EMMIE Spring 2022 Issue: The Dare Issue

EMMIE SPRING 2022

FEATURING ★GIRLPOOL ★POM POM SQUAD ★HARU NEMURI ★WEDNESDAY ★HORSEGIRL ★GULLY BOYS ★BABEHOVEN ★CASSANDRA JENKINS ★ADA LEA ★SOUR WIDOWS

THE DARE ISSUE

2 / EMMIE

3 / EMMIE

EMMIE STAFF SPRING ‘22 4 / EMMIE

EDITOR-IN-CHIEF ASSOCIATE EDITOR ART DIRECTOR ALBUMS EDITOR SOCIAL MEDIA DIRECTOR CONCERTS EDITOR FEATURES EDITOR PHOTO EDITOR WEB DIRECTORS

IZZI BAVIS RILEY YOUNGER MORGAN DOOLEY AMANY KHREIS AMANY KHREIS SHARON KORETSKOV ARTHUR MACHADO PERRI MORAN PERRI MORAN QUENTIN HOLLE

WRITERS AMANY KHREIS AMELIA ZOLLNER ANNA SCHMITZ ARTHUR MACHADO BETH WALSH BRITTA WELLENSTEIN CALEIGH PARSONS CAMILA TRIMBERGER CLAIRE BORGELT ELISE HEINEN IZZI BAVIS JESSICA ROGOFF JILLIAN TURNER KARLA PONCE MORGAN DOOLEY PERRI MORAN QUENTIN HOLLE RIA DHINGRA RORY STERLING SAFFRON MEARS PHOTOGRAPHY IZZI BAVIS PERRI MORAN CALEIGH PARSONS ART CALEIGH PARSONS CLAIRE WILCOX DOMINIC DORAIS BURT ELISE HEINEN MORGAN DOOLEY PERRI MORAN FEATURED ARTISTS ADA LEA BABEHOVEN CASSANDRA JENKINS CHLO BAUMBACH GIRLPOOL GULLY BOYS HALF GRINGA HARU NEMURI HORSEGIRL KAT AND THE HURRICANE MQBS POM POM SQUAD SOUR WIDOWS WEDNESDAY

Dare

Issue

is

a

farewell.

I joined EMMIE in 2019 as a sophomore. I had just started my first semester in the journalism program here and I was brought on to the EMMIE staff as the Album’s Editor. I was 19 and knew next to nothing about journalism.

Three years later and I have held the Editor in Chief position for the past two years. I produced four issues and had amazing opportunities to explore the world of music journalism. As my time at EMMIE runs out, I am forced to confront a series of goodbyes that I’m afraid to complete. I have to start thinking about the future, something that feels so far away until it hits you.

The Dare Issue is a reminder to everyone that passion and determination wins out in the end. If you dare to do something you love, dare to be your most authentic self, dare to speak your mind– you are leading a full life. I struggled with this issue. I was met with fear– fear that I wouldn’t be able to live up to what I had done previously with The Crush Issue. I was so worried about how I felt about The Dare Issue that I didn’t realize how many people connected with the theme. How many people poured their hearts into their writing and their art. How many musicians were inspired by the question of “how do you fit into the dare theme?” In the final version of this issue I can honestly tell you, reader, that people love and care about this issue. This issue was made with love.

I want to thank my staff for sticking with me these past two years– you truly inspire me. I would not have been able to do it without each and everyone of you. You blow me away each semester and I’m constantly reminded about the beauty and dedication that surrounds EMMIE. To the new staff members this semester: thank you. You helped make EMMIE into what it is today.

Morgan Dooley, my Art Director, played a vital role in putting together this issue. She never backed down when I asked for something, even though I oftentimes had no idea what I was asking for.

When we finished this issue at the dining room table at my parents house, I realized that this semester showed me how EMMIE will be okay without me. That there is enough excitement and commitment to keep this project going. I look forward to future EMMIE issues and seeing the passion that I saw when I was first introduced to EMMIE continue.

My favorite question to ask musicians is “what piece of advice would you give your younger self?” If I could give myself some advice, I’d tell her to let go, be daring and don’t worry about what people think about you. Life is too short to back down.

