Summer 2014 Issue

THE SIGHTS + SOUNDS YOU LOVE

y IS

PORTER ROBINSON SAVING EDM?

PHOTO DIARIES FEATURING KANYE WEST, LANA DEL REY, FRANK OCEAN + MORE

CHVRCHES

LITTLE DRAGON

HOW TO DRESS WELL PASSENGER

SARAH RAFFERTY VOL. 5, ISSUE 3

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SUMMER 2014

V SUMMER2014

MIXTAPE

A PLAYLIST CREATED BY YOU

zz GLASS ANIMALS “Pools” by @TotafGeijerstam

BEN KHAN “Youth” by @PPull

SLOW MAGIC “Girls” by @DeleneDennis_

ALT-J “Left Hand Free” by @MrRodgers82

FKA TWIGS “Two Weeks” by @MEGALEIGHTON

SIA “Dressed in Black” by @jordanxcx

KIMBRA “90s Music” by @TheMrsAbbey

G-EAZY "I Mean It"

BLEACHERS “Rollercoaster” by @krisgiss

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

PHOTO BY DAN DESLOVER

FIRSTTHINGSFIRST

s q AS THE HEAT of summer sweeps the nation, there’s a lot going on. Plenty of good music, television and film.

That’s why we’ve put together an issue dedicated to some of the best.

It starts with our Sounds of Summer, some of the most interesting and standout acts of the season. Among them is JUNGLE, the mysterious, funk-pop duo from Britain; sibling outfit KONGOS, whose “Come with Me Now” is taking radio by storm; and Little Daylight, the New York trio proving to be a beam of light in pop music.

In this issue, we’re sitting

down with some of the most relevant acts in music right now, such as How to Dress Well, who’s arguably having his biggest moment as pushes against the alt-R&B borders drawn around him and seeks a hit in the pop world.

We also talked to CHVRCHES, one of the biggest breakout acts of the past year, as the one-year anniversary of their debut album approaches. We caught up with them on the road and talked about life on tour, sexism in music and their next album.

Birdy is one of the moststreamed artists on the planet according to Spotify, and as

the British songstress is currently making her case to American listeners, we talked to her about expanding her sound and learning from her time working with the likes of Ryan Tedder and Christina Perri.

On the heels of their most-anticipated album release, Sweden’s Little Dragon is eyeing a busy year ahead. But first, we had to chat about staying true to their roots, the power of radio and corporate America’s undeniable influence on the music industry.

Mayer Hawthorne and his longtime collaborator 14KT sat down to talk to us about their new joint project, which veers away from their own respective sounds while seeking to shine a spotlight on some lesser known sects of music.

As summer television continues cooking up some of the hottest storylines, Suits’ Sarah Rafferty is discussing the show’s fourth season and the fact that she’s basically cemented her role as one of the absolute most powerful paper-pushers on television thanks to her scene-stealing character Donna Paulsen.

Also in the wonderful world of TV, Chris Geere, star of FX’s You’re the Worst, talks to us about playing such a flawed human being on screen and having to get in the zone for all those awkward but steamy sex scenes.

On the cover this issue is Porter Robinson, a rising star within the EDM ranks who’s actually protesting the generic electro format and festival-friendly sound with a new album that expands into a completely fictional world. In the process, he might end up not just changing the genre but saving it.

Last but not least is an extended edition of our Photo Diaries, which highlight the abundance of festivals over the past few weeks, including Coachella, Bonnaroo, Firefly and Summerfest. Starring the likes of Kanye West, Lana Del Rey, Frank Ocean, Ellie Goulding, Janelle Monáe and more, the Photo Diaries capture some of the brightest musical moments. n

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CHRIS GEERE

The Suits actress talks season 4 and Donna's future Star of USA's You're the Worst, he talks sex scenes and being relatable

CONTENTS

VARIANCE THE SIGHTS + SOUNDS YOU LOVE Summer_2014, Vol. 5, Issue 3 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 John Mouser Abby Olsen Steven Totten Edwin Wilson

COVER STORY He's not just changing EDM— he's saving it

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PHOTO BY JOHNATHAN GOOCH

PORTER ROBINSON

Contributing Photographers & Artists Federica Capace Marc Cartwright Roberto Chamorro Jeremy Deputat Dan DeSlover Jade Ehlers Vicki Farmer Boo George Johnathan Gooch Thomas Hawk Sam Howzit Fred Jonny Shervin Lainez Shane Mahood John McNicholas Zackery Michael James Minchin Tim Saccenti Jarrad Seng Ben Sullivan Gavin Thomas Marco van Rijt Stephan van Es Dan Wilton Web Production & Design Nicholas Clayton JP Jones Jonathan Robles Project Development Bryan Norris

CONTENTS

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SOUNDS OF SUMMER

Going one-on-one with the defining music acts of the season

10 JUNGLE 12 KONGOS 13 Little Daylight 14 Magic Man 15 Cris Cab 15 SomeKindaWonderful 18 Birdy 48 Jaded Inc. 50 Bernhoft

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HOW TO DRESS WELL

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PASSENGER

Tom Krell talks about his new album, the crowded "alt-R&B" space & hopes for a pop hit

Mike Rosenberg on his international success and staying true to himself

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PHOTO DIARIES (EXTENDED)

Covering Coachella, Bonnaroo, Firefly, Summerfest & others

PHOTO BY STEPHAN VAN ES

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CHVRCHES

The trio sat down for a Q&A, discussing the tour, sexism in music & their next LP

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LITTLE DRAGON

Talking about the new album, radio & saturation of brands in the industry

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SOUNDS OF

SUMMER

We sat down with some of the defining music acts of the current season to pick their brains and find out what makes them tick, what inspires them and what comes next.

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JUNGLE

PHOTO BY DAN WILTON

I

t’s the day after JUNGLE made their television debut on Jimmy Kimmel Live, and Tom McFarland—one half of the British duo—is still in disbelief.

“We were kind of nervous,” he admits, speaking with Variance hours after the big day. “I mean, we’ve never done anything on TV-TV, just the Web. So this was pretty exciting. It was also really special for us being still where we are, not quite as familiar, and for our first time to be in the U.S. It meant a lot.”

Only months ago, fans really didn’t have names or even faces to go with the funk-pop twosome, which had been shrouded in mystery since their inception early last year. But for the guys who have gone simply by the initials “J” (Josh LloydWatson) and “T” (Tom McFarland), their history runs deep.

“The way we’ve made music has always been natural, just the two of us as friends,” McFarland says. “We’ve always just played around with our computers and synthesizers and drum machines and stuff like that. And around January of last year, we started finishing things. We had like thousands of sketches of songs on our laptop and we finally started getting some perspective of the bigger picture. We never really thought about it as, ‘OK, we’re going to start this project now.’ It just happened.”

McFarland is well aware of the enormous underground buzz that’s been building around him and his music partner. That buzz has evolved into a BBC Sound of 2014 nomination, being shortlisted behind eventual winner Sam Smith. But as their self-titled debut neared, the noise was getting louder, he says.

“It’s always such a risky game to get your kicks from good reviews,” explains McFarland. “It’s amazing that people have picked it up and they’re loving what we do, but the key for us is enjoying it ourselves. Finding that inner circle of happiness.

Then you can give it to the world and be happy with it. We’re so happy with what we do on a personal level that we don’t have to search for validation from outside. You have to feel confident in your work before you can share it with others. So that’s pretty scary, but it’s exciting as well.”

Despite their current momentum, McFarland says if he and Lloyd-Watson had to walk away and give up the opportunities at his feet right now, he’d be perfectly content with that. Having known each since they were 10 years old, the idea of potentially

BY EDWIN WILSON

making a living off their music is still admittedly baffling.

“Obviously, you’ve got to make a living and we know that,” McFarland concedes. “And these are very real thoughts, things we never considered.

But it’s torture if you let those things dominate your perspective. What’s important to me is making music. I’d be perfectly content working at a bar and going to J’s house every night at 9 and sitting in his bedroom making beats.”

Fortunately for the pair and fans alike, that doesn’t seem to be on the agenda anytime soon. But even as their musical profile increases, the duo has deliberately maintained a low personal profile, providing very little information about themselves and remaining absent from most of their press photos and social media sites.

“We’re not trying to hide ourselves necessarily,” McFarland explains.

“Now I look at these guys like Daft Punk who have kind of made the mystery part of their whole image.

That’s not what we’re doing. But for us, we want the focus to be on the music, let the music draw people in, not a persona. I think public image will come when we deserve it. I don’t feel that we’ve earned our right to have a big opinion online or to be sharing all our thoughts and philosophies. Who are we anyway? Up until the album, we’d only released like three singles.”

Of course, while JUNGLE might still be the little fish in a big pond, they’ve already been afforded some nice opportunities that McFarland considers “eye-opening,” such as their tour supporting HAIM and their debut at SXSW earlier this year.

“You see the big machine in action, like working with HAIM,” he says.

“We’ve never done anything on that scale before. So it made us appreciate that, being a part of it. You especially see the stage hands and the crew and the people who make everything

work behind the scenes, and that was big for us. Because you don’t think about that sometimes. They make these big tours and festivals a reality.”

As the band continues to grow— around seven additional members make up the live ensemble, JUNGLE’s own reality today is much different from a year ago. And according to McFarland, it’s artists like Chance the Rapper who have motivated him and Lloyd-Watson to push themselves, looking to Chance’s Acid Rap mixtape as inspiration.

still expect “youBigtolabels sell units, and

that’s a dangerous thing to expect from an artist these days.

