline (see I Got Bitches by Slugga Black), and videos used to show off outfit transitions (see Guinea Pig by Jesse Rutherford) all popularized songs within the TikTok mainstream. Of course, no trend has done this as much, or as successfully, as dances (I don’t think a single social media user is unable to recognize Doja Cat’s Say So.) Even within the world of TikTok dance videos, the range of music is astounding. Meme dances, like the twerk-heavy routine to the somber theme from Twilight, and odd niche dances to songs like Miku by Anamanguchi (ft. Hatsune Miku) spread just as easily as the fun airy routines to popular songs like the trio of Megan TheeStallion bangers: WAP by Cardi B and Megan Thee Stallion, Body and Savage.
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The reliance on music as a source of inspiration for entertainment is so integral to pop culture Now, this isn’t to say that each and every one of these songs became hits on media charts or were suddenly played on the radio, but the reliance on music as a source of inspiration for entertainment is so integral to pop culture nd online media. More and more songs are being referred to as TikTok songs, and this re-introduction and re-branding of sorts is super important to how quarantined teens connected to music as a collective. Music is also constantly being altered and shared on TikTok. Mash-ups, covers, and even songs mashed up with movie quotes or popular sayings, spread like wildfire alongside the established music in the app’s library. This blend of mundane audio with music is a good indicator of music’s importance to the videos on the app; music is, at this point, almost necessary for a video to amass views and likes, and no trending video is without some music. This can be seen in regard to these mashups, but also as a general rule. Videos, whether they are jokes, memes, routines, tutorials, vlogs, or edits, all rely on the music. Music is a currency on the app, and helps to shape our modern pop culture.
for another person to sing over. There have been chains of duets where crowds of people are able to layer on to each other and create bigger and wider collaborations. These instances of collaboration and creation have even helped upstart musicians gain notice and acclaim. Paul Russel (@paulrusselmusic), for one, gained popularity and attention following his series “If I had a verse on __” wherein he’d rap along to the music of popular songs. TikTok has helped rising musical theater actors gain a following, even, in some cases, aiding in winning various awards for upcoming artists (such as @nick_t_daily winning Playbill’s Search for a Star Contest.) TikTok also provides a place for upstart musicians to debut their music. Rachael Jenkins’s (@rachiichachii) Phoebe Bridgers-esque songs were shared on TikTok, leading to her being discovered and given a record deal. Penelope Scott (@ worsethanithot)’s songs Sweet Hibiscus Tea and Rät, and Frances Forever (@ frances.4ever)’s Space Girl are two other examples of the reach and impact music has on TikTok musicians and, in turn, the impact that TikTok has on those musicians. The original music that young people are creating on their own everyday is given the platform needed to kickstart careers. The ever-evolving content on the app is so overwhelming, and it exposes its users to such an array of content and creatives.
The platform that TikTok exists on is such an interesting community, connecting users around the world through creativity just as much as through social channels. The volume of content made is immense, but Music creates a sense of comradery amongst the key to the app and the reason why so TikTok creators through the use of duetting, a many flock to it is the concept of communifeature that allows users to add on and contrib- ty that is started. Trends are made, videos ute to another’s video. There are often duets are recreated and recreated again, and the of songs where one person sings and another music accompanying each video connects joins, or one person plays the accompaniment the videos as much as it connects the users.
MELISMA | WINTER 2020 | 17
Melisma’s Favorite Shitposts
2020
Favorite Albums of
full version on our website: melismamagazine.com
Ethan Lam (’22) Editor-in-Chief
Phoebe Bridgers: Punisher Bridgers’ voice is as haunting and gorgeous as ever as she sings of similar disconnects between people and the spaces they inhabit. Punisher is full of hyper-specific references to Bridgers’ L.A upbringing, serving as both odes to and declarations of discontent with the places that shaped her: “They killed a fan down by the stadium / Was only visiting, they beat him to death,” “See our reflection in the water / Off a bridge at the Huntington.” You could substitute any of these minutia with experiences from your own hometown to the exact same effect, something I frequently found myself doing.
