Variance - Fall 2014

THE SIGHTS

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SOUNDS YOU LOVE

BANKS POP'S NEW u

GODDESS

TAKES HER THRONE

FILM + TV

FALL'S BEST MUSIC

ALT-J OK GO

HOZIER

PAOLO NUTINI

KIMBRA

DILLON FRANCIS

LUKE JAMES SIR SLY

VA R I A N C E M A G A Z I N E . C O M

TESSA THOMPSON

ON RACE IN COMEDY

CHRIS LOWELL

HIS DIRECTORIAL DEBUT

TOORANCE COOMBS

SEX ON CABLE VS. BROADCAST VOL. 5, ISSUE 4

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FALL 2014

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FUTURE S O U N D S THE ONES YOU NEED TO HEAR

RIGHT NOW

PG. 34 +

VA R I A N C E M A G A Z I N E . C O M / F U T U R E S O U N D S

W I L L D A I L E Y, P H O T O G R A P H E D B Y P A U L J A N O V I T Z

V FALL2014

MIXTAPE A PLAYLIST CREATED BY YOU

zz SINKANE “How We Be” by @TotafGeijerstam

CATHEDRALS “Ooo Aaa” by @PPull

KENDRICK LAMAR “i” by @DeleneDennis_

DELTA SPIRIT “Hold My End Up” by @MrRodgers82

BEN HOWARD “Conrad” by @MEGALEIGHTON

VÉRITÉ “Strange Enough” by @jordanxcx

CHILDISH GAMBINO “Sober” by @TheMrsAbbey

Charlotte OC "Colour My Heart"

OLYMPIC AYRES “We Can Learn” by @krisgiss

The Oakland rapper is joined by Remo and Rick Ross as he continues rising to new heights

PHOTO OF HOZIER BY BRENDAN LYNCH

FIRSTTHINGSFIRST

6 AS WE PLUNGE into the fourth quarter—are the holidays seriously that close!?— we’ve sat down to talk to some of the most exciting artists of their particular field.

In this Fall Issue, we’re spotlighting some of the best in music right now, starting with Sir Sly. The California outfit is one of the most buzzworthy acts of the season, and for good reason: They’re really kind of amaazing.

We’re also talking to Alejandro Rose-Garcia (better known as Shakey Graves). The Austinbased singer-songwriter’s new LP is one of the fall’s best. We chatted about his growth and

his hopes of representing his city in a big way.

Festival season has mostly wrapped until early 2015, and we’ve captured some of the best moments for your perusal. But beware: If it seems something’s missing, it’s because there were a ton of great ones.

Actress and singer Tessa Thompson took a break from her hectic touring and promo schedule to discuss her two new films, Dear White People and Selma, both of which are attracting early award buzz.

Each addresses some deeply important issues of race and identity. And the subject matter is certainly timely.

Dillon Francis, whose debut album recently arrived, talks to us about keeping EDM fun while also pushing things forward.

OK Go talks about pushing themselves and keeping the creativity alive, on the heels of their newly released album.

Paolo Nutini and Alt-J discuss their respective albums, both of which have arrived just in time for fall, while Hozier talks about his crazy, intense rise over the past year.

Kimbra shares the latest chapter in her journey and finding new inspiration for her music following her GRAMMY wins and having been catapulted into fame.

Actor Chris Lowell talks to us about his directorial debut and the very personal story behind his first film.

He also explains his love for being able to pursue multiple creative passions, including theatre, television and even photography. It’s a lot to keep up with, but this guy thrives on it.

We also talk to Luke James, the New Orleans native who’s giving R&B and soul music new energy. After years in the backrgound of the industry, serving as songwriter and wearing multiple hats, he’s finally claiming his rightful place: the spotlight.

Torrance Coombs also bares all—figuratively, because there are limitations on broadcast television.

The Canadian-born actor talks about unbelievable sex scenes and navigating TV rules.

And of course, our cover story. Jillian Banks (aka BANKS) has rocketed from the underground to one of the year’s brightest voices. The singer-songwriter rode a wave of acclaim last year and has now released her debut full-length, in which she proves she’s clearly a new star within pop music.

It’s been a very good year. But before you dive into that turkey dinner, we hope you enjoy this latest issue. Feel free to let us know your thoughts! n

VA R I A N C EM A G A Z I NE.COM

5

COVER STORY

BANKS

She's one of pop's brightest new voices—and she's just getting started

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CONTENTS

VARIANCE THE SIGHTS + SOUNDS YOU LOVE Fall_2014, Vol. 5, Issue 4

www.variancemagazine.com

Editorial Director Jonathan Robles Managing Editors Rachel Faylene & Weston Shepherd Editor-at-Large Amanda Morad Features Editors Merlyn Hamilton & Emily Hulseberg Editorial Assistants Laurie Tomlinson & Morgan Edwards Contributing Writers Katie Herald Aaron Lachman Lauren Moranor Abby Olsen Edwin Wilson Contributing Photographers & Artists Jeremy Deputat Dan DeSlover Shelby Duncan Jarred Gastreich Gabriel Green Eliot Lee Hazel Sam Hiscox Paul Janovitz Thom Kerr Alex Lake Chris Lowell Brendan Lynch Cat Max Shane McCauley Sarah McClogan Chris McKay Caitlin Mitchell Fraser Mummery Harvey Pearson Gus Powell Seth Rader Zen Sekizawa Kirk Stewart David James Swanson Shamil Tanna Web Production & Design Nicholas Clayton JP Jones Jonathan Robles Project Development Bryan Norris

CONTENTS

10 12 14 20 22 24 26 28 32 34 44 46 48 50

SIR SLY SHAKEY GRAVES PHOTO DIARIES TESSA THOMPSON DILLON FRANCIS OK GO ALT-J PAOLO NUTINI LUKE JAMES FUTURESOUNDS HOZIER KIMBRA CHRIS LOWELL TORRANCE COOMBS

PHOTO BY SETH RADER

SIR

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S LY

BY EMILY HULSEBERG

PH OT OS BY EL IOT LE E HAZ E L

C

hances are you’ve already come across Sir Sly’s hit single “Gold” over the past year. The California indie-pop trio just released their first full-length album, You Haunt Me, and Variance caught up with frontman Landon Jacobs to get some insight on the band’s swift rise.

Consisting of Jacobs on lead vocals, Hayden Coplen on drums and keyboardist Jason Suwito, the trio saw quite a bit of initial hype following last year’s Gold EP. It was led by the attention-grabbing title track, which ultimately landed on the Billboard Alternative Songs chart as well as the Rock Airplay chart.

With that early success sometimes comes high expectations.

“I’ve just always wanted to write the best music possible,” says Jacobs, dismissing any pressure leading up to the band’s album.

“And I think as long as we stay creative, people will love it. And if they don’t—I think when bands release music that people don’t like, it’s typically because the band didn’t spend enough time on it or they didn’t believe in it themselves. I think for most bands or artists, their best albums according to fans are usually the ones they think are the best themselves.”

He continues: “As long as we keep pushing ourselves, I’m not too worried about how it’s going to be received. I’m sure the label worries about it. I’m sure they want to sell more, no matter what it sells.

But for us, it’s also about earning people’s respect as musicians. We want to make something special for people … Some of that may

be reflected in sales or being on a top 50 list, but it’s good to go out and play shows and meet fans who connect with the music. That means the world to us more than worrying about what’s going to happen next.”

One unique aspect of the album is that the band did mostly everything themselves, from writing, mixing, mastering and the production.

Ahead of the LP’s release, there had been some speculation from critics as to what to expect from You Haunt Me. With such varying comparisons to the likes of Maroon 5, The Neighbourhood, Coldplay and even hip-hop influence, Jacobs admits some of the initial descriptors weren’t very accurate. But he isn’t holding it against anyone.

“It’s hard when you only have like five songs out,” he acknowledges.

“People want to compare you to someone. But that’s the point of an album, to set yourself apart as your own band with your own sound.

You present your own, unique perspective. You don’t write to try to prove something or change people’s minds though.”

In the end, the singer feels the album “gives people an idea of who we are and the type of music we plan to make hopefully for a long time to come.”

As far as the hip-hop influences he’s alluded to in the past, Jacobs says they are more subtle on the record: “I love hip-hop, but it’s just not my go-to. It’s one of several genres I love, but it’s not in the sweet spot of the type of music I can create. I respect it as a fan more than I would actually try to create it myself,” he says.

The band has already had a busy year, touring with The 1975 and St. Lucia, playing SXSW and countless other shows. And while the three were already great friends before gaining recognition, Jacobs says the past year has only strengthened their friendship.

“We get along well and we work together really well,” he explains.

“There’s a good workflow and everyone is respectful of each other. I think that’s important, respecting each other.

It hasn’t been strenuous really. I think, if anything, I’ve just become better friends with them over time. And I think they’d say the same as well.”

The band spent August through September touring the new album, with a Los Angeles show set for Oct. 31 and addition shows to come. And as You Haunt Me continues finding new fans, Jacobs hopes some of his past struggles resonate with those who listen.

“[These] songs aren’t really for people to have a good time but songs that tell important stories,” he explains of the material on the album, which he says is truly personal. “They convey things that I needed to get out. It’s kind of like journaling for me. Since I was 14, it’s the way I process everything. So I hope people find common threads, and maybe my stories might sound like their own.”

Recalling two very difficult years spent writing the record, Jacobs believes “it’s helpful for others to hear that even when you feel trapped, someone else has been in a similar position.

And maybe it makes you feel not as alone. That’s what music did for me growing up. It made me feel like I could still be creative and still do big things even if I felt a certain way at the time.