”

“The rules are changing,” McFarland opines. “I think in general the music industry is evolving. Working with a label like XL [Recordings], they understand that. I think if we had gone with a major label, we would have struggled. Quite honestly, I don’t think the labels have caught up with the trend, even though they think they’re at the top of their game.

Big labels still expect you to sell units, and that’s a dangerous thing to expect from an artist these days. The great thing about XL is they take into account streams and Soundcloud, and they understand how these later generations consume music.

“The big music label is an old model and we just have to adapt. People just aren’t going to buy as many records as they did before. That was a long time ago, and it’s the past. We’re way beyond that. And as I’m saying that, I completely understand why that frightens executives and artists, but I’m excited to be a part of it, part of something that’s changing. It makes the experience that much more exciting.” n

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SOUNDS OF

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KONGOS

“M

aybe the planets are trying to become the stars and maybe we really came from Mars.”

It may just be a lyric to the infectiously tribal single “I’m Only Joking” from KONGOS’ debut U.S. release, Lunatic, but it also hints at the celestial ascent of a South African/British band of brothers to international stardom. And with their Gold-certified single “Come with Me Now” named the fastest-climbing rock song by a new band since 2003, this star is only just rising.

“We’re finding ourselves kind of numb to all these stats and things,” says Jesse Kongos, drummer/vocalist for the band and No. 2 in the lineup of Kongos brothers. “In a way, it starts to mean less and less to you because it’s so overwhelming, until you show up in a city to play a show and there’s a thousand people singing with you, compared to 100 or 200 not long ago.

“That’s when it becomes real for us. I know the other stuff plays a big part, and tracking those numbers shows the growth, but it doesn’t become really real until you play for a crowd and they know your songs.”

Fans have been singing songs from Lunatic back at them all across South Africa for a while now, but the U.S. music scene is a different beast altogether—a mammoth, sprawling beast with more conges-

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BY AMANDA MORAD

tion than L.A.’s 405. For an international band to bring a single to this chaos, have it rise to the top of several key radio markets, catch the attention of a major label (Epic), and then be re-released on said label completely unchanged is a remarkable achievement.

The timing, Jesse says, couldn’t be more perfect.

“We’ve been doing this for 10 years, and each year we’ve been hoping to grow and hoping to expand,” JK notes. “So now that it’s happening, we could ask what we did wrong before, but we’ve had to stop ourselves because I don’t think we would have been ready back then. I don’t think our tracks were there and I don’t think we were ready to play in front of crowds.”

Epic may give them the pull, but KONGOS’ multi-cultural take on alt-rock has the punch. Seriously, nobody makes accordion and keys sound rock ‘n’ roll like Johnny Kongos. And Jesse’s work on drums swings from tribal African rhythm to Balkan beats while Danny’s precision on guitar ranges from island jives and blues grooves to driving alt-rock and laid back folk. Dylan anchors the group with bass and vocals.

Even now, as their songs continue to rise, KONGOS is learning as they go.

“Every tour, we’ve been able to pick up something,” Jesse says. Topping their list is the tour across Europe with AWOLNATION and Dispatch and across North

America with Imagine Dragons.

“There’s just such a sense of professionalism we’ve observed,” Jesse reflects. “From the crew, to Aaron [Bruno of AWOLNATION], they take their work very seriously. They really think about the audience, and also how to treat support bands.

Those things aren’t always easy and sometimes it can be complicated, but these bands have been very gracious.”

Their next big learning opportunity begins July 31 as they open for Kings of Leon on their Mechanical Bull tour.

Though they’re gaining momentum and growing their fan base by the day, the Kongos brothers know their biggest fans are their family. “They’ve been absolutely essential,” Jesse says. “We couldn’t have done it without them.”

Plenty of artists express this kind of gratitude to their most loyal fans, but the support KONGOS has received from their family is unique.

“Our dad had a big career in the ‘70s and ‘80s in South Africa, and his mom supported him,” Jesse recalls of his famous singer-songwriter father John Kongos.

“He dropped out of school and pursued a full career in music, so our parents have also supported us completely, financially and emotionally,” he explains. “They’ve been there every step of the way, so hopefully it’s starting to pay off.”

From what we’ve seen of KONGOS this year, we’d count on it. n

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BY ABBY OLSEN

PHOTO BY TIM SACCENTI

LITTLE DAYLIGHT

F

ollowing the success of last year’s buzzworthy single “Overdose,” Brooklyn-based trio Little Daylight has finally released their debut album, Hello Memory.

Nikki Taylor, Matt Lewkowicz and Eric Zeiler have spent the past couple of years creating music together, writing much of their critically acclaimed material at a lake house back in 2012. That was before they remixed Passion Pit and Edward Sharpe and the Magnetic Zeros. Before they toured with Bastille and played festivals like Governors Ball and Firefly.

After gaining the support of the blog world and alt radio, mainstream media and pop critics have been singing the band’s praises in the weeks leading up to the album’s release. And while that kind of attention might make some acts feel pressure to cater to

certain audiences, Lewkowicz says it’s just the opposite for them.

“We’ve created this music that we like and if other people like it, that’s great,” he explains.

“And yeah, sometimes it would be easy to get wrapped up in what a certain critic says or the fact that a mainstream [radio] station is picking us up, but it’s up to the world to decide these things. We do what we do, and we’ve tried not to think about which scene we fit into. The challenge for us is making the music we’re passionate about and letting the rest fall into place.”

We do what we do, and we’ve “tried not to think about which scene we fit into.”

The band has said in the past that the name Little Daylight is inspired by old English fables, and Lewkowicz admits the past year has “kind of been a fairy tale. This is all any of us have ever wanted. To be able to do this full-time and record and tour, I think that was as far as we had really envisioned. So now, everything is like a dream. And of course, there are ups and downs.

But we try to remember that we’re really privileged right now.”

One such privilege Lewkowicz immediately recalls is the band’s previous back-to-back tours opening for Charli XCX, Marina and the Diamonds and then Bastille, “all within about four months.” And looking back, he admits it was definitely a big deal, considering they had only been playing live together as Little Daylight for just a few months.

“But I think that experience was important for us,” he says. “One thing we noticed from watching these guys is how much they gave every night. The day was usually crazy, not a lot of sleep and they’re doing radio interviews all afternoon. Then they have to jump on stage for 60 minutes and be completely present. So for us, being the opener, it challenged us to step up our game. And I think we owe those guys a lot of credit for preparing us for our own next level as a band.”

Now that Hello Memory is out for fans to hear, Lewkowicz says the band feels like they can finally breathe a little easier.

“We’re all perfectionists,” he confesses. “We’d never be satisfied if it weren’t for deadlines. And I don’t think it was until a week before the deadline that we were like, ‘OK, it’s done.’ But that was because we were really like, ‘Oh shit, it has to be done.’ But now that it’s official, we feel good about it. The album, all of it.” n VARIANCEMAGAZI N E . C O M

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MAGIC MAN

BY EDWIN WILSON

W

ith their newly released album, Before the Waves, finally out for the world to hear, Boston five-piece Magic Man has plenty to be excited about.

Originally formed by frontman Alex Caplow and his longtime friend Sam Lee, the group which now includes Gabe Goodman, Justine Bowe and Joey Sulkowski has been riding high on standout singles such as “Paris” and “Waves,” both hookheavy pop-rock anthems.

Having toured with the likes of MS MR, St. Lucia, Ra Ra Riot and now Panic! at the Disco, they’ve spent the better part of this year touring around the country and spending a lot of time away from Massachusetts. And while it’s becoming evident they may soon find themselves Los Angeles or New York-bound, “Boston still feels like home,” according to Caplow.

“At least for now,” adds Lee, both speaking with Variance following their performance at Boston Calling Music Festival, alongside a roster of Death Cab for Cutie, The Decemberists, Tegan and Sara, Jenny Lewis and more.

“To play on that stage [at Boston Calling] and with that lineup in our home14

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town, it meant so much to us,” says Caplow. “That’s one of the reasons we know it’s still home. We would have played there for five people, just to have our name on the same poster as those guys.”

Fortunately for the band, their fanbase has grown beyond just a few people, especially since their 2010 independent project, Real Life Color, an admittedly “lo-fi and much less mature” offering.

Caplow says one of the biggest differences between then and now is “the resources. We had a laptop, a built-in mic, stuff like that. Sonically, the things we’re doing now just weren’t possible before we signed [with Columbia Records]. To have a professional mixer, using nice equipment, these are maybe small things that some other bands don’t think about, but it means the world to us.”

The result of those resources has been a very polished sound highlighted by layers of synths, something that attracted the attention of hit-making producer Dr. Luke, who signed the band to a publishing deal.

And although their new connections perhaps haven’t influenced the kind of music they make, Lee admits it’s inspired them

to become better at what they do.

“Obviously, Dr. Luke isn’t telling us what kind of songs to make,” says Lee. “But at the same time, having some of the attention has motivated us to improve our sound and especially our live shows.

Compared to when we were doing some of these basement shows, we’ve been able to learn a few things that work and also some that don’t. Working the crowds and interacting, that’s been a huge focus for us. But we’ve tried to stay true to our roots.”

Despite their busy tour schedule and major label debut, the band says they’ve still got their eyes on a few goals, albeit some simple ones.