Lola Nedic (’22) Editor-in-Chief
Charli XCX: how i’m feeling now Charli mixes the depraved and unexpected chaos of 2020 with her signature cluster-fuck sound, making for a familiar yet timely and brilliant record. It’s catchy, it’s raunchy, at times sonic pandemonium, and at times remarkably evocative. On surface level, how i’m feeling now is a (genius) hyperpop album. Listen a little closer, however, and you’ll catch a glimpse of what it’s like to sit in the chair of Charli’s therapist, watching her do a Rorschach test on a chaise lounge.
MELISMA | FALL 2020|19 Julia Bernicker (’23) Editor-in-Chief
The Chicks: Gaslighter After a 14 year hiatus, the Chicks (formerly the Dixie Chicks) returned with a rebrand and a new album, Gaslighter. The Chicks channel their rage into cotton-candy colored album art and upbeat melodies that never sacrifice their twangy country roots. This is pop country at its best from a group that has spent decades weathering storms of critique and honing their craft. Equal parts brutally honest and confidently hopeful, Gaslighter captures what it is to be a woman in 2020 with a vengeance and ferocity only The Chicks could pull off.
Miranda Feinberg (‘22) Managing Editor
Adrianne Lenker: Songs I have always been so drawn to Lenkers voice, the electrically soft vocals that fill her solo albums and Big Thief’s discography is so hypnotic and warm and full of emotion. This new album feels just as warm, just as personal, and is, of course, just as beautiful. The songs are all so full of the tempered angst that coated all of 2020, and her own heartbreak filled each moment of each song. It’s the kind of music that sounds like it was therapeutic for the artist to make, and, in turn, acts almost like extended second-hand healing. I think there is always a really unique kind of beauty in sad things, and in a year that was so inundated with sadness the musical beauty of Adrianne Lenker just hit on all levels.
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Kayla Avitabile (’22) Social Media Editor
Soccer Mommy: Color Theory If Fiona Apple’s Fetch the Bolt Cutters is a seasoned meditation on all things life and retrospective, Color Theory is its more adolescent counterpart (that in itself is a compliment to its sense of budding artistry). The album basks in what it means to be a 22 year-old girl verging on woman, and embraces one’s (emotional) inner monologue with grace and just the right amount of heartache. It becomes practice in Synesthesia (the ability to hear colors), and this coming of age/color-symbolic concept album is a recipe that never fails to hit where it hurts most.
Vinay Arun (’24) Editor
Slauson Malone: Vergangenheitsbewältigung (Crater Speak) New York based producer Slauson Malone returned this year with Vergangenheitsbewältigung (Crater Speak), aptly translated from German to “working through the past.” 2020 was the year of gazing into the void of meaning behind the bullshit which designates our lives, made imminently clear through our viewing of the anti-blackness and wealth hoarding which structures the world. As we collectively mourn our losses and fractured selfhoods, Vergangenheitsbewältigung is 24 minutes of meditative rehabilitation dusting off the path forward, allowing us to hastily ruminate on what was always lost and what can be found through this perpetual deprivation.
MELISMA | FALL 2020|21 Andrew Fellows (‘23) Lianne La Havas: Lianne La Havas La Havas’ process for writing the album sees her maturing and learning from a difficult breakup in some of the most profound ways I’ve seen. In this time of healing, she was influenced by some of my favorite artists, including Milton Nascimento, Joni Mitchell, and Jaco Pastorius, which helped me make sense of my instant attachment to the instrumentals and La Havas’ refined, up-close vocal style. As the album unfolds, the mood ends up quite the opposite of tense or aggressive, exuding a newer, sweeter surrender to love, but in a way that is mature and lacking in the foolishness of youth. In the final three tracks, the vocals become closer and slower, the end of an exquisitely planned story arc of sound, which I have always appreciated in a singer-songwriter’s work.
Bad Year, But Good Music Thomas Felt (‘22) Glass Animals: Dreamland Dreamland is yet another musical interpretation of the phenomena we are all experiencing during the pandemic. Specifically, it examines our tendency to dive into our past when so little is happening in our present. From childhood friendships to the strange effects of past romances, Dreamland highlights that everything we’ve experienced, the times we wish we could go back to and the times we wish we could forget, have made us wiser and more prepared for the times ahead. The ubiquitous synths also give the music a nice nostalgic, blast-fromthe-past quality. So whatever your mood, the album has something for you.