And maybe this is my way of giving back for all the music and inspiration that’s been poured into my life.” n

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SHAKEY GRAVES

Q&A 12

VA R I A N C E M A GAZINE.COM

THE AUSTIN-BASED SINGER

TALKS ABOUT HIS NEW ALBUM, LESSONS LEARNED & WANTING TO REPRESENT HIS CITY

BY EDWIN WILSON

lejandro Rose-Garcia (aka Shakey Graves) released his latest album, And the War Came, in October.

Demonstrating tremendous growth as an artist, he floats seamlessly between folk, Americana and blues, all without hesitation.

We recently sat down to talk to him about the progress in his career, his inspiration from rockers like Tom Waits and Bruce Springsteen, as well as his desire to shine a significant spotlight on Austin.

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PHOTO BY KIRK STEWART

/ / / VARIANCE: How does it feel to finally have the album it?

ALEJANDRO: [Sighs] On some levels, it felt like it wasn’t done. It still feels malleable somehow. It’s just been so long. I’ve been developing it for two or three years. This year has just been a really long road, in a rewarding and super nerve-wracking sense.

VARIANCE: There’s definitely a lot of growth. Perhaps that’s expected though.

ALEJANDRO: Well it’s expected from me with my personal expectations.

It made me kind of nervous in a good way. It came down to what I wanted and not so much what people expect. I think it’s different from what people assumed it was going to be.

VARIANCE: What has been the biggest change between albums?

ALEJANDRO: Between the last two albums, everything. Actually having a career I guess. When I made Roll the Bones, I wasn’t playing shows or anything. I had no idea what would come next.

VARIANCE: So when you’re suddenly playing with Mumford and Sons and Shovels and Rope, how big of an impact does that make?

ALEJANDRO: The biggest influence for me has been getting to do support runs for people. Some of the biggest influence for me has been Shovels and Rope; The Devil Makes Three also taught me a lot. One of the first big runs I did was with Old Crow Medicine Show in Canada. And that was a hell of a show. Ketch [Secor] is really talented and the whole band is a professional grade, ass-kicking band.

VARIANCE: What’s the biggest thing you observed from those guys?

ALEJANDRO: There’s only so much you can observe until you’re given the opportunity. And even then, you might

“ I want to make sure people—myself included—are

putting their money where their mouth is. If this is really your hometown, we better fucking support music and support this city. ”

not be in a receptive place to learn from it. You might just go out and do your show and get drunk—and I’ve certainly done my fair share of that. But right now, I really needed these experiences to get a grasp of what it’s like and to prepare to be an actual headliner and to handle merch and a tour manager and a booking agent. And what it means to sell out a 300-cap room versus a 500cap room. How to handle a theatre full of 1,200 people who don’t know a word of your music. It’s a battle.

VARIANCE: You’ve talked about settling down in Austin and actually being an Austin-based artist. How do you see yourself building a substantial career and staying in the city?

ALEJANDRO: You have to get out of Austin, yes. You have to get out of any town. The great thing about Los Angeles and New York is that they’re world stages, so you can stay in L.A. or New York and build some sort of acclaim, but wherever you are, I think you have to leave the nest to grow.

VARIANCE: So what is it about this city?

ALEJANDRO: I’d love to be able to travel and visit other places as much as possible, but Austin is so genuinely home. I didn’t want to get my start in L.A. I wanted to come from Austin, like being able to go out on an Odyssey and still return back to the cave. I also see Austin growing in a ton of ways and I see myself growing in similar ways …

I want to be able to hang my hat in this town.

VARIANCE: We hear so much about SXSW and the music culture, but it’s different to actually live in the city. Do you think people have the wrong idea about Austin?

ALEJANDRO: I feel like every artistic industry here is growing. Even the film industry. But I’m always curious when I ask people who’s the biggest band in Austin. And it’s interesting because a lot of artists get their start here and then move somewhere else. I don’t think it’s fair to say Spoon is. Even Gary [Clark Jr.]—he lives in New York now.

And there’s not anything wrong with it. But there’s a level of responsibility or

ambassadorship that I’d like to acquire.

I think a lot of people are coming here expecting things Austin doesn’t have because it’s still a small community at its heart. I have an interest in Austin’s success. And I want to make sure people—myself included—are putting their money where their mouth is. If this is really your hometown, we better fucking support music and support this city.

VARIANCE: When you talk about ambassadorship, you mean in a Bruce Springsteen sort of way? Does his trajectory inspire you?

ALEJANDRO: There’s a few people.

One is Tom Waits. He has a pretty enviable career in the sense that he’s worn so many hats. He’s such a household name and still such an independent artist who’s always fought for what he believes in. I feel like he’s grown and the people who trust him have come along with him and never stopped paying attention. I think people like that never go away. Like him and Neil Young and Bruce. And those guys are great because I don’t see them playing caricatures of themselves. Even The Boss—it’s just him. I went to see his show and it’s just fucking amazing.

I mean, he’s what, 65, and running around on stage and whipping ass. And there’s no argument. He’s not out there limping around just doing this for us.

He’s doing it because it’s what he loves.

And Neil’s a strange dude who’s done whatever the hell he pleases. He has strong opinions about recorded music and the industry, and he adapts according to his own life. And that’s the goal, for me at least.

VARIANCE: In terms of goals, what are your hopes for this album?

ALEJANDRO: When we went in, I had sort of an idea of what I wanted to do. If it didn’t grab me and make me personally want to listen to it, I couldn’t expect anyone else would want to. If it moves me, then I want to share that. The biggest compliment is if people feel encouraged or inspired by the album in some way. I hope they feel like they have something they didn’t have before. n

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PHOTO DIARIES

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L TO R FROM TOP: BENJAMIN BOOKER BY DAN DESLOVER; MAYER HAWTHORNE BY CHRIS MCKAY; GLASS ANIMALS BY DAN ZELAZO; JACK ANTONOFF

BY DAN DESLOVER; KONGOS

BY DAN DESLOVER; POLICA BY DAN DESLOVER; INTERPOL BY DAN DESLOVER

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4 1 * Fall

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L TO R FROM TOP: HOW TO DRESS WELL BY DANIEL PATLAN; NIGHT TERRORS OF 1927 BY DAN DESLOVER; BECK BY DAN DESLOVER; ST. VINCENT BY DAN DESLOVER; BASTILLE BY PERY JULIEN; JAMES BAY BY DAN DESLOVER

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PHOTO DIARIES

LEFT TO RIGHT, CLOCKWISE ZOLA JESUS

by DeShaun Craddock CHILDISH GAMBINO

by Dan DeSlover LITTLE DRAGON

by Liliane Callegari JENNY LEWIS

by David Olimpio JHENÉ AIKO

by Dan DeSlover JOHN MAYER

by Chris McKay EDDIE VEDDER

by Dan DeSlover JACK WHITE

by David James Swanson CUT COPY

by Jamie Bernstein

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4 *1 l Fal x

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PAOLO NUTINI performs

by Kmeron

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PHOTO DIARIES CHET FAKER performs

by Politikwerft Designb端ro

THE POWER OF FILM AND RACE IN AMERICA

A CONVERSATION WITH

TESSA THOMPSON

“ Films do have the potential to create positive change if

we are responsible with the technology and what we take in. We’re living in a very unpredictable time, but I think a lot of good can happen because of it. ”

BY RACHEL FAYLENE

PHOTO BY SHELBY DUNCAN

B

ig things are happening for Los Angeles-born actress and songstress Tessa Thompson. And it doesn’t appear things are slowing down anytime soon.

Thompson stars in the buzzing satirical film, Dear White People, perhaps one of the most important films of the fall. It first premiered at this year’s Sundance Film Festival before receiving a theatrical release in October. The title naturally sparks curiosity, but the film itself actually ignites deeper conversation.

“I think it’s been provocative for people—and I think purposely so,” admits Thompson, speaking with Variance ahead of the wide release.

“But it seems to be a film that, even before people have seen it, they want to talk about it and are developing opinions about it. So I’m also curious to see the types of conversations being had and what sparks culturally.”

Taking on a project like this, Thompson anticipated the different reactions the film would inspire from viewers. Whether it stirs up seriously eye-opening or affablyawkward emotions, Dear White People was clearly meant to spotlight some cultural afflictions.

In a year when one of the biggest headlines—the death of Michael Brown in Ferguson, Missouri—has sparked intense discussion about American race relations 50 years after the Civil Rights Act of 1964, a

film like this seems rather timely.

But Thompson makes it clear the film doesn’t assume to be the answer to America’s race issues, stating: “It’s not medicine.”

“It’s a really fun, light-hearted movie,” she explains. “But I hope what it does for audiences is that they’ve been enjoying this ride and then at the end, they have some space to think about the things the film has presented. And that’s why it’s kind of great to use satire to talk about these issues.

“I think if we can continue to make content that doesn’t beat up an audience but lets them know, whether you’re someone who feels marginalized—which happens to people of color—or whether you’re not and you don’t know how to navigate this new space we’re in where we want to be more lighthearted about race, past political correctness, it’s all OK. And I think the movie speaks to both sides.”

When Thompson first read the script, she felt as though her younger years might have been a different story had she seen a movie like this as a teen. And she hopes it’s able to do just that for someone else.

“I think like a lot of younger people, you go through periods of questioning your identity and who you want to be,” she says. “And sometimes race just complicates that, especially if you’re the only one like you in a particular place. But more than a conversation about just race, the movie is about identity.

“The thing that struck me—the reason I wanted to be part of it—was the script had such a clear vision,” recalls Thompson.

“It’s a multi-protagonist movie and, in that sense, it doesn’t really give you a lot of answers; it just poses a lot of questions in a lot of different ways. And no one’s completely right or wrong. It’s really a movie about ideas.”

Thompson credits the film’s writer and director Justin Simien for delivering a project that effortlessly balances such important topics with intelligence and authenticity.