To the future, endings and dares; I’m excited for you to read and explore this issue.

IZZI BAVIS

EDITOR-IN-CHIEF

LETTER FROM THE EDITOR

The

5 / EMMIE

ALBUM REVIEWS BY EMMIE STAFF * ALBUM REVIEWS BY EMMIE STAFF * ALBUM REVIEWS REVIEWS

BY EMMIE STAFF * ALBUM REVIEWS BY EMMIE STAFF * ALBUM REVIEWS

BY EMMIE STAFF * ALBUM REVIEWSBY 6 / EMMIE EMMIE STAFF * ALBUM

SCORE: 6.4/10

SCORE: 7.5/10 C A FKA

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G S TWIGS

GLITCH Y E

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PRINCESS L E

It’s 2022 and FKA twigs has once again blessed us with a new album. Capitalizing on the ongoing popularity of astrology, it is cheekily named Caprisongs. Truthfully, Twigs demonstrated the strong and ambitious nature of a stereotypical Capricorn.

In a forever-evolving technological world, the creation of one’s online persona is inevitable and terrifying. In their second album, Glitch Princess, London-based artist yeule explores their own relationship with substance abuse, gender identity and technology throughout the 13-part collective.

In this album, she stays true to the alternative R&B sound with the addition of tasteful trap beats and notable features such as the Weeknd and Shygirl. FKA is known for her avant-garde musical style, slowly building and edging her listeners to the breaking point of her heavenly cries. Caprisongs strays away from that. It has more energy, incorporates eclectic beats and twigs even explores the use of heavy autotune in songs like “meta angel.” Even with the experimentation, FKA twigs’s signature style stands out throughout the album.

Glitch Princess is a tragically beautiful character study of the deeply-complex artist, yeule. Layers of pitched-up synth and disorienting beats dominate the album, leaving an overwhelming feeling of impending doom on the unsuspecting listener. The remnants of their debut album Serotonin II are clear throughout, with yeule referencing multiple “micro deaths” within their psyche as they navigate the digital landscape. Tracks such as “Friendly Machine” describe yeule being metaphorically struck by a train and killed as the lyrics “People leave so suddenly / Suffering, peace offering / Virtual life is altering” reverberate in a haunting chorus in the background.

We’ve listened to the stories of pained relationships and harsh realities in past work – this album does some of that, but mainly it is a story of her dealing with self-doubt and bouncing back before the drop of the next beat. She gets vulnerable in this album, yet the sensuality in tracks like “tears in the club” remind us that she will ultimately win the battle and come back better.

The album tells a story of nonchalantly craving someone’s love, desire and attention. However, FKA makes it clear that this is not the only thing on her mind. She maintains her composure by remembering who she is and what she brings to the table, in proper Capricorn sun fashion.

It’s evident she’s having fun with this album through the vocal breaks, interludes, and cross-genre experimentation. In “jealousy,” twigs takes an interesting approach to Caribbean inspired music by mixing in some hyperpop flare, similar to the edginess of our beloved Charli XCX. In the “caprisongs interlude’’ she shows self-awareness and mimics an astrology girl interpreting astrological phenomenon in what seems to be FKA Twigs’s birth chart. The person knows what they’re talking about but the valley girl accent seems almost satirical. She also sprinkles in some voice memos from her fans begging her for a new album to get through their break ups, which she delivered on. Finally, the most in theme voice memo is about a girl recognizing that she is the rockstar in the relationship, not her athlete boyfriend. It sums up what twigs is selling us, she is the main character, not some irrelevant love interest.

Overall, I would recommend new and old fans listen to Caprisongs if they like endless bangers disguised as heartbreak music.

WRITTEN

BY

KARLA

While listening, I found myself unsure if I was meant to hate or love the online persona, the “Glitch Princess”, that yeule created. The wavering synth and upbeat electronica in “I <3 U” and “Bites on My Neck” speak to the ever-present grip that technology has upon yeule, their career and their mental state. Despite their hate for the online world, yeule knows that they could never live without it.