“The most rewarding thing is when someone comes up to you and says your music motivated them or encouraged them,” Caplow explains. “Whether it inspires them to make their own music or it just gets them through a hard time, I hope we can continue to do that. To soundtrack people’s lives.”

Adds Lee: “My dream would be that this album marks a certain period of someone’s life, that they look back at it one day and can recall all these great memories.” n

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SOMEKINDAWONDERFUL

PHOTOS: MAGIC MAN BY GAVIN THOMAS; SOMEKINDAWONDERFUL BY JADE EHLERS; CRIS CAB BY ROBERTO CHAMORRO

BY ABBY OLSEN

After a disappointing record deal and sour experience with the cut-throat music industry, Jordy Towers is finally getting a second chance.

The young soul-pop singer, who previously recruited B.o.B for his solo single “Pretty Monsters,” was reconsidering his big move to Los Angeles to “make it” and decided to go to Ohio and visit family, when a chance meeting at a small-town bar brought him together with guitarist Matt Gibson and drummer Ben Schigel.

“They were a band without a singer and I was a singer without a band,” Towers recalls of the night he met his future SomeKindaWonderful bandmates, with whom he wrote their eventual breakout single “Reverse” that same night. “It’s still unbelievable to think about even now.”

Given his trying personal experience in the music world and his seemingly fateful comeback, Towers is well aware of the rarity of his situation.

“My journey has been kind of different,” he admits. “Most people come to L.A. to get their big break, but I had to leave. But when you really think about it, nothing is guaranteed. You can make all the plans you want, but plans change. So the best thing to do is plan for the unexpected.

This interview we’re doing—Oprah could stumble across it somehow and decide, ‘This band fits with something we’re doing on OWN [her television network]. It’s all a roll of the dice.”

Towers acknowledges that planning is a big part of how the big labels work, and he understands why it’s so important. “But at the same time, I think people are waking up—artists are—and realizing it’s OK to put something out without some big rollout,” he says. “We’re living in a time where if you have something good, you’ve just got to know where to put it.”

Adds Lee: “My dream would be that this album marks a certain period of someone’s life, that they look back at it one day and can recall all these great memories.”

CRIS CAB

P

erhaps one of the unforeseen benefits of Pharrell Williams’ resurgence over the past couple of years has been that his success spans beyond himself. While “Blurred Lines” and “Get Lucky” have helped turn the singer-producer into a household name for a new generation, Robin Thicke and Daft Punk are certainly a lot “happier” thanks to their respective collaborations with Williams.

Another such collaborator, CubanAmerican singer-songwriter Cris Cab, is likewise having his best year yet. Having worked with and been mentored by Williams for the past six years, the 21-year-old talent’s single “Liar Liar” has quickly become an international hit, and the U.S. is finally starting to catch on.

“It’s crazy to see how far music travels,” Cab tells Variance, speaking about the song, which he co-wrote with Williams. “I never thought my first hit would be in Europe. But it’s proof of how unpredictable the music industry is and how much of an impact the Internet can have in word-of-mouth these days.”

Born Cristian Cabrerizo, the young, reggae-pop singer is quickly set apart from many of his pop music peers, with a rare well-spokenness and respectful demeanor. While he’s only now seeing his star rise, Cab has previously worked with Wyclef Jean and Melanie Fiona, among

BY EDWIN WILSON

others. And having been in the company of such revered artists, including Williams, he’s admittedly learned a few things.

“One of the things I love about Pharrell is that he’s so much more than just an artist or a producer,” Cab admits. “He’s such a great visionary, and he’s so good about picking up on what an artist is trying to accomplish with their music and he gets in their headspace and just makes things happen. He’s always pushing everyone forward.”

Despite the “perfect storm” timing of “Liar Liar” and Williams’ own success, Cab says there’s “no way to predict these things. I know it has worked out really well that my single was coming out while everything was happening for Pharrell, and I believe that has helped. But really, I feel fortunate for it all.”

While his debut album, Where I Belong, released overseas in April, Cab estimates it will arrive stateside in “late summer,” but that hasn’t stopped him from working on new material, explaining that working on music for him is “like training your muscles. I feel like I always need to be in the gym, figuratively speaking. You’ve got to be continually exercising, writing, recording.” n VARIANCEMAGAZI N E . C O M

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“It’s their model and it works,” she says, speaking to Variance on an early summer afternoon. “They tend to premiere the new shows in the off-season, in the summer, so they hook viewers in and then you’ve got that break which builds anticipation and keeps the momentum going. We’ve got 16 episodes each season, so when you break it up into 10 and six, the wait doesn’t feel as long and you don’t have a chance to forget about it.”

Rafferty acknowledges the end of last season into the current one has been anything but forgettable, with Mike’s departure from the Pearson Specter firm as he now goes head-to-head against his onetime boss and friend Harvey.

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Although Donna somehow tends to remain above the fray, instead playing mediator and mother hen, in the first few episodes of season four, she finds herself somewhat caught up in the feud between Harvey and Mike, the latter of whom betrays her trust in a bid to undercut his rival. Of course, she later struts into Mike’s office and makes it rather clear that will never happen again—or else.

That bravado is one of many things fans have come to love about the omniscient secretary. “She’s a people person,” Rafferty exclaims. “That’s her strength.

She knows what makes people tick, and that allows her to have a great relationship with Louis (Rick Hoffman) and with Harvey.”

But according to Rafferty, everyone’s

favorite redhead expands beyond saving the Pearson Specter world this season as we learn more about Donna’s life outside of her receptionist desk.

“We start getting a different look into her personal life,” she reveals. “In season two, she got fired and we learned some things about her. Last season, we had the flashback and we saw her history with Harvey. But this is going to be a different side, and it’s been really fun to play.”

Part of the thrill for Rafferty, despite her character’s seemingly supporting title of secretary, is that Suits has done such a great job of not enforcing stereotypes, especially where women are concerned.

Even in 2014, the show runs counter to

BEING

SARAH RAFFERTY One-on-One with TV's Most Powerful Paper-Pusher

BY JONATHAN ROBLES

so many of its peers with female characters who are smart, savvy and drive the story from positions of power.

“When I read the pilot, I was so attracted to the show because of the richly drawn characters,” she recalls. “But it’s always a leap of faith with these things. I think the writers just do such an amazing job of developing these characters and their stories, and I think because you do see the women on the show go toe-to-toe with the men and hold their own, because you can almost believe these characters are real people despite their very fictional drama, that’s part of why the show is successful.”

Of course, Rafferty is quick to point out she only wishes she was half as witty in real life as Donna. “I don’t have a writing staff following me around, so that doesn’t help” she jokes. “But I think one thing we do have in common is our softer side. She cares about people. And I may not have the wit or the unapologetic self-confidence she has, but that’s the thread that connects us.”

As for Donna’s relationship with Harvey, one fans tend to watch closely, Rafferty says from her own “fan perspective,” she appreciates the slow-burning pace of whatever may or may not evolve between them. “But I think it’s great that they’re not sleeping together. I love that they need each other.

He’s said, ‘I can’t be me without you.’ So that’s been established. But then in season four, there are things she’s willing to give up in order to maintain that partnership with Harvey. I think it’s good how it is. I don’t think they should hop into bed anytime soon, but I don’t think that’s impossible for the future.”

Suits airs Wednesdays at 10 p.m. EST on USA Network.

PH OT O OF SAR AH R AFF ER T Y AN D R IC K HOFFM AN B Y SH AN E M AH OOD; R AFFE R T Y BY M AR C CAR TWRIGHT

B

ith USA’s Suits now kneedeep into its fourth season, the hit lawyer serial is currently at its best in terms of witty zingers and tit-for-tat storylines.

With Harvey Specter (Gabriel Macht) and Mike Ross (Patrick J. Adams) at opposite ends of a war zone, there’s a new level of excitement and energy surrounding the show.

Sarah Rafferty, whose Donna Paulsen has become a critical character over the past couple of seasons, says the newfound energy is just as palpable for the cast as it’s been for viewers. And while a lot of that is certainly attributed to the brilliant writers, she believes USA also deserves credit for its successful splitseason formatting.

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SHE'S ONE OF THE MOST-STREAMED ARTISTS ON THE PLANET BUT SHE'S ONLY GETTING STARTED

BY LAUREN MORANOR

PH OT O B Y BO O GE OR GE

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our years ago, Jasmine van den Bogaerde (aka Birdy) was fooling around on her piano and came up with her own version of Bon Iver’s “Skinny Love.” Not thinking anything of it, the 18-year-old recorded it and placed it online. She had no idea exactly what would become of that one song.

“I did this four years ago now and I’ve been playing it that long. It is just amazing how it has grown,” she says. “I had no idea when I just played it at home on my piano and did this little recording of it that it would get this big. I always find myself falling back in love with it.”

Fast forward a few years and Birdy still loves playing that song on stage, but now she has two additional records to her name to go along with it. The U.K. singer has just released her second album, Fire Within, the first consisting of all original music after her previous one consisting of piano covers of songs by the Naked and Famous and Fleet Foxes.

Birdy’s raw, no-frills sound came natural for her. She was raised by a concert pianist while being inspired by the likes of Jeff Buckley and Tracy Chapman. So when it came to making a record of nothing but original music, she stuck with what she knew.