“I think his voice comes through so well,” she says. “So it’s not surprising the attention the film’s getting. I think a lot of that has to do with Justin.”

Because the film first premiered at Sundance, Thompson was able to engage with

the audience and get direct feedback. But she is most excited to see what the rest of America takes away from the movie.

“We can fight,” says Thompson. “But if we’re both fighting for humanity and community, we’ll be alright. Even though we don’t always agree...I think these issues are really relevant, and we’re not in a place yet where we’re beyond talking about them.”

Adding to her current successes with film, Thompson’s band Caught a Ghost is also progressing. She spent part of the year touring with the group and performing songs like “Sleeping at Night,” which is featured in the Dear White People soundtrack.

“Sometimes I’m making audition tapes in—I kid you not—in tiny bathroom stalls before or after soundcheck,” she says of balancing her film and music ventures.”

But that balance is interesting to me. And the band has been really supportive and excited for me. They help me make my audition tapes.”

Thompson is also looking forward to the release of Selma, which is due in January and is already seeing the Oscar buzz. Based on the Voting Rights Act of 1965, it’s another incredible benchmark for the actress, but it’s also proof she wants to work on “things that matter.”

“There’s a part of me that only wants to work on projects that feel that tug on me in that way,” she states. “Frankly, that might mean working less, because those projects don’t come along all the time. But I think when they do, it’s right and Selma felt like that too.”

Ultimately, Thompson’s talent is more than a series of career moves; she represents a voice that conveys truth and she sees the bigger picture when it comes to entertainment, which should help her as she continues on this journey, of which Dear White People is a very important chapter.

“I think films do have the potential to create positive change if we are responsible with the technology and what we take in,” she states. “We’re living in a very unpredictable time, but I think a lot of good can happen because of it.” n Dear White People is in theaters now.

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Dillon Francis RULES THE EDM GAME

BY JONATHAN ROBLES

fter years of working with electronic music titans such as Diplo and Skrillex, Dillon Francis has finally released his proper debut record, Money Sucks, Friends Rule.

The Los Angeles native had previously hoped to release the album earlier this year but “that’s not how things work out sometimes,” he says with a buoyant laugh, speaking with Variance ahead of the album’s release. “There was a lot of stuff though. I thought it was gonna be out sooner rather than later, but there were sample clearances and all this other crazy shit I didn’t even know existed because I’m just a kid behind a computer, making my music.”

At 27 years old, Francis has worked his way into EDM’s upper tier through a series of collaborations, a massive collection of remixes and straight-up hard work, having been largely considered one of the pioneers of the Moombahton movement (a blend of house and Reggaeton music).

He’s certainly made plenty of

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PHOTO BY SHANE MCCAULEY

friends along the way, perhaps most notably Diplo, whose Mad Decent label is releasing the album in partnership with Columbia Records. And as he enters what is arguably the most important phase of his career so far, even his album title is a not-so-subtle reminder to himself.

“I wanted it to be a shirt at first but my manager was like, ‘We need a name for the album.’ And he suggested that be the album title instead,” the producer recalls. “And I thought it was perfect. Money Sucks, Friends Rule. That’s how I legitimately feel. I think money—even though everyone needs it and it’s cool and everything— but friends are way better. I’d rather have a wealth of friends than a wealth of money.”

That said, a wealth of money could certainly be in Francis’ future as he may very well be one of electronic music’s next superstars. But he’s quick to point out he’s not there yet. “It’s hard enough for me to plan for tomorrow,” he quips. “Let me get shit figured out for next month before I start thinking about next year.”

While he definitely has his share of producer and musician friends, Francis has also developed a very devoted fan base. And his enviable relationship with those supporters has played a significant role in getting him to this point.

Incidentally, it’s not just his music that resonates with fans. For proof of that, one only needs to take a look at his Instagram account, where the producer has created numerous—and often outrageous—characters, hilarious videos and a “Cats in Hats” series, showcasing a side of himself others don’t get to see on the Electric Daisy or Coachella stages.

“The videos really aren’t for anyone else besides me,” he confesses with a mischievous snicker. “That’s why I truly don’t care how crazy I look when I post a video. People either enjoy it or they think I’m not funny. But I really just love making stupid videos and not taking myself seriously.”

Although some might assume the eccentric clips and images are simply a musician’s successful effort in branding—and they’d be right in a sense— Francis has been doing this stuff since he was in high school, long before everyone carried the Internet in their pocket and #igers was a thing.

“It was just a big, stupid hobby of

mine in high school,” he recalls. “I took this class called New Genres in our visual arts program. And in that class, you could kind of do whatever you wanted. You could do funny videos as long as they were artistic. So I would remake Laguna Beach episodes with me and my friends. We would pretend to be each character from the show. It was terrible and frightening and really amazing.”

Francis clearly had a peculiar childhood, having grown up very sheltered and with limited access to non-educational television. He eventually discovered rock outfits like Metallica and Anti-Flag, which he played in secret because he was only allowed to listen to gentler pop music.

“It’s true. My friends and I would hump pillows listening to Spice Girls,” he says, barely getting the words out before laughing. “I had an interesting life as a kid.”

Because of his childhood, however, Francis has an appreciation for so many types of music. And it shows in the collaborations on his album: The Chain Gang of 1974, DJ Snake, Martin Garrix, Brendon Urie of Panic! at the Disco and Diplo’s Major Lazer, among others. But according to Francis, these are simply the survivors.

“I’ve had plenty of times when I try to collaborate with people and sometimes it just falls flat,” he admits, recalling some that were abandoned midway through. “So it either never gets finished or it just sucks and both of us hate it and then we just never work with said person again,” he says with slight chuckle. “Right as you’re going through the process, you can feel if it’s going to work out or not.

And that’s how it was pretty much with every person on the album.

There wasn’t a struggle. And if [songs] weren’t easy to make, they were easy to keep pushing forward.”

And pushing forward is exactly what Francis is trying to do with this record, which he acknowledges might not be embraced by some of his longtime fans. “Some kids are going to be really pissed off about it because there might not be enough Moombahton on it,” he admits. “But you have to keep things fun and interesting and not get stuck, or everything gets oversaturated and eventually everyone is like, ‘This sucks, man!’ And they move on to the next thing or, I don’t know, they’ll start listening to rock music again.

“ You have to keep things

fun and interesting and not get stuck, or everything gets oversaturated and eventually ... they move on to the next thing or, I don’t know, they’ll start listening to rock music again. ”

But that’s gonna happen regardless, because everything goes up and down. It’s just about knowing how to keep moving with everything.”

From the producer’s perspective, Porter Robinson is someone who “completely gets that.

He’s making his own mark and doing something that runs counter to everything you expect from ‘EDM.’ His live show is insane and it’s his actual music.”

As EDM as a whole continues to evaluate itself and progress, Francis says it’s easy to get too comfortable because “a lot of us just want to have fun and not think about how to make it better.” In his opinion, none other than his mentor Diplo has “kind of been leading the charge with music that can stay in the underground but can also easily transition to radio hit … I don’t anyone else really who has mastered that, and that’s why I look up to him so much.

And Calvin Harris as well. I remember the first time I heard [his 2009 single] ‘I’m Not Alone.’ I was like, ‘Fuck that song.’ But look at what he’s done since then. He’s literally created stars and he’s always been a big trendsetter and in really big songwriting. People don’t give him credit for that. They’re both fucking geniuses.”

Of course, producers don’t get credit for a lot of what they do, including their positive impact on pop music. From remixes to boost radio airplay and sales to features to groom a budding star for the spotlight, “everyone’s looking to the producers and EDM now,” says Francis, who admits he loves the irony. “The same people who have been producing pop music—and many of them were so anti-EDM or whatever—are coming to us like, ‘Hey, man. How do you make a song like this? We need something big.’ And you’re like, ‘Hold on, dude. Let me ask the questions here!’

But it’s great because they love you now. It’s nice how the world works sometimes.” n VARIANCE MAGAZ I N E . C O M

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OK GO FOUR

years seems like a long time to wait between records, but for OK Go, it seems it just isn’t enough.

Between songwriting, a relentless touring schedule, maintaining an independent record label, and the unique high concept videos they’ve become known for, the band hardly has time to slow down before the time comes to make a new record. But getting back into the studio and writing and recording music allows the four-piece to recharge, both creatively and as individuals.

“I like everything else we do, but my favorite thing is to write music, record music,” says bassist Tim Nordwind, speaking with Variance ahead of the release of the band’s new album, Hungry Ghosts. “It’s something

“ We just happen to be obsessed with getting it right, or at least getting it so wrong that it’s awesome. ”

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BY AARON LACHMAN

that’s more of a personal process. It’s an isolated process, I think, compared to a lot of what we do. And it could be an individual personality thing, but I like being a hermit in a way and just having nothing but creative music time. It feels great.”

With each new album, video, or side project comes more exposure for the band and new opportunities to be seen. The video for the song “Needing/Getting” from their 2010 record Of the Blue Colour of the Sky was sponsored by Chevrolet as a commercial for Super Bowl XLVI. Their recent video for “The Writing’s on the Wall,” the first single from the new album, was one long shot filled with optical illusions, mirror tricks and quick costume changes. It’s this kind of creativity that keeps bringing new listeners to the band.

After 15 years as a band and a continually increasing profile, it hasn’t always been easy adjusting to success.

The members of OK Go, including Nordwind, singer Damien Kulash, drummer Dan Konopka and guitarist/ keyboardist Andy Ross focus so hard on each new project that it can be difficult to process when the public starts taking notice.