In spite of the robotic tone utilized in Glitch Princess, the album presents raw human emotion in a way rarely accomplished. Like pulling a bandaid off, the opening autobiographical track “My Name is Nat Ćmiel’’ encapsulates the unfiltered essence of yeule- their pain, their struggles and their aspirations. Using a decaying A.I. speech and a lullaby-like melody, yeule creates their character- The “Glitch Princess”. In this space, yeule allows for a parasocial relationship to develop between themself and their listeners.

Their lyricism and storytelling ability left little to be desired and their distinct style was apparent in each unique track. In the mind-bending four-hour-long finale, “The Things They Did for Me Out of Love ‘’ yeule uses everything from haunting audio glitches to beautiful breathy vocals to capture the inescapable feeling of being known, and their reluctant acceptance as an eternal online entity.

Glitch Princess is a technological journey that is not for the faint of heart. yeule creates a fantastical yet morose world through their use of synthesizers and glitchy vocals that perfectly epitomize the online experience.

WRITTEN

BY

SAFFRON

MEARS

PONCE

7 / EMMIE

SCORE: 8.6/10

SCORE: 7.2/10 TIME ANIMAL

SKIFFS COLLECTIVE

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Animal Collective’s first studio album in six years, Time Skiffs, contrasts their previous energetic and upbeat albums with a laid back, experimental and psychedelic listening experience. The opening track, “Dragon Slayer,”gives the album a strong start with its catchy chorus and playful drum pattern. Not only does the song introduce Animal Collective’s new 60s psychedelic sound, but it is a beautiful piece of storytelling, through both the lyrics and song structure. In the following track, “Car Keys,” the line “Why are we in such a rush?” is repeated a few times which nods to the band’s journey over the past few decades. Allowing themselves to not be “in such a rush” gave their music clarity and allowed them to achieve a new, polished sound. The lyrics of “Cherokee” describe a road trip through the mountains in a Cherokee and the steady, train-like drum beat keeps the song moving forward and is reminiscent of driving cross country. The song mentions some American road trip classics: stopping at an Exxon and getting M&Ms, looking out the window and seeing turkeys out the side of the road. The lyric, “I’ve been driving for a long while / Spent some time in a Cherokee / Learning things” adds to the story through the beautifully relatable experience of “driving for a long while” and learning things, both about yourself and the world.

In his first album, Dijon formally displays his sound to the world. Dijon has been creating music since college, gaping popularity with his unique voice in the duo Abhi//Dijon. In 2018, he released “Skin,” which now has over 63 million streams on Spotify, a feat even he is confused by. Since then, he’s released many singles, like “Drunk” and “Nico’s Rodeo Club,” and two EP’s, but not a full album until Absolutely.

Although the album has a new sound, it is reminiscent of some of the band’s early work. The same ambiance and experimentalism can be seen in some of their early 2000s albums such as Danse Manatee and Campfire Songs. These early psychedelic pop sounds are present in Time Skiffs, yet it is more polished and mature than their previous work.

This trip of an album has its moments of tediousness which might be a common criticism. The first minute and a half of “Strung With Everything” drags on a bit and may come off as the band just experimenting with a synthesizer, however the slower moments of the album are an important part of the storytelling and a reflection of the band’s emotional journey.

After their rough patch in the 2010s, they’ve allowed themselves to slow down and make music that reflects their growth as people and musicians.

His lyrics in Absolutely extends this broken, heartfelt nature. He assumes a “worst person in the world” character in the album. We see someone longing for another despite his cries of “many times you hurt me so much.” There is vulnerability and naivety, a desire for a past, to “dance like we used to dance” with someone that is long gone.

You feel the emotion tied to these words, his soulful voice purposefully creaks and strains. He cries and screams in “Rodeo Crowns.”

WRITTEN

BY

ELISE

HEINEN

The opening of the ten track album, starting with “Big Mikes,” is reminiscent of my sixth grade orchestra warm ups before a concert. There is a certain beauty in these jumbled warm ups: a mixture of raw, beautiful notes not necessarily intended to go together, yet create a piece of its own. In many ways, such a deep sound is reflective of Absolutely.