“The piano sound is just me, so it is nice to get to carry that on and stick to what is just me and what I love. It is raw sound and with this new album I wanted to keep that base while exploring a little bit and expanding in some ways,” says Birdy.

She has the voice to be any type of singer she wants. She really could be the next big pop star with booming vocals or she could stick to the

more alternative sound that she has grown accustomed to over the past few years.

Sitting down to make the sophomore album, the singer knew exactly what she wanted the music to sound like. She wanted the stripped back vocals over the produced pop beats. She wanted organic material that still had enough firepower to get the listener moving. Fire Within was her first real introduction as a musician and she was going to make it count.

Birdy teamed up with some of the industry’s best hit makers, including Ben Lovett, Ryan Tedder and Brian Wilson. A story teller before a singer, Birdy made the lyrical content a priority, co-writing most of this album with songs inspired by life on the road and simply growing up. She named the record Fire Within as a representation of that passion for telling stories and reaching someone with words.

“Co-writing broadened my horizons,” she says. “It was weird at first, baring your soul to someone else you just met. A bit terrifying and exciting all in one. The stories are really personal in the songs, mostly about being away from home during an exciting time and [finding] the balance in relationships.”

Birdy may gravitate towards the piano, but Fire Within certainly has its share of driving pop songs perfectly built for summertime radio play. The singer credits her work with producers like Tedder for helping expand her music in the right way while not overwhelming fans with change. She wanted it all to feel like a natural progression.

Songs like “Wings” showcase an expanding guitar melody structured around her piano talents while

”Words as Weapons” focuses on pounding percussions that prove Birdy can take her music wherever she chooses. The singer notes that the bigger sound has inspired her and while she will always favor the piano, her next album will focus more on the guitar.

It is certainly an exciting time for Birdy. She just wrapped up a U.S. tour opening for fellow pop songstress Christina Perri, which was a valuable learning experience according to Birdy. It was also her first tour as the opening act, taking some pressure off her shoulders and allowing her to observe Perri’s performance style. “It was exciting, but terrifying because no one had heard my writing before. But it felt more natural to perform my own music and present them in my own way,” explains Birdy.

Along with the tour, Birdy is also becoming one of the most sought

after singers when it comes to movie franchise soundtracks. The singer earned a spot on the Hunger Games’ soundtrack along with three songs on the recent Fault In Our Stars compilation. She also collaborated with Mumford and Sons on the lead song from Disney’s Brave. It is that type of exposure that has made the singer’s transition from a U.K. hit to a worldwide star an easy one.

Birdy is modest about her potential to become music’s next big thing.

However, her career is certainly headed down that path. The singer represents a new wave of young stars allowing alternative music to chart over pop singles.

With so much success at such a young age, Birdy is not certain where she sees herself in five years, but considering it’s her fans who are now posting their own covers of her original music, anything is possible. n

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PUSHING BACK AGAINST ALT-R&B AND SEARCHING FOR POP SUCESS HIS OWN WAY

BY JONATHAN ROBLES

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sculptures,” Krell says, speaking with me a month before the arrival of his newly released album.

“I think my music has always been really emotional, but I toured like a lunatic for two years after the second record. And I think playing that many shows to these people screaming after every song, there’s nothing better for your confidence, finding out you have a thousand screaming fans in Southeast Asia. It made me realize I was touching people.”

Looking back, Krell says he was still figuring out what he was doing in his first two records. But despite some incredible coverage

PH OT OS BY Z AC KERY M IC HA EL

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here’s something different about Tom Krell’s latest album. The man who’s spent the past few years pretty much carving out this altR&B space in music under the pseudonym of How to Dress Well is now pushing back against that crowded niche with his latest LP. “What Is This Heart?” is, like his previous material, overflowing with raw emotion. At this point, it’s clear Krell has no difficulty pouring himself into his work.

But this time around, the pain, the struggle, the urgency—it’s emphasized by a heightened sense of confidence.

“When I first started making music, I was more concerned with creating these perfect sound

perspective and propelled his creative process forward rather than holding him back.

Referring to the experience as a test of patience, Krell says he learned to “[let] songs go in an unexpected way.”

As for his own direction as an artist, his third album has arrived at an interesting time, with the “indie R&B” scene he’s frequently associated with growing increasingly popular if not bloated.

There’s no denying dudes with an extraordinary falsetto backdropped with a lot of textures is in right now, and there are some really talented artists making great music. But according to Krell, he “started [How to Dress Well] to push against what I perceived to be stagnant trends.”

it goes like this: Pavement [‘90s indie-rock band] came out and then a thousand others whose names we don’t remember tried to sound like Pavement. The Rapture came out and everybody was doing dance-punk. So now you have these rock guys with one song they sing in a high voice, so they’re R&B. ‘Nah, bro.

It doesn’t quite work like that.’”

While Krell is admittedly weary of trends and genre-pigeonholing, that doesn’t mean he’s antimainstream. After all, pop is still his playground and he’s gone out of his way to champion what he considers good pop music. One such example is Nicki Minaj, who’s been gearing up for her forthcoming album while trying to balance her grittier rap roots with the radio-friendly

“ I NEVER FEEL COMFORTABLE WHEN PEOPLE SAY, ‘OH YOU SOUND LIKE THIS GUY.’ IT’S ALWAYS A MENTAL NOTE, ‘OK, DON’T SOUND LIKE THAT ANYMORE. ” from the press, it wasn’t until he set his sights beyond all the praise that he actually found his footing.

“Those are beautiful things when someone in the press writes a good review and describes how [my music] moved them,” he explains. “But it’s different when you’re face-toface with a real person—a fan—who’s telling you, ‘Keep going, keep going.’ That challenged me to turn everything up a notch.”

In pouring so much of himself into these new tracks, Krell has created what he considers to be his most personal work yet. And even the album title, “What Is This Heart?”, is a reflection of that.

“Across the record, there’s a lot of quotation, a lot of things I overheard people say and things I didn’t say to people that I wish I had,” he confesses, describing the importance of one’s words as well as taking ownership of them. “The kind of creatures we are, we care about the kind of things that are attributed to us. There’s this question about the right way to live and the right way to be, but I like the idea of attributing that to me. I’m putting my name on these thoughts, these questions.”

The question marks surrounding the album were not all simply in Krell’s own mind though. Because of all the touring and other obligations, he found himself constantly being interrupted between and during songwriting, something that hadn’t been much of an issue in the past.

“I would want to work on a song but then my tour manager would come and I’d have to go play a show,” he recalls.

“I’d want to work for six hours on a song but I’d only get to work on it for 30 minutes. And then I’d have to come back to it and revisit it.”

Although it was frustrating at times, the 29-year-old crooner says being interrupted by “life on tour” actually gave him 22

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At the mention of names such as James Blake or The Weeknd, two acts he’s previously been lumped in with, he pauses before continuing: “I’ve never felt comfortable resting on something. I never feel comfortable when people say, ‘Oh you sound like this guy.’ It’s always a mental note, ‘OK, don’t sound like that anymore.’”

Instead of growing frustrated with the “scene,” Krell is focused on the long-term. While some of his so-called peers are wrapped up in textures and sonic waves, he’s aiming “to make a record that matters,” pointing to Kanye West’s attention to detail on Yeezus, which is still considered a musical watermark even a year after its release.

“I made a record last time [2012’s Total Loss] that had all kinds of music on it—folk, house, R&B” he recounts. “And then everybody decided that even if you’re a rock band, you’ve got to figure out how to get R&B into your press bio. And frankly I don’t give a shit about the trends. At the end of the day,

hooks that made her famous.

“I think ‘Super Bass’ is such an amazing song,” he proclaims, referring to Minaj’s 2010 hit single which put her in uncharted territory for a female rapper. “I don’t think she should regret [going pop]. She’s an amazing artist. She does everything with such raw energy and so I’ve just been loving everything she’s put out lately. I think the record’s gonna be a fucking smash.”

As for Krell’s own pop aspirations, he admits he’d love to have a top 40 hit. But he cautions that he “won’t conform just to make it fit a certain standard. I have to follow my own musical intuition.”

In the end, he hopes the stories he tells in this new record resonate with fans. And ultimately, perhaps that’s where he distinguishes himself from the rest.

“If a song or the album touches someone in need, that’s all that matters,” he says. “Or if the emotion and the story impacts people’s lives, then it’s a beautiful success.”n

VOTE FOR THE

SONG

O F///S U M M E R

2014

NOMINEES INCLUDE:

HOW TO DRESS WELL, CHROMEO, BANKS, SAM SMITH, LANA DEL REY, IGGY AZALEA & MORE

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PASSENGER FOLLOWING HIS OWN INSTINCT, EVEN IF IT COSTS HIM ANOTHER HIT

BY ABBY OLSEN

M M

ike Rosenberg has been making music under his Passenger alias for over a decade, and only this year he claimed his first top five song in the U.S. with “Let Her Go.” But he’s already on to a new chapter, having released a new album, Whispers, in June. And according to the British singersongwriter, this new project was “a long time coming.”

Of course, he acknowledges he’s still riding out the success of “Let Her Go,” which has sold roughly 4 million copies in the States alone. But according to Rosenberg, he had already been writing and recording long before his international rise.

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So the question is, did he feel pressure to rush his new album after his surge?

“I think the timing worked out really well,” he says, explaining that he actually took his time. “By the time ‘Let Her Go’ started getting close to the top, everything was already coming together for the new album. I don’t think it could have worked out better.