As Nordwind puts it, “we’re always in our own weird little bubble. It’s always

weird when a video does come out, because by that time, we’re on to another project. At the shortest, there’s a week between the time a video is finished and the time everyone sees it. But many times, there’s months in between, so our focus is in different places,” he confesses. “And then all of a sudden, it’s like, ‘Oh shit, remember that thing we did a few weeks ago?

Millions of people just watched it.’ So it’s hard to understand when things are happening, what that means for the band.”

The result is a constantly moving, constantly evolving OK Go. Even

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after leaving a major label to release their albums independently, momentum hasn’t slowed down for the band.

“It’s awesome when we talk to fans and hear that after 15 years, people are still finding us for the first time,” says Nordwind. “More people seem to know the videos, more of them seem to know the music. And shows are selling out.”

Rather than trying to duplicate past triumphs, they continue to push forward, stretching their creative boundaries and keeping at it until they get it right. For “The Writing’s on the Wall,” the band took upwards of 60 takes until they were satisfied.

“I think the constant pursuit for creativity and computing ideas well, it gets us out of bed in the morning,” confesses Nordwind. “And it drives us to do 61 takes until we feel we’ve got it right. I know that’s not what drives everyone, but it drives us as a band and it pushes us to keep moving forward. I think if we tried to repeat certain things we’ve done in the past, we wouldn’t have been very happy and it would have translated for others to see that. If we had kept trying to write [their first single] “Get Over It” over and over, we wouldn’t have been happy.”

That desire to push themselves cre-

atively and work tirelessly until they’re satisfied is evident on Hungry Ghosts, a self-released, danceable pop record that has a lot more electronic influence than their previous pop/rock efforts.

“We’ve always been a group of guys who really enjoy making stuff and chasing interesting and fun ideas,” says Nordwind. “We just happen to be obsessed with getting it right, or at least getting it so wrong that it’s awesome.” n Hungry Ghosts is out now. For the band’s upcoming tour dates, go to okgo.net.

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THE SECOND ACT

KEYBOARDIST-VOCALIST GUS UNGER-HAMILTON TALKS SONGWRITING, MILEY AND BEING CLOSER AS A TRIO STORY BY

EMILY HULSEBERG

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lot has happened for Alt-J since they were first featured as one of Variance’s FutureSounds in 2012. The band has won BRIT Awards and the Mercury Prize for best album, sold out countless shows and gone from a being a quartet to a trio. And of course they recently released an incredible new album, This Is All Yours.

I can’t tell you how many times I get in my car simply hoping to catch lead vocalist Joe Newman sing the line, “pick a petal eenie meeny miny mo,” in the band’s single “Left Hand Free.”

It’s those infectious sounds and quirky lyrics that easily set them apart from many of their peers.

And they intentionally decided to color outside the lines more this time around.

“We actually wanted with this album to be able to experiment and not feel too much like we had to make a certain kind of album,” says keyboardist and vocalist Gus Unger-Hamilton, speaking with Variance ahead of the LP’s release. “Our first one was quite varied, with lots of different sounds, but people still embraced it. So, if anything, we felt more confident this time around to make the album we wanted to make.”

While it was first reported that “Left Hand Free” was a deliberate jab at Atlantic Records for

wanting a radio hit from the eccentric group, Unger-Hamilton says its origin is not quite as dramatic.

“Joe had this guitar riff for a while and we were spending the afternoon writing in this really nice space,” he recalls. “It was great for making music and for hanging out with friends.

And what’s interesting about it is that a lot of the time when were making this album, it was never strictly defined whether we hanging out or whether we were working. ‘Left Hand Free’ was written while we were just enjoying each other’s company and playing instruments. It’s kind of a tongue-in-cheek song.

The riff Joe had was kind of a jaunty one, so we built the song around it. We were kind of playing characters when we wrote it.

So as much as it was kind of us messing around, we’re also really proud of it.”

Another track off This is All Yours has also gotten plenty of

attention: “Hunger of the Pine,” which notoriously samples Miley Cyrus’ “4x4” as the song’s chorus. And although not all fans were thrilled about the guest feature, Unger-Hamilton defends the band’s choice to utilize the sample.

“We start with the song, of course. That’s the most important thing for us,” he says. “We wanted to include the Miley Cyrus part not because it was Miley Cyrus but because it sounded cool. And if we ever question something, we always think about how it will affect the music, first and foremost. We thought, ‘OK, maybe some people will have a problem with a so-called indie band using a sample from a pop artist.’ But we felt it added context. And that answered the question for us really.”

The song, as well as every track on this album is worth a listen whether you’re a fan or haven’t given Alt-J your time yet. The band has made a beautiful transition from being college friends playing in England to international successes-being able to put out a second album that has been what some would consider already more successful than their first.”

Despite some initial pushback, the track has become a fan favorite, racking up 5 million views on YouTube and 12 million streams on Spotify.

As the band has embarked on this new chapter of their career, going from tour opener to headliner and winning the Mercury Prize against the likes of Jessie Ware and Ben Howard, the band’s surroundings have certainly changed over the past couple of years. But Unger-Hamilton says they

themselves have done their best to remain level-headed.

“It’s a tremendous thing to have won [the Mercury Prize],” he says. “But I honestly don’t believe it changed us as people. It’s certainly had a big effect on our name because people still associate us with the award. Clearly, it’s affected our career.”

“ We know we’re

not just making music for ourselves anymore.

Once you make an album ... It’s open to interpretation. It doesn’t just belong to you now. ” Amidst all the transition, the band also faced the departure of Gwil Sainsbury, which was a rather smooth transition, according to Unger-Hamilton.

“When Gwil left, for the three of us that stayed, it seems that it brought us closer together as a group,” he says. “The band dynamic remains broadly the same really.”

One thing that isn’t the same is explicitly referenced in the band’s latest album title, This Is All Yours., which is in some ways a nod to listeners and supporters.

“We know we’re not just making music for ourselves anymore,” Unger-Hamilton admits. “Once you make an album or write a book or whatever it may be, you no longer have the final say on what it means. It’s open to interpretation. It doesn’t just belong to you now.” n

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Paolo nutini

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BY JONATHAN ROBLES

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t’s been five years since Paolo Nutini released his last album, 2009’s Sunny Side Up. But to say he’s simply picking up where he left off with his new album doesn’t exactly provide the full picture, because a lot has happened since then.

Having recently released his third LP, Caustic Love, the Scottish crooner believes he needed his “ambition to catch up with my ability,” explaining that after two albums and corresponding tours, he always has “ideas running ideas through my head. I always have a voice recorder ready. That’s actually how this album started.

But there’s so much to consume. You start with one song and then another, the artwork and everything else.

You can get carried away.

And it was important for me this time to sharpen my skill and really find my place in this crazy industry.”

It’s also because of this in-

dustry that Caustic Love was released in the States five months after it arrived in Britain, something Nutini has mixed feelings about.

“It’s a funny one, how album releases work,” he says, calling from London before flying back to America. “You put it out and then it all just goes through this machine.

I’ve been through it before and it’s created a lot of opportunities for me and given me the chance to play in so many wonderful places. But I never feel like you start or stop, so it’s a weird sensation for me personally, because I know record labels look at album cycles; that’s how they plan promotion and marketing. I don’t live by hype though. As artists, I don’t think it ends. An album lives forever. If I could, I would release small EPs between albums, whenever I want. But being on a label, you have to figure out what works for both sides.”

“ Record labels look

at album cycles ... As artists, I don’t think it ends. An album lives forever.. ”

PHOTOS BY SHAMIL TANNA

FIRST WORLD PROBLEMS AND FINDING H I S O W N WAY While staggered album releases have their pros and cons for many international artists, Nutini is having quite a year already. Caustic Love is currently the fourth best-selling album this year in the U.K., behind only new releases from Ed Sheeran, Sam Smith and Coldplay, respectively. Various critics have also declared this to be some of the best songs of Nutini’s career.

“I try not to think too much about what the critics say,” the singer admits. “Although I appreciate that people are enjoying the music. I’ve tried to make it a

point not to take myself too seriously. During the highs and the lows, you can never take yourself too seriously or you risk getting stuck there. You can’t get invested emotionally in a good review because that’s not why you make music. So for me, it’s important to always move forward.”

Part of his restraint is also due to his heftier profile in the U.K. and Europe, where he’s faced a number of detractors. “I’m also still learning how to deal with praise and criticism from the press. I honestly don’t know if I’ll ever fully be comfortable with it.

In the U.K., there are some who wrote me off rather quickly and others who are still suspicious of me,” he says with a laugh.

It’s not only the press singing his praises this time though.

Even Adele—who’s notoriously quiet on Twitter—watched Nutini’s live recording of “Iron Sky” at London’s Abbey Road and immediately tweeted that it was “one of the best things I’ve ever seen in my life hands down.”

The powerful clip is driven perhaps by Nutini’s own personal connection to the track, which features an excerpt of Charlie VARIANCE MAGAZ I N E . C O M

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V “ There are probably a lot of

different things I could or should do with my music or my career, but if I’m not making music that’s honest and true to myself, I think I would eventually hate it. ”

Chaplin’s speech from the 1940 political satire film, The Great Dictator. And on an album all about the power of love, the singer offers a very gripping look at reality.

“When I look around at the world at this very moment, there’s so much happening that makes me pause,” he says with a sense of conviction. “If you really think about how we’re slowly—or actually, rather quickly—becoming more reliant on machines and devices instead of people. And the wars going on, no one wins. It only leads to more war and more catastrophe. It makes me wonder where we’re heading as a society and the kind of world our children will live in.”

Although the 27-year-old has no children of his own, he definitely

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spent plenty of time thinking about the future between records.

“Some of my friends had kids and it made me think, if I were ever to become a father, I needed to know a few things,” he recalls.