Which Artist Should You Quarantine With? What type of mask is your go-to?
A. Homemade mask with funky patterns B. Gently-used blue surgical mask C. Lana Del Rey style mesh mask D. Double masking, blue surgical mask + black cloth
What has your diet looked like?
A. Trying out new recipes with veggies from your home garden B. Gas station snacks and postmates C. Eating with friends in Davis Square D. Intense meal prep and planning
Your dating life during the pandemic? A. Used ths time to journal and self-reflect B. Sexting randos from your dating app of choice C. These “new rules” don’t apply to you D.Reaching out to an ex looking for “closure”
How have you been handling online learning?
A. Taking the semester off for your mental health B. Watching your 20 lectures the night before the exam C. Paying some nerd to do your psets while you and 20 close friends weekend in Cape Cod D. 1000 word discussion board posts
Your quarantine wardrobe?
A. B. Skeleton Onesie C. Whatever looks best for the insta D. Business casual top, sweatpants bottom
How do you listen to your music?
A. On a Walkman B. With a Crosley record player from Urban Outfitters C. With AirPods (Pro) only D. Apple Music
Mostly A’s:
Mostly B’s:
Mostly C’s:
Mostly D’s:
You and Fiona’s lives haven’t changed all that much during the pandemic. You would spend most days chilling with dogs, cultivating your hobbies, only emerging to release the most critically acclaimed body of work in recent memory.
You and Phoebe would have lots in common in quarantine. From smoking weed in your childhood bedroom to falling down internet rabbitholes, you’ve decided to become one with yourself (and the internet) during these trying times.
You and Dua Lipa are maybe less COVID safe than you should be, but hey, you’re having fun! Between hanging with the Hadids and clubbing in Belize, being a mega pop star during a pandemic is easier than you thought.
You and Taylor spent the last year hiding out in the woods, communing with nature, and hanging with Jack Antonoff. Your days consist of writing piano ballads, frolicking in vintage clothing, and playing with your cat. Two surprise albums later, isolation really paid off for you.
Fiona Apple
Phoebe Bridgers
Dua Lipa
Taylor Swift
MELISMA | WINTER 2020 | 23
Spring Preview ARTISTS TO WATCH cehryl
Image Credit: Gabriel Lee
Born and raised in Hong Kong, cehryl (pronounced Cheryl) crafts a dreamy and hazy blend of R&B, bedroom pop, and soul. cehryl handles every single aspects of her songs, having graduated from Berklee as a music production and audio engineering major. Her breathy, honeyed voice is a perfect complement for her smooth production, and recent releases such as “Superbloom” highlight a foray into bold new styles. Be on the lookout for her upcoming EP Time Machine, which is due in spring.
Anjimile
Singer-songwriter Anjimile is a new addition to the Boston scene, but with the release of their 2020 debut album Giver Taker, this is an artist that is here to stay. Self-described as a “queer & trans songmaker/boy king”, Anjimile draws from Malawi roots and a Dallas upbringing to craft a unique folksy sound, complete with a plethora of finger-picked guitar. Check out Giver Taker’s crowning glory “Baby No More” as we wait for a follow-up album. Image Credit: Rebecca Larios
Fleece
Do you recall ever watching a “how to make an alt-j song” video on YouTube? Well, you’re in luck! Two of the musical geniuses behind that video have formed their very own group: Fleece. It’s nothing like Alt-J, but maybe that’s a good thing. Their 2021 single “Do U Mind?” boasts sultry synths and teases at a new album later this year. Image Credit: Gabie Che
ALBUM DROP RADAR April 2nd | Iglooghost | Lei Line Eon April 2nd | Godspeed You! Black Emperor | G_d’s Pee AT STATES END April 9th | London Grammar | Californian Soil April 9th | Taylor Swift | Fearless (Taylor’s Version) April 30th | Teenage Fanclub | Endless Arcade May 1st | Weezer | Van Weezer May 14th | St. Vincent | Daddy’s Home May 21st | Dayglow | Harmony House May 28th | Bachelor (Jay Som & Palehound) | Doomin’ Sun May 28th | Black Midi | Cavalcade