But to say I rushed it or felt pressure to do something from the label, it wasn’t like that at all.”

He does note, however, that “you just go with your gut. At the end of the day, you have to follow your instinct.”

While much has changed since the last time he recorded an album, 2012’s All the Little Lights, which spawned “Go,” it was pretty much business as usual for Rosenberg, who opted for the familiar, the tried and true. He recorded once again at Sydney’s Linear Recording studios with co-producer Chris Vallejo.

IT MIGHT BE EASIER TO “ LET SOMEONE ELSE TELL YOU

PHOTO BY SHERVIN LAINEZ

WHEN TO GROOM YOUR BEARD AND WHEN TO RELEASE THIS SONG, BUT THAT’S NOT FOR ME. ” “Why change something that worked?” he offers. “The temptation might sometimes be there for someone to go, ‘Oh, I should work in a big, expensive place now.’ But honestly, it’s more important for me to feel comfortable and relaxed and in a space where I can feel creative. I worked on my last album in a lot of quiet periods of time.

And I know I could have tried to do something bigger, but it wouldn’t have felt right. At least not this time.”

Because so much of the album was already in progress before last year, Rosenberg has maintained a lot of creative control, something he appreciates, especially after his recent success.

“It’s more work when you’re kind of taking more of a handle on your career,” he admits candidly. “Oh sure, it might be easier to let someone else tell you when to groom your beard and when to release this song, but that’s not for me. It’s really, really important to listen to others though. You have to hear others’ opinions and take advice.”

One such person whose advice Rosenberg is more than happy to hear is his friend and former tourmate Ed Sheeran. And while the two have been friends for years, some critics recently suggested this new album is Rosenberg’s chance to step out of Sheeran’s shadow.

“It’s inevitable that people would think that, especially critics,” he says with a slight laugh. “I’ve done a lot of touring with him. We’re great friends.

And certainly, he was instrumental in helping me break last year. But I don’t feel that I need to step out of anyone’s shadow. He’s a phenomenon. He’s massive and he’s just going to get bigger and bigger.”

Having finished most of the new material before many of his overseas fans even knew his name, Rosenberg admits there was a part of him that wanted to go back and make changes post-fame.

But in the end, he feels it was best not to go that route.

“There’s this thought of, ‘How do I top that?’ It’s very real,” he confesses.

“I’m completely aware that may be the only song I ever have that makes it to the top like that. I’m OK with that. I feel honored to have even one. How many artists only dream of the one hit?

I don’t ever expect to have another one.

On a personal level, if it happens, great.

But I am very fortunate already.” n VARIANCEMAGAZ I N E . C O M

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MARK FOSTER of Foster the People performs at New Orleans Jazz Fest,

by Dan DeSlover

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L TO R FROM TOP: ARCADE FIRE PERFORMS AT NEW ORLEANS JAZZ FEST; HAERTS PERFORMS AT FIREFLY MUSIC FESTIVAL; LAURYN HILL PERFORMS AT BONNAROO; CAGE THE ELEPHANT PERFORMS AT FIREFLY; BAND OF HORSES PERFORM AT FIREFLY; SMALLPOOLS PERFORM AT FIREFLY; YOUNG THE GIANT PERFORMS AT FIREFLY (BY DAN DESLOVER)

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V LEFT TO RIGHT, CLOCKWISE FRANK OCEAN performs at Bonnaroo,

by Dan DeSlover PHARRELL WILLIAMS performs at Coachella,

by Thomas Hawk BANKS performs at Bonnaroo,

by Dan DeSlover JAMES MERCER performs at Firefly Music Festival,

by Dan DeSlover AMERICAN AUTHORS perform at Summerfest,

by Dan DeSlover ELLIE GOULDING performs at Coachella,

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LANA DEL REY performs at Coachella 2014

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future sounds } H

son, think Passion Pit with a female lead. Yes, it’s that much fun.

Yes, the sky is also the limit for this crew.

On the group’s first EP, Reflections, the most fun is had on the title track itself, which would seem to be a sure thing for eventual radio play. Lee’s vocals fall perfectly atop music that makes the listener want to dance. And the same can be said for much of the EP, as there’s no way not to be left wishing for more beyond this six-track effort. If anything, listeners are left looking forward to what comes next.

MisterWives are currently tour-

BY WESTON SHEPHERD

ing until September around the United States and Canada, including a trek in August supporting Jack Antonoff’s Bleachers.

What comes next is hopefully a full-length album and a tour that spans the globe.

To get a listen to this up-and-coming band, Reflections can be found on both iTunes and Spotify. n P H O T O O F M I S T E R W I V E S B Y S H E R V I N L A I N E Z ; P H O T O O F M O V E M E N T B Y B E N S U L L I VA N

earing something unique isn’t very common in the year 2014.

Radio airwaves are packed full of songs that sound the same, and music fans are left yearning for more. So when you hear something different, you know it. And often from the moment the song first starts.

For New York City pop-rock otufit MisterWives, being different is all part of the norm. The trio that composes this ultra-fun, ultra-upbeat group is lead singer Mandy Lee, drummer Etienne Bowler and bassist Will Hehir.

When finding a musical compari-

MISTERWIVES

THE SOUNDS YOU NEED TO HEAR

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W

ith the rise of crooners like Sam Smith, music fans are definitely turning to the naturally talented to fill their needs.

Australia’s Movement blends two of the most popular genres right now: soulful like Smith with electronic. The end result is a slow, rhythmic experience that must be heard to be fully understood.

Movement first arrived last year with a pair of EPs, Feel Free and Us. Those have since been followed up with a self-titled EP earlier this year. The sound is beautiful, with haunting and occasionally upbeat vocals draped over lush, sweeping production that that makes it impossible for the listener to stand still.

In terms of finding the next big thing, music lovers will know from the first listen that there’s something completely different about this band. Ev-

MOVEMENT

erything about it is inherently cool.

The band’s catalog thus far is wonderful from top-to-bottom, but the track “Us” is the mantelpiece. Having garnered praise from critics and amassed nearly 1.5 million plays across Youtube and Soundcloud, it is slow, funky and something listeners will want to show their friends. Long story short: it’s the best kind of music there is.

With noteworthy success so far, including

touring alongside the likes of Solange and Twin Shadow, fans can be sure a full-length album from Movement is on the horizon. And the sky is the limit from there, as music like this can only be held under wraps for so long.

For now, find them on Spotify and be on the lookout for what undoubtedly comes next. It will be big. n VA R I A N C EM A G A Z I NE.COM

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P H O T O O F J O H N F U L L B R I G H T B Y V I C K I FA R M E R

future sounds }

JOHN FULLBRIGHT

W

ith his second full-length, Songs, John Fullbright is winning over his fans again, while being introduced to many for the first time. Playing tunes of love and sadness with his acoustic guitar, the former member of the Turnpike Troubadours captures the heart and soul of folk music on every track.

This rising folk-star from Oklahoma is no stranger to the music industry, as Songs is his third album, including his 2009 debut effort, Live at the Blue Door.

In just a few short years, Fullbright has made his name off of music that sounds

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the same live as it does on record.

He has a unique ability to capture raw human emotion in his music, while accompanying beautiful instrumentation along the way. As far as folk music is concerned, he is becoming one of the greats.

While checking out Songs, new fans might want to start with “Write You a Song” and “Until You Were Gone.”

Both songs feature Fullbright at his very best—with low-key guitar work and his haunting vocals singing lyrics everyone can relate to. Best for quiet nights around the house, or any time reflection

is necessary, Fullbright’s music is both calming and introspective.

Fans of folk music are encouraged to check out this budding star, as he is certain to become a favorite within the genre.

Fullbright is currently on a world tour, with stops across Europe and the United States. n

THE SOUNDS YOU NEED TO HEAR

BY WESTON SHEPHERD

A

20-year-old rising pop star out of New Jersey, Alus has a sound and attitude that seems destined for radio airwaves. Her debut project, Alustrious, offers a glimpse into her ability and style, as her powerful voice and catchy mel-

odies make fans out of even the pickiest of pop critics.

Skilled in music from a young age, Alus taught herself to play guitar and is also trained in classical piano. She has performed the National Anthem at Madison Square Garden, having also honed her chops in front of countless crowds. And as her career continues, her talent is becoming only more evident.

Alus’ brand of pop is an Aaliyah/Janet Jackson fusion, as her sultry voice carries lyrics

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loaded with sexual undertones. The aforementioned project, Alustrious, packs a punch from the beginning, hitting its stride with “Extraordinary”—a track that seems more like a 2000s-age Destiny’s Child song than something from 2014. The EP is a complete listen and a must-have for music junkies looking for the next big thing.

In the pop world, certain sounds are distinct and can be predicted to blow up. At first listen, Alus will make you believe just that.

For those curious to know more, Alus’ debut project and music videos can be found on her website, alusofficial.com. n

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PORTER ROBINSON

I S S AV I N G E D M FROM ITSELF THE RISING PRODUCER'S NEW ALBUM ISN'T MEANT TO BE A WORLD CHANGER. BUT IT JUST MIGHT BE A GAME CHANGER. | BY LAUREN MORANOR

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orter Robinson is sitting at a piano, playing out a little melody he seems to have come up with on the spot.

For someone that made his name and reputation as a DJ playing other people’s music, this is a surprising sight.

Robinson has been given many labels over the past few years, ranging from DJ to producer to EDM genre star. However, it’s a much simpler title the 22-year-old favors the most: musician.