“I didn’t even know how to drive, so I learned how to drive and I learned to do things with my hands, fix things. I spent time with my friends and family, I got high and just enjoyed life.”

After spending two years on the road in support of his last record, the singer explains that he didn’t necessarily need to get away from his craft so much as he needed to experience life from a different view in order to improve it.

“I was at a point where I could see myself becoming kind of wrapped up in my own fucking First World

problems,” he admits candidly while laughing. “I would complain about things that didn’t matter— little, shitty things. The food selection at an expensive restaurant or the shower being too cold in my hotel room. I needed a dose of reality. I wasn’t too far gone or anything, but I needed to be back home and with the people I loved and outside of this music world.”

Of course, it wasn’t long before the music was calling him back. But Nutini admits he’s still figuring out where he belongs. Sure, his 2007 single “New Shoes” made its way into American pop culture and TV ads, but he doesn’t see his music as being “the infectious, radio kind. I don’t really think that’s my talent, making big pop songs. But that’s OK.” According to Nutini, who suggests he’s still signed to Atlantic Records for two more albums, he’s not all that concerned with genres and charts so long as he’s making progress in his own personal journey.

“I think that’s why it’s so important not to get stuck or settle,” he explains. “Good reviews, bad ones. Radio hit, no hits. I know there are probably a lot of different things I could or should do with my music or my career, but if I’m not making music that’s honest and true to myself, I think I would eventually hate it. If I wanted to be a popstar, I probably could have written something different a long time ago. But when I put out this album, this is from my soul. It’s true to who I am. And that’s enough for me.” n

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BY LAUREN MORANOR

guy, it is kind of hard to get played on the radio without having some type of thing that mixes well with what is going on,” James concedes. “So, it just made sense to put a rapper on this song ... I would love to have an album off all me and establish myself, but this is show business and you want to get in the door.”

Growing up on a diet of New Orleans soul music, James is influenced by some of the best story-telling musicians in history.

And his main focus is to remain committed to the artistry rather than the business end of the music industry. “I’m just a soulful singer. I guess it is only right that I sing stuff that you can feel rather than something that is just this cookie cutter kind of sound.”

The next step for James is touring. After spending

PHOTO BY SARAH MCCLOGAN

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uke James is not a rookie. In fact, he has a résumé most veterans of the music industry would kill for. James has created several chart-topping songs, earned a GRAMMY nomination off free music and was hand-picked as the opening spot on Beyoncé’s Mrs. Carter Show World Tour.

So when James hears phrases like “fresh face” and “new kid on the block” associated with his name, he simply just laughs. No, he is no newcomer. However, with his debut album just now hitting the airwaves, his career is really just beginning.

“I’ve been preparing for this forever,” he says. “I do feel new to the point of where everyone does not know me, which is dope. It is always good to get the new people and wow [them], so I do feel new as far as that goes. But other than that I just feel like I’ve been here for a long time.”

The singer has indeed been around for a long time, but not solely as his own voice. James began his career as a songwriter, creating hits for artists like Chris Brown (“Crawl”), Justin Bieber (“That Should Be Me’) and Britney Spears (“Kill The Lights”).

As his songs climbed the charts and gained radio airplay, James became more in-demand as a writer, but he always had the bigger picture in mind.

“I’ve always been an artist,” he says. “The ultimate goal has always been to pursue my artistry.

Songwriting was just another path, another road to take to get towards that.”

James was right to think songwriting would lead to something bigger. In 2011, he went hard to work on his debut mixtape,

#Luke, which landed him a GRAMMY nomination for the single “I Want You” and opened a number of doors. As the debate regarding free music continues, the singer supports the role of the mixtape in music, noting that it can only help grow an artist’s fanbase, as he knows from experience. ”Mixtapes are an easier pill to swallow because it’s free,” he admits. “So they can say, ‘OK, it did not cost me anything to listen to it.’ Rather than me pushing my album and asking them to spend money on an artist they do not know.”

The plan worked and James’ debut album was finally released in September via Island Records. This was a record that was seven years in making, or according to James, “the longest pregnancy ever.” But the self-titled set is exactly what he wanted it to be: R&B music that focuses on the voice and the songwriting.

His goal was to be as free with his label-produced record as he was with the mixtape, and James says the only difference in creating the two pieces of work is that he could do everything he wanted with the mixtape with no rules, whereas his full-length had more opinions and restrictions involved.

James recognizes the need to play the game. With R&B and soul music becoming saturated with feature verses to get airplay, he gave in to the trend, putting Rick Ross on the track “Options.” It is, however, the only feature on the album, a conscious decision by the singer.

“As a singer and not the ‘it’

time touring with Beyoncé, he knows exactly where he wants to go. The crooner notes that right now he can only dream of headlining his own tour of that size, but music remains the priority, which means another album and more free mixtapes.

“It all goes back to the mixtape where you’re free to be what you want to be. Mainstream puts you in a bubble. I want people to say, ‘Damn, you’re just good.’”

James will always be that underground artist at heart, no matter how impressive his résumé ultimately gets. He intends to play every venue he is invited to along with the ones he is not. “At the end of the day, I’m just a messenger and whatever is going to get that message out, let’s do it.” n

LUKE

JAMES The Singer Finally Makes His Move Into the Spotlight

“ Mixtapes are an easier pill

to swallow because it’s free.

Rather than me pushing my album and asking them to spend money on an artist they do not know. ”

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future sounds } T

his lyrics are thought-provoking in nature. Perfect for a night drive, or just to hang out to, his music is inherently crisp and enjoyable.

The singer’s second EP, Hustler, is a short, two-song sampler but packs an incredible punch. The title track is slow, haunting and deep on its way to showcasing how great Salvat’s voice is when flexed. The second track “Every Night” is a slow jam that presents an entirely different angle of his sound. All in all, his EPs are the perfect introduction to a guy listeners should expect to hear from for years to come. n

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BY WESTON SHEPHERD

JOSEF SALVAT Hustler OUT NOW

Salvat supports BANKS on her fall U.K. tour with plans for a debut album in the future. His music can be found on iTunes and Spotify.

P H O T O O F J O S E F S A LVAT B Y S A M H I S C O X ; P H O T O O F V É R I T É B Y H A R V E Y P E A R S O N

he year 2014 has been busy for Josef Salvat, as the London-based pop artist has seemingly come out of nowhere to create a sound with real staying power. Two criticallyacclaimed EPs have paved the way for massive success, and Salvat looks to capitalize on his forward momentum.

With his first effort, In Your Prime, Salvat starts strong with the fan-favorite “Open Season.”

His melodic voice goes on the offensive, with an upbeat tempo backing him up all the way. His tone is smooth and effortless, and

JOSEF SALVAT

THE ONES TO HEAR RIGHT NOW

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fter two years of working with producer Elliot Jacobson (Ingrid Michaelson, Emily Kinney), New York songstress VÉRITÉ released her debut EP, Echo, over the summer and has since been on a steady climb.

At only four tracks, the collection is highlighted by lead single “Strange Enough,” an infectious three minutes of the singer’s hauntingly dreamy vocals melted over Jacobson’s suave production, proving she has the chops to soon join the leagues of the aforementioned Michaelson or Ellie Goulding in pop’s golden ranks.

VÉRITÉ began her musical journey at a young age, having grown up in a musical home and covering The Cranberries and Four Non Blondes at open mics before starting a punk cover band at 13. By the time she was in high school, she was writing her own music, inspired to put her emotions into song.

The music she’s released so far skews in the direction of alt-pop, perhaps fitting snugly in a playlist of fellow buzzworthy acts Ryn Weaver and BROODS, with a perfect balance of silky, honest lyricism and synthy textures. It’s not quite raveappropriate but it’s definitely club-friendly.

VÉRITÉ

She made her debut at CMJ in October and she’s aiming to release additional material—hopefully a full-length—sometime next year. n VÉRITÉ Echo EP

In the meantime, check out the Echo EP on Spotify. And for those in the Northeast, she has a few live dates scheduled in November.

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P H O T O O F W I L L D A I L E Y B Y PA U L J A N O V I T Z ; P H O T O O F L A K E S T R E E T D I V E B Y J A R R O D M C C A B E

future sounds }

WILL DAILEY

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t took a life-changing decision for Will Dailey to finally make the music he desired. On his 2014 effort, National Throat, he is better than ever while creating music unlike anything he’s released before. For the Bostonbased musician, it was definitely a long time coming.

Previously signed to an internationally known record label, the singer-songwriter elected to part ways and pursue his career as an independent musician.

In doing so, he opened his world to the type of sound he always wanted to create. National Throat tells the story of that journey through thought-provoking lyrics and haunting vocals.

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New fans will want to start with “Castle of Pretending,” he most popular song on the album. A song that seems destined for many movie soundtracks, his ability to draw listeners in from the outset is a welcomed experience.

The album continues into a variety of emotions, as Dailey recounts epic nights on the town in uptempo moments, while also cascading down into the slower songs that reveal his inner workings.

As most fans will likely agree, music is best when it’s most vulnerable, and National Throat is a prime example of this. If nothing else, listeners will find Dailey’s music honest and refreshing, which is always a good thing. n

WILL DAILEY National Throat OUT NOW

Will Dailey is on tour now, and his music is available on iTunes and Spotify.

THE ONES TO HEAR RIGHT NOW

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BY WESTON SHEPHERD

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YouTube video sparked public interest in jazz-pop act Lake Street Dive, and that appears to be all they needed.

The group’s rendition of Michael Jackson’s “I Want You Back” perfectly captured the essence of its music—as soulful harmonies and an old-fashion sound make every track a unique experience.