Songs juxtapose in beat and rhythm, abruptly jumping from slow melodies you could drift off to, to an almost-country song, straight to the upbeat “The Dress.” The music muffles and glitches from note to note with staccato pauses interlaced between melodic draws and echoes. As Dijon put it in his Instagram, “album done and sound like this n that,” the simplest and most accurate way to describe the collective of music on Absolutely.

The complexity of each song, from his voice, the lyrics, and sounds, it all leaves me wanting more. When I would look at the songs left, I was disappointed to read “End of Record” and “Credits!” Compared to his old EP’s and singles, Absolutely displays a bolder album, with more depth and range in every aspect. Absolutely presents Dijon at his most developed form, as an artist entirely his own.

WRITTEN

8 / EMMIE

BY

BRITTA

WELLENSTEIN

BIG

SCORE: 5/10

SCORE: 8.8/10

V A SNAIL

DRAGON NEW WARM MOUNTAIN I BELIEVE IN YOU

THIEF

Big Thief have returned with their fifth studio album, Dragon New Warm Mountain I Believe In You, an album that is just as jam packed as its title. It is an ambitious double record that covers many themes while managing to remain incredibly sincere. The album was recorded in four separate sessions, in four distinct locations (upstate New York; Topanga Canyon, California; the Colorado Rockies; Tucson, Arizona), each with a different engineer. You are able to hear the distinctions in the recording sessions throughout the album when the music changes from slower ballads to pop tracks with existential themes and a few songs with an undeniable Western twang.

In an interview with NPR frontwoman Adrianne Lenker and drummer James Krivchenia said they looked at this project as an experiment to see how much life they could pack into an album. Dragon feels more homemade and pared down than their previous albums, with some songs being recorded on a 4-track cassette recorder during a power outage. But they have achieved their goal—it feels like the first time Big Thief laid everything on the table and finally said everything they wanted to say.

Because of its length, some have described the album as rambling, but if anyone has earned the right to ramble, it is Adrianne Lenker. She ties the record together with beautiful imagery in her songwriting. Lenker produces layer upon layer of metaphor but expertly cuts through them with extremely vulnerable and direct lyrics. The record opens with “Change,” a song about death and old relationships where Lenker earnestly asks, “Would you live forever, never die, while everything around passes?”

“Spud Infinity” is the first song on the album where you can tell Big Thief veered in a completely new direction from their previous work. Initially, Lenker’s Western twang, the references to garlic bread and potato knish and the jaw harp felt kitschy and almost cartoonish. After spending some time with the track it settles down and reveals questions about the mystery of being human that Lenker is always so keen on asking.

The new sound becomes exciting and the lyrics call for some introspection from the listener which makes this a standout track on the record.

L

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When the single, “Valentine,” was released in early September, I was ecstatic for the new Snail Mail music to come. With her 2018 album Lush having consistently been in my most listened to tracks since its release in my sophomore year of high school, I was anxious to see how Snail Mail’s sound would evolve during my sophomore year of college. But, by the time, “Valentine,” was released in November of 2021, I was left unsatisfied with where she had gone.

The album opens with the single of the same name, “Valentine” and “Ben Franklin,” both strong singles with catchy hooks and memorable tunes.

“Valentine,” is extremely energetic, demanding the audience to sing along to the chorus. “Ben Franklin,” is on a similar scale, with constant repetition working to the song’s aid. The message, “But you said you’d die; Said you would have died for me” lingers after the track is done.

With just the first two tracks, the tone change was exactly what audiences needed from Snail Mail, more mature than Lush but still just as emotional. However, as the album continues, we are consistently met with tracks that feel muted, despite the poppy descriptions other reviewers have credited it with. When you look at the lyrics, they’re still in Snail Mail’s classic confessional style but with this sound, it is difficult to get invested in what she has to say. Tracks such as “Light Blue” and “C. et al” aren’t necessarily bad, but as the album continues the sound quickly grows tiring.