Robinson fell in love with electronic music at age 12. That’s when he played Dance Dance Revolution for the first time and paid more attention to the soundtrack than the game itself. It was the first time he truly heard music of that nature. The seed was planted and from there Robinson began a budding career as a DJ, focusing on intro and outro beats to music that was VA R I A N C EM A G A Z I NE.COM

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“ THOSE

E D M S O N G S T H AT H AV E T H E P O P P R I N C E S S O N T H E H O O K , T H AT I S N O T O N M Y R A D A R AT A L L . I WA S N ’ T T RY I N G TO M A K E A T R A C K L I S T T H AT TURNED HEADS.

not truly his. He rose through the EDM ranks, becoming a mainstay at festivals as fans fell in love with his style. However, Robinson began to shift his focus over two years ago to something less EDM and more his own.

“I’m not as interested in EDM as I used to be because the genre has gotten pretty homogenized,” Robinson says. “I think that there are certain requirements to an EDM song to make it work in a festival setting or a nightclub setting. You need to have a build-up and a warning and a drop. And I think that ultimately if you are trying to make really expressive music, you have to cut corners and make compromises in that genre. I found that was limiting and keeping me from saying what I wanted to say with my music. So I decided I’m not making music for DJs anymore, I’m going to make music for listening.”

His creativity and music intentions had shifted. Robinson began a two-year process creating music that he loved, prepping an album of nothing but original music. Inspired by video game soundtracks of the early 2000s, he wanted something with a hint of nostalgia while still remaining current. One thing Robinson did not want was a budding pop starlet highlighting his tracklist.

It’s no secret EDM has found itself in a repetitive cycle of DJs pairing with one of music’s biggest stars to create the next top 40 hit. “That is the most boring shit,” Robinson laments. “Those EDM songs that have the pop princess on the hook, that is not on my radar at all. I wasn’t trying to make a tracklist that turned heads.”

Robinson instead became focused on hooks, something that would worm its way into the listeners ear and stick. He wanted electronic music that was different, exotic. Uninterested in a specific genre or label, his only goal was to finally establish his own identity as a musician with a signature style. “I don’t even know what kind of genre I would call it,” he explains. “I kind of want to resist. I don’t

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want to spawn a scene. My goal is not to create a bandwagon or to create a style that other people want to reproduce at all. I would much rather have my own identity.”

The first step in reaching that goal was releasing the track “The Language.” Robinson credits that song as the first step in a new direction of music for him. It was risky move since it was not as heavy as some of his existing fans might have been accustomed to, but the response was positive.

Robinson was prepared for resistance though. He knew he was forging a new path and some would be on board while others might turn their nose to it. “I was prepared for backlash,” Robinson says. “I thought for sure there was going to be a significant group of people saying this was bad and I would just go back to making bangers.”

Instead, Robinson received a wave of support that only fueled the production of a full album. He felt vindicated from the response but wasn’t interested in just releasing one track on Soundcloud. He wanted a full album, a full body of work.

He did not want this new sound to come across as just a mere experiment. It was a new style that he would now define himself with. “Presenting it as an album showcases a real commitment to a new aesthetic and new idea,” Robinson says.

And with that, Worlds was born.

An album aimed to connect and allow the listener to escape to their own imagined paradise, Worlds is a reflection of Robinson’s youth. Growing up, the musician loved to play online role-play games like World of Warcraft where he could connect with millions of people in a fictional setting. It allowed Robinson to immerse himself in something other than reality. That was the goal with his new record. He wanted Worlds to be the album that allowed people to escape and connect with something outside of their surroundings.

“The ability to imagine fictional places is significant and important, and so to

me this album is about that feeling of escapism to a fictional world,” he reveals.

“It’s not really about reality or about inequality in the world. It’s not meant to inspire anyone to get out and vote. It has nothing really to do with reality. It is all about fiction and escapism.”

The next step in Robinson’s new style was designing the live show. He took a break from the festival circuit while making the record, waiting until everything was complete so he could present his new music in a fully formed show.

Finally ready to embark on a new tour, Robinson says his live show will consist of all original music. He wants it to play out like a partial DJ set and a live band show. He is also currently working on a visual show to pair with each song. His goal is to demonstrate more risk while making everything bigger than anyone’s expectations, and he is confident the new material will translate to the festival crowd, sounding more beautiful and expansive than anything before.

Robinson hopes more electronic musicians eventually take note of what he is doing and that it pushes the boundaries of the genre, because according to the young star, EDM in its current form may be reaching its capacity.

He understands there’s still big money in the genre, but he believes it might just be at critical mass, no longer able to sustain itself. His hope is that a new wave of young and eager producers will ultimately rise up, pushing music in a better direction.

“I hope EDM gets less driven by micro genres and scenes,” he admits. “But I don’t know if that is really going to happen. I think that is how cool ideas die.

They get overexposed, too many people try to do the same thing and you hear something so much it starts to bug you.

So, I just hope there is a real premium on creativity.” n Worlds is out Aug. 12 via Astralwerks.

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Q+A

ON THE ROAD WITH

CHVRCHES

BY JONATHAN ROBLES

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ne of the biggest breakout acts of the past year, CHVRCHES —comprised of vocalist Lauren Mayberry and multi-instrumentalists Iain Cook and Martin “Dok” Doherty—has been touring nonstop since the release of their debut album, The

Bones of What You Believe, last fall.

I had the pleasure of hanging out with them in their dressing room before one of their show’s in early June. We discussed the album’s upcoming oneyear anniversary, Coachella, sexism in music, their next album and the idea of one day playing a stadium tour.

“

RADIO IS SUCH A MASSIVELY IMPORTANT THING TO US, AS ARE THE BLOGS AND THE INTERNET. ESPECIALLY IN AMERICA, RADIO IS CRUCIAL TO BRINGING A BAND TO A WIDER AUDIENCE.

Variance: This time a year ago, there were a lot of critics saying the hype was too big for you guys to live up to it on your debut album. Here we are 12 months later and you’ve been on the road nonstop. Does it feel like you’re proving them wrong?

Martin Doherty: Not necessarily, because we didn’t pay attention to what they said in that respect. It’s unhealthy, to focus on all the hype. I think that’s a nasty word sometimes. We just tried to do the best we could and we made the record.

It was for the listeners to decide how far we had come or how far we are going. It’s nice to read compliments, but that stuff gets in your head.

Variance: What has been the highlight for you as a band this past year?

Doherty: Probably Coachella for me.

Lauren Mayberry: Yeah. I think we’ve been lucky to play as many shows in all kinds of places and it’s been really cool to play with so many bands on festivals that we admire anyway. And also the support slots we did for Depeche Mode, which was a pretty big deal for us because we’re big fans of them.

Variance: Nowadays, especially in the States, we’ve got multiple major festivals in every region. What is it about certain festivals, like a Coachella, that makes it stand out for you?

Mayberry: I guess with Coachella, it’s something everybody has heard of. Even though we come from very far away, everyone has heard about Coachella and Lollapalooza and South by Southwest. So to play at these is kind of insane. To play with bands you’d want to go watch yourself is very cool.

Mayberry: It’s good because we get to go out and do the work while people have been wanting to see us. By November, we’ll be ready to sit down and start writing some more.

Cook: And it’s also that the turnout, the crowd at Coachella also blew us away.

That was a very important moment for us.

Variance: I know if I were halfway across the world right now for as long as you’ve been, I’d be anxious to sleep in my own bed again. Is there anything you miss?

(All laugh) Cook: Curry maybe?

Mayberry: Yeah, it’s hard to find good Indian food on tour.

Doherty: The lifeblood of every Scot.

Mayberry: We’ve toured enough now that we know what to bring, like if there’s something we want to eat or watch or a game console. I probably miss not having a schedule.

Variance: When do you go back?

Mayberry: I think Austin City Limits [in October] is pretty much our last date in the U.S. before we go home for a while.

Cook: This will be our seventh trip here, including SXSW. But it’s the biggest country, so there’s a lot of terrain to cover.

Variance: Obviously, touring has been very important for you. But what about radio? I hear you on Alt Nation [SiriusXM altrock radio channel] and I know alternative stations love you, but I’ve always thought you guys could do well here beyond alt radio.

Cook: Radio is such a massively important thing to us, as are the blogs and the Internet. Especially in America, radio is crucial to bringing a band to a wider audience. Like you said, the support from alternative radio stations with [“The Mother We Share”]. It still plays an important role in the music industry.

Variance: Your Glassnote labelmate Childish Gambino has talked about a lack of radio support from the label. I’m assuming your experience has been much different?

Mayberry: I don’t think we know enough about his situation. But that’s the nature of the music industry, you know.

Doherty: We’ve always had a good relationship with this label. And they’ve gone above and beyond to support us.

Cook: They work so hard for us.

Mayberry: They’re an indie label, so we also know what to expect from them.

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Q+A Variance: Speaking of indie, Lauren, I’m not sure if you followed this but Neko Case recently took issue with “Women in Music” features in the press. Does the media’s focus on women in that way help or set them back?

Mayberry: It depends on how your approach is to music and how you consume it, for want of a better word. I think some people are really great at keeping on top of new music blogs and the latest thing, but there are a lot of people who

“

WHEN YOU READ ABOUT HAIM, THERE’S ALMOST NEVER AN ARTICLE THAT DOESN’T REFERENCE THE FACT THAT THEY’RE WOMEN.