The band has released multiple albums over the past few years, but 2014’s 11-track offering, Bad

Self Portraits, in many ways serves as a proper introduction. The set perfectly showcases lead singer Rachael Price’s powerhouse vocal abilities. accompanied by Mike Olsen on the trumpet/guitar, bassist Bridget Kearney and Mike Calabrese on the drums.

With their talents combined, fans are taken back to a simpler time in music, when instrument work trumped digital effects and vocalists sang with emotion in their voices.

For new fans, start with the track “Better Than.” Price’s vocals are on full display, as the band chimes in with a full complement of instrumentation. Follow it up with “Use Me Up,” and the upbeat

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tempo and foot-tap-inducing sound will win over even the harshest of critics. There is truly something on the album for everyone. n

Find them on Twitter: @LakeStreetDive.

Their music is on iTunes and Spotify, while they are also playing U.S. shows through the fall.

LAKE STREET DIVE Bad Self Portraits OUT NOW

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T H I S I S W H AT

IT FEELS LIKE TO BE

BAN KS

THE LOS ANGELES SINGER-SONGWRITER HAS Q U I C K LY B E C O M E O N E O F MUSIC'S BRIGHTEST VOICES. AND SHE'S JUST GETTING S TA R T E D . | B Y A B B Y O L S E N

What a difference a year truly makes.

When Jillian Banks (aka BANKS) spoke with Variance last summer, she had only a handful of songs to her name and she was still in awe that she would soon perform at London’s O2 Arena with Abel Tesfaye (The Weeknd).

Fast-forward more than a year and the Los Angeles-based songstress has just released her debut album, Goddess, which has been heralded by critics and fans alike. She’s spent the past year touring various countries with stops at some of the biggest festivals, including SXSW, Coachella and Bonnaroo.

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“ MY

SONGS ARE LIKE MY CHILDREN, E X C E P T T H E Y ’ R E M O R E T H A N T H AT BECAUSE CHILDREN ARE HALF YOUR DNA AND EVERY ONE OF THESE SONGS IS 100 PERCENT MY DNA. Talking with Variance shortly after the release of her album, the singer admits she’s “been soaking in every minute of it. The whole release week was a big celebration, playing shows and being around my team, which is like my family.”

Although fans are only now hearing Banks’ material, some of it has been in the works for over a decade. At 15, she taught herself how to play the piano and she began writing music as a way to cope with her parents’ divorce. While studying psychology at the University of Southern California, she continued working on music.

Having “journaled” through song for some of the most formative years of her life, Banks says one of the biggest challenges was knowing which tracks would make the cut for the album. Ultimately, she’s satisfied with the final product.

“I feel like it’s exactly like it should be,” she says without hesitation. “The hardest part of the process was definitely cutting songs out, but I think the ones that are on the album—they touch upon every layer of who I am. So I think it’s perfectly complete.”

The singer, who’s been compared to Erykah Badu and Lykke Li, explains that eliminating songs “that are so close to you” is actually a much greater sacrifice than many people realize.

“It’s probably easy for some people to think songs on an album are just thrown together,” the young singer opines. “And maybe that’s true for some. But all my songs are like my children, except they’re more than that because children are half your DNA and every one of these songs is 100 percent my DNA. So I feel equally attached to every one of them. They’re me. If you were to play one of them, I’d feel that one and I’d connect with it. If you play the next one, I’d feel it just as much.”

At 14 tracks on the standard version of Goddess, it’s clear Banks was definitely cutting it close when trimming the record, which was originally aiming for a

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late-spring release. Some have theorized that perhaps it was moved to September so her label Harvest Records could groom a radio single, such as the gritty standout “Beggin for Thread,” which is currently working its way up alternative radio.

Banks offers a simpler explanation for the delay though: “I just didn’t feel like it was done, to be honest. I didn’t feel like it was perfectly complete yet,” she confesses. “I actually just kept writing. I knew it would be done when I felt like it fully represented who I am, but it was still missing a certain energy.”

Considering how quickly the singer has risen to music’s upper ranks, it wouldn’t be unheard of for Harvest to want a radio single, but Banks says she hasn’t felt pressure to meet any kind of benchmark or fit into a mold.

“I’ve just been me,” she declares rather confidently. “Everybody who’s been involved in my career is involved because they believe in me, my voice and my ideas and who I am as an artist. I don’t even have to think about album sales or radio or any of those other things.”

Fortunately for the singer, early support from those who believed in her music played a significant role in her journey. In fact, during her time at USC, her best friend and classmate Lily Taylor felt so strongly about Banks’ early material that she shared it with people connected to the music industry. From that point, Banks was soon introduced to Trevor McFedries (aka Yung Skeeter), who eventually became her manager.

In retrospect, Banks admits it’s hard to wonder how things might have (or have not) turned out if it weren’t for those key moments.

“Initially, [music] was nothing but me trying to express what I had to get out of my heart just to feel sane,” she divulges. “I just needed an outlet so badly.

That’s all it was to me. And that’s all it ever will be, just a way—a language— for me, writing music. I didn’t imagine

any of this, everything that’s happened.

But I think I knew that music was going to be the biggest part of my life. I mean, I couldn’t have known then what I know now, but I knew it was important to me.”

Having poured so much of herself into her music, working so hard to reach this moment in her career, it was that much more surprising when over the summer Banks learned British all-female quartet Neon Jungle was releasing their cover of her single “Waiting Game” on their own album, weeks prior to release of Goddess.

Banks immediately took to Facebook expressing her disapproval, calling the song something she wrote during “one of the most confusing times in my life.”

Looking back, the singer calls the situation “upsetting” but says she isn’t dwelling on it anymore. She did, however, take away something of value.

“I saw my fans rallying around me,” she recalls. “For someone who is still fairly new and figuring everything out, it just meant the world to me. I love my fans for supporting me.”

After originally keeping her social media usage to a minimum, Banks has become very active on Instagram and even Twitter. And she acknowledges that interaction is necessary in some ways as she nurtures her fan base.

“Even something as simple as making Spotify playlists of music that I love, stuff like that is still a way of communicating with fans,” she explains. “Like I made one during the tour with The Weeknd and not only is it fun to share the music that means something to me, but I feel

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like through these playlists and through Instagram, you’re taking people along on your journey.”

While many of her fans appreciate the singer’s increasing presence online, some critics have suggested in recent weeks she’s giving up some of the mystery about her by shedding the metaphorical veil that made her so intriguing early on.

“I don’t even know what any of that means,” says Banks, vexed by such critiques. “The whole idea about this mystery being gone—I don’t even know. I’m just myself. You put your music out and the people say what they want. People call me mysterious, some say I’m not mysterious enough. I can only be myself and they just take it or leave it.”

According to Banks, she learned while on tour with The Weeknd last year that she would likely need thick skin to endure the next phase of her career.

“This is such a crazy and emotional business,” she confesses. “You’re putting your heart out there for everybody to drink up and judge and say what they want. Artists make art because they’re sensitive. But I remember one of the first times I was hanging out with Abel [Tesfaye] on tour

and he was like, ‘Let yourself enjoy this.

It’s your first tour and we’re playing the O2 Arena.’ And he reminded me to go back to those amazing moments when something goes wrong or the critics don’t like what you do. Remember the good things.”

Banks also heeded that advice back in March during her first festival performance at SXSW, when tech problems plagued the first part of her set.

“That was the only show I’ve done where I literally couldn’t hear anything,” she says, laughing. “I can laugh about it now, but I was panicking. I couldn’t hear the music. Nothing was coming through my in-ears, so I was kind of just winging it.”

It was in that moment that she introduced a cover that has since become a fan favorite, her rendition of Aaliyah’s “Are You That Somebody.”

“I was so nervous,” she recalls of that night in Austin. “So sometimes when I’m nervous I like going over covers and getting into a familiar space right before I go on stage and get my head out of everything. And we did that one right before we went on ... My guitarist starting riffing around and the chords he was playing

sounded like ‘Are You That Somebody.’ It reminded me of that song and I love Aaliyah and wish she was still here with us, so we just started playing it and I was like, ‘Let’s do it on stage tonight.’”

Drawing inspiration from the likes of Aaliyah as well as Fiona Apple, Lauryn Hill and Missy Elliott, Banks still insists she’d love to collaborate with any of the latter three. And she admits she’s definitely already thinking ahead about new music.

“Oh, god. That is my home,” she says enthusiastically. “Even on tour, I’m always working on music. Everything else feels boring to me. Making music is the only thing I’m always thinking about.”

While it’s difficult for Banks to make checklists as she thinks about what comes next, she’s optimistic about the future.

“Everything that’s been happening so far has been surreal and unexpected and special, and it’s all I can do to just live in the moment. Soak it up. I don’t even know where I’m gonna be in a year. If you asked me a year ago where I’d be today, I wouldn’t have imagined this. So if I could see into the future right now, I think it would just blow my mind.” n

BANKS’ debut album, Goddess, is out now on Harvest Records.

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THE IRISH TROUBADOUR TALKS SUDDEN FAME, EQUALITY AND THE IMPORTANCE OF DOING THINGS RIGHT

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WORDS BY JONATHAN ROBLES PHOTOS BY ALEX LAKE

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t’s been a pretty decent year for Hozier, some might say. OK, so it’s actually been a rather mind-blowing, incredible 12 months for him.

Born Andrew Hozier-Byrne, the 24-year-old Irish singer-songwriter has rocketed to international acclaim on the heels of his breakout single “Take Me to Church.” And he won’t be slowing down anytime soon.

It was only in March of this year that I saw Hozier perform for a small crowd during SXSW

at St. David’s Episcopal Church in Austin. He still remembers that show “because it was different and away from all of the craziness of South By.” Unfortunately for fans—but not so much for Hozier—small, intimate shows like that aren’t on his itinerary for the foreseeable future.