Post “Ben Franklin”- the tracks become indistinguishable, drowning out some of the incredible lyricism. Track six, “Madonna,” is a prime example of Lindsey Jordan’s talent, using religious imagery to confess her heartbreak, however the message is unsupported by the hollow backing track.

The album has a total runtime of just 31 minutes, which feels short and doesn’t help with how premature the final track, “Mia,” already feels.

If Jordan was able to beef up the album with a few more tracks that had a wider emotional range that could have been a saving factor.

WRITTEN

BY

CAMILA

TRIMBERGER

The rest of the record meanders through the different recording sessions taking the listener along with them from place to place.

While it is less focused than their previous works, the amount of ground Big Thief covers is exciting and daring, easily making it the group’s best work to date. Dragon New Warm Mountain I Believe In You is a stunning album that demands your attention and pushes far beyond what the band’s previous records have achieved.

WRITTEN

BY

BETH

WALSH

9 / EMMIE

SCORE: 5.8/10

SCORE: 7.5/10 KAIZO THE

KAIZO

SLUMBER MANIFESTO

German-Libyan producer Kaizo Slumber, formerly known as Acetantina, seeks to explore a world where hyper-futurism and environmentalism can co-exist. This question is posed within The Kaizo Manifesto, but it isn’t really answered, leaving listeners with an album that’s less of a manifesto and more of a mildly generic (but satisfying) breakcore mix.

Aside from song titles, this album’s concept isn’t really fleshed out on any tracks aside from “Cyberpunks Aren’t Dead,” where the sound of birds chirping is overlaid by the intertwined voices of a robot and a human reading a poem by Richard Brautigan: “A cybernetic meadow / where mammals and computers / live together in mutually / programming harmony.”

I just wish there was more of this incredibly intriguing concept.

It’s definitely difficult to create a mostly instrumental album with a fleshed out concept, but with a driving force as strong as environmentalism, I would have loved for the theme to be peppered throughout the album and not just confined to one song.

Weakly-proven concept aside, The Kaizo Manifesto is an incredibly pristine and satisfying album. Tracks like “A Conflict Between Earth Mother and the Technogaia” and “Purple is the New Green” just feel shiny, as if Kaizo quite literally polished every track before shipping this album off to the depths of the internet. And every song on the album seamlessly blends together, even when the energy drastically switches from optimistic, Wii Sports-esque melodies to dark synths and grating basslines.

If you’re looking for an innovative concept album, you’re better off skipping this project. However, if you just want to feel like you’re driving through Coconut Mall or raving inside of one of those vaporwave edits everybody ate up in the 2010s, The Kaizo Manifesto is your new best friend.

WRITTEN

BY

AMELIA

ZOLLNER

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Alternative indie-rock band, Pinegrove, releases their latest album 11:11, which delves a bit from the style of their past five albums. Although in the past the band’s genre was a mix of alternative country and emo, the style of this latest album matches punk rock bands from the early 2000’s.

The melancholy tone and the whininess of Evan Hall’s voice on many of the tracks mixed with the harsher guitar chords are comparable to the likes of Blink-182 or Yellowcard. A theory behind this stylistic change is the band’s guitarist Nick Levine pursuing a solo career instead before the release of this latest album or the lack of female harmonies which in past albums softened up the songs, making it sound more like country.

As a huge fan of the early 2000’s punk rock wave, I enjoyed the guitar and style of voice on this album a great deal. However the lyricism was not particularly interesting. I found many of the songs to be catchy and easy to listen to, but often the lyrics were vague and riddled with unrelatable metaphors, making it hard to connect with the songs. Throughout the tracks on this album, I think the emotion was displayed through the music and tone of voice, but the lyricism lacked the relatability that really makes an album stand out.

The tone of the album was not sad, but the slower guitar rhythms and beats in the background combined with Evan’s voice give off a pensive and mournful tone. Towards the end of the album, you can tell that some darker themes are explored in tracks like “Let and Swimming,” especially given the emotion that seems to be put into the songs. Many of the other songs, on the other hand, seem to crescendo in and out of each other, some containing softer chords while others slam away at the guitar. This contrast, however, doesn’t violently jerk listeners from song to song and the differences between the tracks are intriguing and entertaining to hear.