Doherty: In terms of the second album, though, it will just be 100 percent us again.

Having seen them live and played festivals with them, they’re a great live band. So it seems a shame that that’s focused on, but I believe it can also be focused on in a positive way, trying to bring more diversity to the music industry. Because it can be kind of a sexist place, but certainly in magazines and media coverage.

Variance: You’ve mentioned the effect blogs have had on your career in a positive way. But in the blog culture we live in, everything goes so fast. A year since the album can seem like forever. How do you keep up with everything?

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stick with artists from record to record.

The Internet has been good about opening up the industry and making it more accessible for people. And I think if you can find new music more easily, that’s always a positive thing. But I guess it’s up to you as a listener to decide.

Variance: You talked about getting back to making music this fall. Have you considered, unlike the first album, perhaps including collaborations?

Cook: Not really. (Smiles) We’re really careful with that sort of thing. There were plenty of offers for collaborations in the beginning, usually from EDM guys that wanted Lauren to sing on their songs. But it’s more important for us to establish ourselves before getting all mixed up in that.

Otherwise, you see it all the time where the collaboration blows the band away and it becomes always known as “featuring.” That’s not to say we won’t do it. We have one already, but we’re saving it for the right time.

Cook: We’ve already started sketching ideas, but the bulk of the stuff happens when we’re actually all in the studio together, which can’t really happen when we’re touring. We’ll be back in the studio as soon as this tour is over.

Variance: Is that about as far out as you’ve planned?

Mayberry: (Laughs) I think so. And then after that, we can’t really say because we don’t know how long the record will take.

We’ll figure it out as we go.

Variance: I know you still have so much ahead of you, but do you have any goals in mind, like…

Cook: Stadiums! (Laughs while Mayberry grins) Mayberry: The work is the goal, I suppose. And if you set your sights on something that’s further ahead than that, then it’s probably a mistake. n

PHOTO OF LAUREN MAYBERRY BY THOMAS HAWK

Mayberry: From my point of view, it depends on how you focus on it. It’s not helpful when we do interviews and people ask us, “What’s it like being in a band with two boys” and then direct all the serious questions at Iain and Dok. I think only focusing on that is a mistake also because like when you read about HAIM, there’s almost never an article that doesn’t reference the fact that they’re women.

Variance: So you’ve already thought about the next one?

FX

速

THE

LITTLE DRAGON THAT

COULD

L

ittle Dragon rocketed back into the spotlight this past spring with their fourth album, Nabuma Rubberband, which gave the Swedish outfit their highest-charting record in the United States after having built a devoted following over the past few years.

The new record had been expected for some time already, as the band had been dropping hints prior to this year. But knowing it’s actually out for

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everyone to hear is still a good feeling, according to drummer Erik Bodin, who took some time to speak with Variance on a Sunday afternoon during the band’s stop in Los Angeles to perform Jimmy Kimmel Live.

“We were so used to being the only ones to hear it,” Bodin says. “It’s still unbelievable to think that other people are listening now. Especially when you go on [Kimmel] and people are really connecting.

It’s reassuring.”

Although many fans had been prepared for a new record, the group didn’t waste much time, announcing the album on Valentine’s Day and releasing it less than three months later. It was great news for those who wanted the music as soon as possible, but Bodin admits there was a rush.

“Of course we always want the music to be out as soon as possible, but there’s also the people working the album,” he explains, referring to Loma

PHOTO BY MARCO VAN RIJT

BY ABBY OLSEN

best just to look inward.”

Despite their concentrated efforts to remain true to their sound, some critics have suggested the band did the exact opposite and lost themselves in the new record. But Bodin disputes that idea.

“It’s surprising to me, because the last record was made almost in a rush,” he recalls. “We took time to do it, but there were a lot of quick solutions. Freddy [Källgren Wallin] and Yukimi [Nagano] were on tour with the Gorillaz a lot, so Håkan [Wirenstrand] and I finished some the last parts of the record. This time, we planned just to work on our music. It was even more teamwork than before, so maybe this is actually the true Little Dragon, because we are all represented.”

As the band continues to expand its sound and perhaps its audience, Bodin echoes his bandmate (and vocalist) Nagano’s previous sentiments that they still hope to reach radio. “But it’s not just Little Dragon,” he says. “There are a lot of bands I wish you would hear on the radio. The major radio stations just sound like playlists made by robots.

Radio is so foreign to me, but from my view, it might as well be the mafia. Of course, there are stations that have supported us, like [Los Angeles NPR station] KCRW. It would be nice to hear ourselves on the radio more. I went to the gym recently and they were playing a lot of mainstream songs and then our song ‘Paris’ came on. I just smiled to myself but on the inside I was so excited.”

Vista Recordings. “They need to meet their schedules. It was a new label for us, but it was more their decision.”

Creatively, however, they followed their own compass, listening mostly to their own previous material and hoping to draw new inspiration while keeping the existing framework in place.

“We were very much in our own bubble,” Bodin says. “It’s kind of nice to isolate yourself and try not to get too much input or influence. I feel like when I’m creating music, it’s hard to even enjoy music because I get analytical. So when you’re already trying to push those thoughts aside, sometimes it’s

“

Yes, we love those other collaborations and it’s not like we won’t do more, but I think we’re still establishing our own name. And you should have pride in your own work.

If radio is something the band would ultimately like to conquer, it would seem like more collaborations would be a natural choice, especially considering their previous work with the likes of Gorillaz, OutKast’s Big Boi and DJ

Shadow, among others. But even for a collab-friendly act like Little Dragon, it’s still such an unpredictable part of the industry.

“There’s always a wish from the business people to have a big name attached, especially these days,” he says. “But I guess we’re kind of neurotic as a band. I think we’re more concerned with trying to get somewhere on our own, and not having to borrow all these other names.

Yes, we love those other collaborations and it’s not like we won’t do more, but I think we’re still establishing our own name. And you should have pride in your own work.”

With their eyes set on growing their reach, Little Dragon recently collaborated with Tumblr for one of the company’s “IRL” projects to tell their story in a visual format, joining the ranks of Childish Gambino, Portugal. the Man and Chromeo. And according to Bodin, it may not be their last “corporate” venture.

“Brands are sometimes seen in a bad light, especially by bands,” he says. “But they can be good when they are catalysts for positive ideas. You have to be open to things like that. I don’t know what kind of partnership we would have next, but yeah, it could work. It seems like more of an American thing though.

In Europe, you don’t see all the brands everywhere. In America, brands have so much power and they play a role that in Sweden would be like the government funding [your music], so you wouldn’t want that. But here, it’s OK.” As Bodin points out, most people who haven’t been outside of the States would likely be surprised to see the glaring differences between how even music festivals are influenced by brands. “Like SXSW. You could go and take an empty bag with you, and you would fill it up with freebies. Just everywhere, brands, brands, brands. That would never, ever happen in Sweden or in most of Europe.

Ever. The logic is just so different.”

Moving forward, the band will continue to tour at least through December, Bodin says. “And I don’t what all comes next, but we want to be on the road as much as possible,” he confesses. “It’s been a long time for us that we weren’t on tour, so it’s great to get that instant feedback and feel that energy again.”n

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JADED I N C .

OVER IT AND

REINVENTING IT M AY E R H AW T H O R N E A N D 1 4 K T H AV E TEAMED UP FOR A SURPRISING NEW SOUND

BY AMANDA MORAD

PHOTO BY JEREMY DEPUTAT

IF

necessity is the mother of invention and curiosity its father, boredom just might be the spark that gets them in bed together.

In the case of critically acclaimed troubadour Mayer Hawthorne and his longtime friend and collaborator 14KT, boredom with the current state of music has resulted in the launch of their new project, Jaded Inc. “The biggest inspiration was the connection in the type of records we were both listening to at the time,” 14KT says. “We connected on this new wave record from John Foxx. We were listening to his album, Metamatic, and no one around us was really listening at the time, so we started drawing inspiration from there and we just went with it.”

Jaded Inc. has been in the works for years, but when both artists got a break after their respective releases last year, they kicked into full gear to put the project together and release their debut album, The Big Knock.

“We were driven more by the things that inspired us and the chance to express another side of the music we love, something we might not have had the chance to show in previous work,” Hawthorne says.

Of course, there are obvious benefits to drawing on two separate fan bases for one album, but that lends no promise of support in the long run. And these artists are too savvy to pull gimmicks. Besides, if that were even a consideration in their decision to collaborate on Jaded Inc., it was passing.

“It was about getting away from some of those things that can distract you from the creativity,” 14KT explains.

Unconcerned with the project’s potential to throw fans for a loop, Hawthorne seems confident the new “beat wave” sound only complements his solo work.

“For me, this is my darker side,” he explains. “My music has generally been rather feel-good if not uplifting and this is the darker, weirder aspect. It’s the yin and yang.”

KT concurs: “This is my more electronic side. My stuff is usually more sample-based, hip-hop. So this is a chance to show my synthesized side.”

The sound is reminiscent of 80s new wave and punk, but with the ghettotech vibe of the 90s. Quite a change for both artists, but that’s kind of the point.

Back in the spring, the duo premiered their first single “Coconut Soda” off The Big Knock, which released June 17 via Casablanca/ Republic Records. Now, they’ve released a second single, “People Change,” along with a glow-in-thedark music video that’s been making waves on YouTube.