Speaking with me before heading to Lollapalooza in Chicago, Hozier reflects on just how much things have changed in such a short amount of time. A year ago, he was largely unknown outside of Ireland. “It’s crazy,” he says. “It’s one of those things where you keep waiting to wake up.”

His rise over the past few months meant that he also had to spend his 24th birthday—which happens to fall on St. Patrick’s Day—in Los Angeles. And while it was hard being away from home, Hozier admits it definitely had its perks.

“I had a gig the night of the 17th,” he recalls. “So I went out on the 16th a little but on the actual day, I did the show and the crowd knew so they sang me ‘Happy Birthday.’ Well, after that—my manager is good friends with Joe Elliott of Def Leppard, so I ended up having a few drinks with Joe while he told stories. It was incredible, a great way to spend a birthday. And I also experienced my first earthquake that day. I didn’t know what was going on, feeling the earth literally shaking under me. I don’t recommend that.”

Since then, Hozier has had his share of other “incredible” moments. From massive festival crowds to performing Saturday Night Live to having his first album debut at No. 2 in America, the singer continues nabbing key benchmarks and reaching bigger audiences. In fact, his fall North American tour sold out before it even began, prompting him to add an entirely new tour for early next year.

As his profile swiftly rises in the States, Hozier acknowledges he’s a shining example of the power of the Internet, which enables unknown singers in County Wicklow, Ireland, to essentially share their talent with the world.

“It’s powerful; there’s no denying that,” he admits. “I remember the day when someone first told me ‘Take Me to Church’ had hit the top page on Reddit. I didn’t even know. We had uploaded it to YouTube and someone who was an acquaintance of my brother put it up on Reddit, just saying his friend has a brother who made this

video. I guess he thought it was pretty good. And then suddenly we were getting like 10,000 views an hour. I remember that night when I first found out, it was kind of scary and overwhelming. I stayed up all night just watching the hits, just in awe.”

While his own success has been quick, Hozier insists it’s also been important for him to know when not to rush things.

“I was always glad I took my time with my first EP,” he says. “I was in the middle of other projects and I could have given in and rushed myself but I waited until I was close to it and I felt good about it. I didn’t want to release something unless I could proudly stand over it and say, ‘Here you go.’ If you’re putting your name on it, take the time and do it right. That’s how you grow.”

As for putting his name on something, Hozier was met with a bit of a challenge back in July when British girl band Neon Jungle released an album featuring covers of “Take Me to Church” and BANKS’ “Waiting Game,” months before the original artists’ own albums arrived.

“There are many ways to look at it,” Hozier laments. “I know it even happened to Bob Dylan with several of his songs. But it’s entirely legal because the song has been published already. It’s a shame that Neon Jungle isn’t writing their own stuff, and while I’m flattered, it would have been nice to properly release it myself on my own album. I feel more for BANKS because I think she was completely blindsided. But she is such a unique artist. I mean, wow. No one can do it like BANKS. She’s inimitable really.

Or at least that’s how I see it.”

In many ways, Hozier’s album is truly a snapshot from his vantage point.

Although told through the lenses of what he describes as “characters,” the singer’s sentiments are still reflected.

That’s abundantly clear in “Take Me to Church,” a sort of “losing your religion song which also happens to be about sex and love.”

The video, which has racked up more than 15 million YouTube views in just over a year, focuses on a relationship between two young men and takes aim at homophobia, inspired specifically by Vladimir Putin’s anti-gay laws in Russia and the extremists who have resorted to violent acts against the country’s gay youth.

“They call themselves ‘Occupy

Pedophelia’ and they’re luring young kids with fake social media profiles,” the singer explains with urgency. “Then they show up and trap them and kick the shit out of these 15-year-old kids, terrorize them basically. And they post the videos online to humiliate them and out them. For some of these kids, who are already so vulnerable, being outed in a small Russian village could mean death.”

The clip has elicited a passionate response from those who share Hozier’s convictions and many who do not. And while he wasn’t necessarily trying to spark controversy, he suggests the same-sex marriage debate emboldens the similarities between government and religion.

“One way of maintaining yourself as a powerful entity is to have people feel powerless and afraid, so that they’re unable to see their true potential and worth,” the singer explains.

“Russia and China are the extreme, but the more power the entity has, the less power the people have. And it’s the same in Ireland and even America for the church. They’re not going around beating gay kids, but they’ll tell you, ‘Love the sinner, but hate the sin.’ There’s no room for love and for compassion.”

As Hozier’s music continues to resonate with new fans, it’s likely this is only the beginning of a lengthy career. But the young singer is making sure not to get ahead of himself.

“There’s a lot I still don’t know,” he admits.

“When you’re playing the same stages your heroes played—and in some cases, on the same day—it’s easy to get caught up in the moment.

I’m grateful people are giving this kid from a small Irish town a chance, but I’m also trying to remind myself not to take any of it for granted and keep focusing ahead.” n

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STILL THE SAME

kimbra

WE USED TO KNOW SHE'S WON GRAMMYS AND TOURED THE GLOBE, BUT HER G R E AT E S T WISDOM CAME WHILE LIVING ON A FARM

STORY BY

RACHEL FAYLENE

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hose lucky enough to know the name Kimbra outside of her Gotye collaboration “Somebody That I Used To Know,” are likely aware of how intricate of an artist she actually is.

And those who have seen her live perfor46

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mance know how much of a punch her vocal “fist” can pack.

The 24-year-old New Zealander has such a powerful voice and displays it in so many ways that it would be a shame to tie her down to any one song or pop culture reference. And in her own way, she’s

reminding fans of that with the release of her second album, The Golden Echo.

“Of course, my hope is that people might see me as an artist that goes beyond the Gotye song,” she admits. “But at the same time, I try not to spend too much time thinking about that because

PHOTO BY THOM KERR

I can’t control it. All I can control is the art I make and the records I put out. The way people perceive it or the comparisons they make, that’s part of being an artist—putting your work out in the world for people to make their own evaluations about it.

Some will dig it and some won’t.”

She admits the two have since played music together but have no plans to release anything in an attempt to duplicate their success.

“We hung out when I was working on my album, just because we’re friends and it’s a language we speak together,” she says. “But in terms of trying to recreate another epic collaboration, I don’t think it would be of interest to either of us, because we’re quite aware you can’t repeat moments again. It happened, it was a beautiful space in time. And I believe you keep pushing on to the next phase. If we were to work together again musically, it would be out of a desire just to do something different.”

And while “Somebody That I Used To Know” was responsible for her radio success and GRAMMY Award winnings, she counts it as one of many layers in her career so far.

Once the dust settled, Kimbra and Gotye went back to their respective lives. He ventured back to his home and studio located in rural Australia.

She quickly began work on The Golden Echo, writing with the same voice she had before their coupled rise. “[Success] doesn’t change the place that we create from,” she states.

“We’re still making music for the same reasons. We’re still running to the things that excite us rather than meeting others’ expectations or what they might ask of you. It’s about the choices you make. When you move to a place like Los Angeles, you can choose to live in Hollywood with all the pressure of that world. But you don’t have to.”

Hollywood would seem like the natural next step for someone in Kimbra’s position, but she’s taken a very different route. She made herself at home on a farm in Southern California, complete with roaming

animals. This is where she found the inspiration for what would become her latest album. “[Writing] was a different experience from the glamorous city elements...I started the record process in my bedroom, much like [previous album] Vows. The spirit was the same—embracing the things that excite me and the desire for experimentation,” she states.

“The purist place you can write from is when you’re cut off from any loud opinions, and you can ground yourself in the things that made you write music in the first place. For me, it comes from nature and being by myself, because it makes me ask questions. I start to listen more to the world around me and get in touch with things that might be commonplace or mundane to the naked eye, but when you spend time with them, they reveal themselves in new ways.

“That’s kind of what The Golden Echo explores, the idea of engaging deeper with something. You have to be listening carefully sometimes to hear the echo. And the inspiration itself came from a flower, the Narcissus Golden Echo, which is a very ordinary flower but it opened me up to a wealth of wisdom.”

As the songstress embarks on this new phase of life and her career, she feels indebted to her fans to follow her true passion while writing. And she says she’s proud to share a body of work that came from a place of authenticity, not a place of pressure and expectation.

“It can be very helpful to have one song ignite something,” she acknowledges. “But most of my favorite artists are known for multiple songs and when you talk about them, you talk about their albums.

“One thing I’m very proud about from the last album is that, at least overseas, we had about six singles off it and I made videos for as many songs. So it feels like a whole body of work. And that’s my goal with this new album,” she admits. “At the same time, I can’t predict anything.

Anyone who claims they have all this figured out, they’re just guessing.

I just know what my instincts are and that’s good enough for me.”

The Golden Echo is definitely a body of work with each track having it’s own definition and style. The album truly reflects the artist, being packed full of diversity and power without too much force. It becomes very clear she draws inspiration from numerous styles of music to create her own twist of pop without limitations.

“I really think pop music can be a place where people use their minds when they listen to [it],” she explains. “They can unpack it for themselves and decipher symbolism and live inside a song. It can be three-dimensional. I truly believe that.”

And as far as airplay goes this time around, she isn’t looking to base her career on radio alone, considering herself more of an “oldfashioned” artist in that sense.

“The thing about [radio] is, it can do a lot for an artist, but it’s not really the place I’ve come from with my music because I’ve always grown my fan base with touring. Of course, the Gotye song changed that a bit, but I want to be an artist that lives by my albums.”

“ I really think pop music

can be a place where people use their minds when they listen to it. It can be three-dimensional. ”

Ultimately, Kimbra hopes that her albums find a home with her fans, and that they are able to dive into the record and live their lives with it.