Personally, the most confessional, relatable and my favorite song was “Cyclone.” The reason these songs stood out to me was the lyrics, the rest of the tracks lacked a relatable or cohesive plot or feeling. I enjoyed the record, although it didn’t strike me as much as other albums have in the past. The subpar lyricism paired with a somber and gloomy yet likable punk rock style has me returning to this project.

WRITTEN

10 / EMMIE

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ANNA

SCHMITZ

A

S

H XCX

SCORE: 6.5/10

SCORE: 6.9/10 C R CHARLI

P O CATE

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P LE

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I BON

The most diehard music fans have been noticing a trend in music: big record labels mistreat their artists. Taylor Swift left Big Machine Records–the label she helped found–on the worst terms and is currently in the process of trying to own her own masters. Sky Ferreira hasn’t been able to put out a new album since her critically acclaimed debut, Night Time, My Time, all thanks to Capitol Records. On her sixth studio album, CRASH, Charli XCX finds herself in the same position: tired of big record labels attempting to control her artistry.

Welsh musician and producer Cate Le Bon has been making waves in music for nearly 15 years, with an admirable solo catalogue, her side project DRINKS, as well as a number of collaborations and production work. Named squarely after catastrophe, Le Bon’s most recent record, Pompeii, is an existential commentary on the fall of society ironically set to an instrumentally complex and pop-heavy soundtrack.

This anti-major-record-label sentiment was a major influencer for CRASH. The album is a response to what comes with being a woman in pop music and the mainstream; everything you do is rehearsed, commodified, commercialized and sold to the public in a pretty little package.

The album relies heavily on this sort of juxtaposition. Lyrically, Pompeii feels out of body. Le Bon writes of something so thematically dense as the human destruction of nature in a shockingly neutral and removed manner. But it doesn’t feel too shocking if you aren’t listening too closely.

Although being known for pioneering the hyperpop genre with the likes of SOPHIE, A.G. Cook and 100 gecs, Charli embraced traditional pop in its most mainstream form for CRASH. Listening to it, you think of Britney Spears in all her calculated and choreographed glory. Influences from Janet Jackson and Whitney Houston also seep through. At some points, influences as far back as Mariah Carey’s R&B days in the 90s shine on “Every Rule”, and even Olivia Newton-John’s “Physical” can come to mind on tracks like “Lightning.”

One of the stand out songs on the album is “Constant Repeat.” You could tell me this track was released in 1999… or 2004… or 2013… or 2022, and I would believe you each time. This is what makes Charli XCX both a visionary in pop music and timeless in her craft.

Another track that follows this same trend is “Used To Know Me,” sampling Robin S’s 1993 house hit, “Show Me Love.” This CRASH song feels akin to the 90s house movement while also sounding like 2014 pop hits (some of which sampled the same Robin S song, ahem, Kid Ink’s “Show Me”).

Charli XCX fans could find CRASH disappointing following her highly experimental, glitch-influenced How I’m Feeling Now. CRASH strays from what Charli has been doing for her past three albums, which is pushing the frontiers of pop to be loud, noisey, in your face and futuristic. Instead, CRASH is vintage—it takes pieces of mainstream pop over the past forty years and sells it as a commodified and sexualized mosaic. At a point in music history where you see ‘Taylor’s Version’ and #FreeBritney everywhere, this is more relevant than ever.

While Pompeii appends varied and experimental instrumentation throughout, the general rhythm of the album quickly takes on a predictable quality. The tracks bleed together, positioning the album on the borderline of cohesive and monotonous. Pompeii’s singles “Moderation” and “Remembering Me” sound fresh and unique on their own, but this excitement feels lost amongst the whole of the album.

What I most admire about Pompeii is the overall album concept.

Its campy visuals and poppier sound relate to and juxtapose the disaffected lyrical themes, creating a perfect, purposeful multimedia whole that I wish more artists leaned into. Pompeii feels like a world of its own. It’s a dream world but not in the expected sense. It’s removed but self-aware: like you’re watching everything burn around you and there’s nothing you can do about it. Le Bon is living in that world and Pompeii is our window into it.