But one highlight of the album, according to its artists, is “Monster,” a track produced in part by one of the most influential producers and rappers of the 90s and early 2000s, the late J Dilla.

“He was one of our favorite producers of all time, and coming from Michigan, Detroit, with how innovative and creative he was, we’re still inspired by music he made years ago,” 14KT gushes. “And it still fits.

It’s still progressive. As we’re trying to move forward, it’s still relevant.

So we wanted him to be a part of what we’re working on.”

“We didn’t set out with that in mind,” Hawthorne explains. “It just sort of happened. And we’re very grateful that we were able to make

it work.”

The duo has been working in the eat-sleep-breathe-the-project way to get The Big Knock released and promoted, and now they’ve turned their attention to Jaded Inc.’s live experience.

“We want to make sure it’s the greatest thing you’ve ever seen before we jump out there and do our thing; it’s not something that we take lightly at all,” Hawthorne says. “We know there are a lot of people who are craving something different, as we are. And we take seriously the fact that we’ve put together a project in response to that appetite.”

What that means for Hawthorne and 14KT is a constant labor of love. But they don’t seem to mind the overtime.

“We’ll sleep when we’re dead,” Hawthorne dismisses. “We’ve got too much we want to do. We don’t even have enough time to make all the music we want to make.”

As much talent as these two have between them with this blind passion for giving audiences a new experience, 14KT and Hawthorne are well-poised to take the indie music industry and its vast and diverse audience by surprise.

“We just want people to connect with the music,” says 14KT. “But we also hope to shine a light on this style of music, or these many styles of music that come from Detroit,” Hawthorne finishes. “These styles we love, this beat wave music, we know a lot of people aren’t necessarily aware of them, so if we introduce some people to something new, that would be great.

“The goal isn’t simply for this to be a footnote in our careers but the next full chapter,” Hawthorne concludes. “And who knows what comes next after this.” n The Big Knock is out now on Casablanca/Republic.

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BERNHOFT BRINGING THE WORLD TOGETHER WITH MUSIC

BY EDWIN WILSON

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PHOTO BY FRED JONNY

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t’s a late spring afternoon and Jarle Bernhoft (or just Bernhoft) calls me as he ties up the loose ends before the release of his third full-length, Islander, which is out as of this writing.

He’s also tending to his son while preparing for an upcoming show.

“How’s it going?” I ask.

“Not too shit,” he exclaims.

And that’s probably a rather accurate encapsulation of his life right now. The Norwegian singer is back after his 2011 set, Solidarity Breaks, of which single “C’Mon Talk” exploded online and caught the attention of Ellen DeGerenes, who invited him on to her show.

His new album is the reflection of a guy who’s been high on life and has clearly experienced some wonderful things over the past few years, but he still feels isolated.

“Touring the last album, I saw so many places I had never been to,” he recalls.

“The whole concept of being Norwegian in the world is kind of strange, in terms of the geopolitical system. We’ve been dealt so many good cards, it’s unbelievable. But I go to the South of France, and there’s a whole generation of people not getting work. And they’re saving up to go to my gigs. So I question myself, like, ‘What am I doing here?’ I’ve never tasted that, never felt it. And so I had to build a bigger boat, reaching out to people.”

Considering the hard times facing so much of the world he’s been fortunate to see firsthand, Bernhoft acknowledges music can’t solve the bigger problems. But he believes it can and does unify people, especially in difficult circumstances. And that’s his focus.

“I remember Desmond Tutu (the South African bishop), he was once asked how to obtain world peace and he said to give people football,” Bernhoft explains. “In World War I, the French and the English were in the trenches, but when Christmas came, they hit pause and football— or soccer—brought them together. It’s a

IT WILL MEAN MORE WHEN THE RADIO PLAY COMES IF I CAN SAY I DID WHAT WAS TRUE TO MY HEART. IF WE ALLOWED THAT TO BE THE DRIVING FORCE IN MORE OF OUR DECISIONS, IMAGINE HOW DIFFERENT THE WORLD MIGHT BE.

beautiful thing but it’s still two sides. Music is this rare thing that unifies people from all sides.”

Despite all the negativity in the world, Bernhoft believes if you look closely, there are a lot of people pursuing good causes and trying to use their platform to make a positive impact. “You might have to step outside of the pop bubble or the mainstream, but I look at Aloe Blacc and what he’s doing. Rosario Dawson is a great example. They’re making a difference.”

While the multi-instrumentalist has plenty of praise for his peers, he says he went the “old-fashioned” route with this album and opted for few outside collaborations. In fact, he has only a duet with Jill Scott on the record.

“If I had been smarter maybe I would have peppered people with my existence over the last three years,” he jokes. “And I know that’s becoming the norm to stay in the spotlight, but it’s not me.

Even the collabs. It’s like the modern way, but so many good albums are losing focus because they’re loaded with collaborations. And don’t get me wrong, I love them.

‘No Us, No Them’ was written with [Scott] in mind. We planned to do a song together three years ago. But there’s something to be said about an album that doesn’t have to bring in almost as many artists as there are tracks.”

Bernhoft admits there are probably things he should do differently by industry standards, but he’s also learned a lot about the music world.

And from his perspective, “there are just certain things that aren’t going to change.

Streaming is taking over here in Norway and Sweden. I know it’s growing in the States. Radio—I don’t even know what it is,” he confesses. “It’s such a different animal. And maybe I could or should be trying to create a radio hit, but a good album with good songs—or just consistently good songs—is always going to be a massive thing.”

That doesn’t mean he’s written off radio though, noting that he believes “it will mean more when the radio play comes if I can say I did what was true to my heart. If we allowed that to be the driving force in more of our decisions, imagine how different the world might be." n VARIANCEMAGAZ I N E . C O M

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B

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B Y J O N AT H A N R O B L E S

“They’re human,” Geere explains.

“They’re representative of how every relationship is different. Not everyone has the traditional sitcom life. They didn’t meet each other and go on a couple of dates, and then maybe you develop feelings for each other. No, relationships don’t always fit into a box. And they personify two problematic people who don’t know how to do the relationship thing.”

As for Geere himself, he suggests that even though it’s been fairly easy to step into Jimmy’s screwed up world, it’s only because of “the variety of the material. I’m pretty much the good, polite British guy who keeps my mouth shut and minds my own business. Even if I think something is shit I don’t actually say it. Oh, I would never,” he declares while laughing.

Of course, Geere also credits his onscreen chemistry with Cash for making the pair’s relationship that much more believable. And they definitely have plenty of opportunities to display that chemistry, especially in their cringe-worthy, awkward but arguably realistic sex scenes. Luckily for the 33-year-old, he’s had a little bit of practice thanks for previous roles.

“I wouldn’t say it gets easier,” he

admits. “But everyone has insecurities. As an actor who has to do these scenes, sometimes it’s uncomfortable having certain parts of your body being exposed. But it’s part of the character. I’m just grateful I’m not on one of those CW network vampire programs where everyone is perfect with sculpted bodies. Not this guy.

“Once upon a time, sex scenes had to be sexy and choreographed. We convey these moments in a real way.

I mean, masturbation isn’t necessarily pretty. Drunk sex isn’t romantic.

[Jimmy and Gretchen are] unfamiliar with each other and awkward in bed.

It just is what it is.”

The show still has some kinks to work out, and it isn’t perfect. But given the opportunity to prove it longterm, Geere and Cash are perfect in their roles. And from Geere’s perspective, Falk’s “writing is so accurate and on-point, and it’s that storytelling that makes the difference. Yes, there is a lot of crude humor, but it’s kind of brilliant how even in those moments, you find something sweet. And isn’t that kind of like life sometimes? Everything is just terrible, it’s just the worst. But something wonderful is just around the corner if you wait.” n

PHOTO BY JAMES MINCHIN

est known as one of the creative minds behind Showtime’s Weeds, writer-producer Stephen Falk is back this summer with another sweltering series in the form of FX’s dark, romantic comedy You’re the Worst.

Despite being on a tamer network, the show still brings plenty of grit thanks to stars Chris Geere and Aya Cash, who play a couple of anti-relationship individuals that meet at a wedding and go home together for a onenight stand, only to start falling for each other.

After previewing the first two episodes earlier this summer, I spoke to a very lively Geere ahead of the show’s debut. This marks the Brit’s first lead role on an American series, so it would be understandable if he were a bit nervous. But that’s not the case at all.

“We’ve had the craziest schedule I’ve ever experienced,” he says, taking a break between production. “So it’s been fantastic and I’m excited for it to be on the air. Of course, it’s a bit daunting because we’ve become really close [as a cast] and now you realize it’s actually time for it to go out.”

Although he’s pleasant in real life, Geere’s character Jimmy is narcissistic, rude and selfdestructive. And that’s actually what drew him to the role.

“Oh yeah, I read the script for the pilot and you get the idea that this guy isn’t very nice,” he recalls. “I loved it. He’s a messed up person. But then you realize as the show goes on why he’s messed up. So there are all these layers to this guy, and that’s important.”

Sure, Jimmy is kind of brash. And while he and Cash’s character Gretchen are clearly very flawed, that’s part of what actually makes them relatable. Come to think of it, that was what drew me to Weeds back in the day. The dishonesty, the twisted humor, the authenticity.

DAMON ALBARN performs at Bonnaroo

by Dan DeSlover

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ST. VINCENT performs album release show

by John McNicholas

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