“Records can soundtrack your life and highlight key moments,” she suggests. “As an artist, that’s such a great gift to be able to give someone.” n For Kimbra’s current tour dates, go to kimbramusic.com.

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CHRIS

LOWELL AHEAD OF HIS DIRECTORIAL DEBUT, THE ACTOR PROVES YOU CAN DO IT ALL AND THRIVE AT IT 48

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t’s a late summer afternoon and Chris Lowell is sitting on the roof of his apartment building overlooking Manhattan. Most everyone else is getting ready for the weekend on this Friday, but Lowell has just gotten out of rehearsal for his Off-Broadway play, Jacuzzi. So he’s taking a moment to relax.

Anyone who claims you should only follow one passion in life to find success clearly hasn’t met this guy. Perhaps best known as Piz on Veronica Mars or as Emma Stone’s love interest in The Help, Lowell revived Piz earlier this year for the Kickstarter-funded, film version of the show. He’s also making his

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directorial debut in the upcoming darkcomedy, Beside Still Waters, which he cowrote and produced.

“It’s been wonderful for me,” he says of the various hats he’s worn. “I think there’s a sense that once you start doing television, you shouldn’t do theatre anymore, or once you start doing film, you shouldn’t do television anymore. I just love being able to do whatever speaks to me at the time.”

Even the one sour note in his hectic year wasn’t all that terrible. He had a lead role in the short-lived and underrated Fox comedy Enlisted, which developed a devoted fan base in a small amount of time. Unfortunately, it didn’t catch on with mainstream audiences.

“It really was down to the wire. It was down to the bitter end,” he divulges. “Even when the show had been canceled unofficially and then officially, there just never seemed to be a break. It was such a great group of people, the cast, the writers, the producers. It was just something you can’t fabricate. I remember the first time Geoff [Stults], Parker [Young] and I got together, and it was quickly evident we had almost a frightening connection.”

From Lowell’s perspective, the show was never truly given a chance to thrive. And it became increasingly evident the network wasn’t going to fight to keep it going.

“I don’t take it personally at all,” he says assuredly. “But I think we all kind of started looking ahead to the next project once we got such a death knell time slot. We weren’t given much of a chance to begin with, so when you’re not even given a shot at developing a viewership because you have such a shitty time slot and our episodes aired out of order … everyone has to start latching on to other jobs.”

Fortunately, the Atlanta native has had enough to keep him busy over the past few months as he dove back into theatre and prepared to release Beside Still Waters, both with the support of his “buddy” Emma Stone.

“When I say kissing her in The Help was like kissing my sister, people think I’m weird,” he confesses. “I get it, but Emma is one of my best friends. We lived together when we shot the film and she’s just one of the greatest people in the world, and she and I have been super great friends. She acted in our very first table read for Beside Still Waters, which we did at my house in Lakemont, Georgia. She supported us when we did the Kickstarter campaign for the film. And now with the play, she’s about to take over for Michelle Williams in Cabaret, so she’s literally two blocks away from our show. So I’m thrilled we’ll be close by again. It’s nice to have good people like

that in your life in this business.”

Although Lowell has established a clear knack comedy—he’s also joking throughout our interview—Beside Still Waters presents a totally different side of the actor, who doesn’t even appear on screen. Yet the entire film, which he says is a love letter to his hometown, is covered with his fingerprints.

Starring The Blacklist’s Ryan Eggold, Agents of S.H.I.E.L.D.’s Brett Dalton and Saturday Night Live’s Beck Bennett among an ensemble cast, the movie centers around Eggold’s character, who’s grieving his parents’ recent death and reunites with his group of childhood friends for one final weekend together in his childhood home before he sells it.

“It is extraordinarily personal,” Lowell admits. “I don’t think I knew any better when I was making it, not to make it too personal. I started writing the film with one of my best friends [Mohit Narang] when we were at our family’s lake house in North Georgia, and we started writing about the things we were afraid of—losing this place, these friendships, our parents.

“It began as this very light fiction for us and then in this sort of tragic irony, shortly thereafter, my folks ended up selling the house and moving away. And then several of our friends’ parents started getting sick. And what began as total fiction suddenly became a much more personal and much more important story for us to tell.”

As difficult as it was, Lowell says it was also important to him and Narang to be able to tell the story in their own voices, something of a rarity for first-time filmmakers. To raise funds to produce the project themselves, Lowell says they “did it the old-fashioned way, going into people’s living rooms and laying out a very simple business plan, asking friends and family to support it.”

They then turned to Kickstarter to complete the last round of funding, something he admits he was reluctant to do: “Everything I do is very old school,” he says, laughing. “I really had to give myself a crash course on all of that shit to launch the campaign. But I think because we poured our hearts and souls into it and we were so personal with the campaign, it ended up becoming so radically successful and opened my eyes to what someone is capable of accomplishing with social media.”

Another eye-opener comes in the form of Bennett’s stunning performance. Yes, the guy from the AT&T commercials, improv groups and now SNL kind of steals the show with some truly emotional scenes and what Lowell refers to as “very coy humor.”

Bennett and Lowell were actually freshman

roommates in college and have remained best friends since. And as Lowell puts it, “his talent is just unprecedented,” he declares.

“He was in my first student film at USC and just about everything I’ve made since, so it was only right that he be in my first film.

But everybody knows Beck as this larger-than-life, goofy comedy guy. I feel privileged to be able to expose some of the depth of his talent.”

With plenty on his plate, the newly 30-year-old also manages to make time for photography.

Lowell’s work includes non-profit projects focusing on rural Haiti, Uganda and Rwanda, as well as the Elton John Collection. And somewhere in his downtime he’s starting to work on his next script.

As for his current one, which releases in November, Lowell says he hopes that “people finish watching the film and it reminds them of their old friends and their memories. My goal was that when it ends, you’d immediately call an old friend like, ‘Hey, let’s go grab a beer and catch up.’ I think we all need that sometimes.” n

Jacuzzi runs every night now through Nov. 8 in New York and Tribeca Film will release Beside Still Waters on Nov. 14 with a DVD release on Nov. 18.

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Torrance Coombs A TALE OF TWO TELEVISION EXPERIENCES: CABLE VS. BROADCAST

BY RACHEL FAYLENE

orrance Coombs has had quite a good year thanks to the success of CW television series Reign, the historical fiction show is set in 1500s France.

Now in its second season, the Canadian-born actor says “it was kind of nice knowing know you’d have a job” after years of unpredictable work. “It’s the life of an actor, but how often do I get a few months off with the guarantee that I have work to come back to?”

Secure in his next professional step, he took advantage of the time off by traveling around Europe. But he gladly returned to the cast and crew refreshed and ready for the next season.

“Sometimes, you don’t hear until the last minute if your show’s coming back or if you’ll be needed, so your life is kind of on hold,” he explains.

“You don’t know if you’ll have a paycheck. It’s kind of like summer vacation but you don’t know if school is coming back. In this case, we knew.

You get to see your friends again, some people got their hair cut. It’s great.”

While haircuts are definitely important, Coombs says his focus has been staying in shape.

“I know the CW has unrealistic standards for abdominals,” he says, somewhat jokingly. “But I might as

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well live up to it. It’s tough. I’m always tempted to say, ‘Fuck it.

Give me the airbrush.’”

He admits the pressure hasn’t come from the network or producers but rather from himself, having become more aware of his surroundings, fellow actors and other shows.

“Arrow comes to mind,” he says.

“It’s a great show, but I feel pressure just watching it, just because that’s how they sell it. These guys are in great shape.“ According to Coombs, his show isn’t like that. “I don’t have to be able to make waffles on my stomach,” he quips with a laugh.

But he also recalls a significant moment behind-the-scenes: “It was early in the show where I was lying in bed waking up from a fevered dream, very sweaty. And I’m like, ‘OK, on any other CW show, they would have me shirtless.’ But they gave me this big, period bathrobe. And I was like, ‘I think they’re worried about what’s underneath, that maybe I’m not up to par.’ No one said anything to me at all, but I took it upon myself. I went and got a trainer.”

Although he is working hard to keep up with the network’s sex appeal, he isn’t exactly able to show it off. Yes, those steamy scenes are big for the show. But network television still has some major limits when it comes to sexual situations. And Coombs believes there is room for a middle ground.

“We have a really chill cast that probably wouldn’t mind doing more,” he says. “Unfortunately, it doesn’t work on network TV … I had a sex scene last year. And because of my previous work [on cable]—you want to feel your way through it, especially when you’re comfortable with the other actor and it’s not offensive or difficult. But the response from the show is, ‘Nope. We can’t have any thrusting motions.’”

Coombs understands the re-

strictions of prime time, but he also feels scenes are more believable when the limitations aren’t as obvious and the actors involved don’t come off as selfconscious regarding nudity.

“ When I see someone

covering up in a bedrm scene, that takes me out of the scene a little bit because I feel like they know I’m watching ... the fourth wall disappears. ”

“I understand that a lot of actors want to preserve their bodies,” he explains. “But when I see someone covering up, that takes me out of the scene a little bit because I feel like they know I’m watching. It takes me out of that fly-on-the-wall element, the fourth wall disappears. It’s more common in European art house films to see people just hanging out.”

While American fans may not be seeing Coombs “hanging out” on screen anytime soon, they can certainly connect with him through Twitter, which has become the actor’s default means of communication with viewers, frequently tweeting on set and sharing previews.

In an age when television is quickly evolving and shows are becoming much more interactive, Coombs suggests social media is breaking barriers between actors and viewers.

“There are some things we have to do because it’s network television but with social media, that line of communication doesn’t end when the show ends,” he says. “I do it so much because I enjoy it. [Fans] say weird stuff to me and ask questions, so I respond. In a way, that interaction can be just as important as the story line.” n VARIANCE MAGAZ I N E . C O M

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