WRITTEN

BY

MORGAN

DOOLEY

With CRASH, Charli XCX knows what she is doing. She’s mastered pop in all its spheres: the most bubblegum of pop, to the most experimental, the glitchiest of pop, to the most commercialized aspects of the genre. It flows well sonically, each track being dancier than the next. CRASH is good for the exact opposite reason all the other XCX albums are good: where the rest push the boundaries of pop, Charli XCX’s sixth studio album dares to embrace true pop tradition.

WRITTEN

BY

AMANY

KHREIS

11 / EMMIE

A PLAYLIST CURATED

BY EMMIE STAFF. ART BY CALEIGH PARSONS

12 / EMMIE

13 / EMMIE

riot grrrlS An unapologetic blur of political fervor, DIY ethic and energized, guitar-heavy music, the punk scene of the late 1990s positioned itself firmly against the conventional. However, even as the scene espoused individual freedom and the rejection of stifling societal structures, its excessive emphasis on the work of male artists alienated a large portion of the non-conformist movement that it claimed to serve. Women who identified with the subculture and found themselves drawn to its creative spaces were often excluded, pushed out or violated when they tried to participate. Out of this inequality, the “riot grrrl” movement was born, combining the fearless nature of punk with notions of female empowerment.

Since the late 70s, Olympia, Washington has fostered a vibrant music scene, allowing bands like Nirvana and Modest Mouse to get their start and providing the space for emerging musicians to find an audience. Olympia became a celebrated venue for underground music-based subcultures such as punk and grunge in the 1990s, as a host of independent local record labels encouraged new artists to push boundaries and incorporate socio-political messages into their work. It was the birthplace of a movement which encouraged free expression – but it also served as the birthplace for critiques of that movement.

14 / EMMIE

A cohesive movement soon developed – all-female bands such as Bratmobile, Heavens to Betsy, Babes in Toyland and Bikini Kill formed to offer exuberantly abrasive, bold commentary on the issues they observed in the music industry and beyond. Participants in this rapidly developing subculture began to refer to themselves as “riot grrrls,” deriving the name from calls for a “girl riot” made at a 1990 panel held by female musicians in Olympia. Kathleen Hanna, lead singer of Bikini Kill, encapsulates the goals which united these women in her “Riot Grrrl Manifesto.”

“BECAUSE us girls crave records and books and fanzines that speak to US that WE feel included in and can understand in our own ways… BECAUSE we are angry at a society that tells us Girl = Dumb, Girl = Bad, Girl = Weak… BECAUSE I believe with my wholeheartmindbody that girls constitute a revolutionary soul force that can, and will change the world for real.”

The goal of the movement was to carve out a space for those who felt unrepresented – to begin a dialogue about empowerment – but it was far from perfect.

As today’s music scene continues to evolve, it’s important to keep the inclusivity that these riot grrrls aimed in mind, but apply it on a much broader basis to grant every artist the space they deserve.

WRITTEN BY CLAIRE BORGELT

“Girls to the front” was a phrase popularized by Kathleen Hanna, lead singer of Bikini Kill, in the early 90s. It quickly became a rallying cry for the women involved in the riot grrrl scene. The phrase was shouted at nearly every concert and all the girls would make their way to the front of the venue, pushing the men aside. It was a chance for women to create their own space in the punk movement.

But who were the girls moving to the front?

They were virtually all white. The successful riot grrrl bands of the time were all white and so were the majority of girls who went to the shows. For as much the riot grrrls preached inclusivity and equality within the movement, they often didn’t hold up their end of the bargain. These women were more focused on advancing their place in the movement they forgot about those they were leaving behind.

“It wasn’t for me. It was for white women. I distinctly remember the white women within the punk scene were capable of being just as exclusionary and bigoted as the men were,” said Laina Dawes, author of What Are You Doing Here? A Black Woman’s Life and Liberation in Heavy Metal.

The riot grrrl and grunge movements are thought of as being confined to the Pacific Northwest, which is used as an excuse for why the faces of the movement are all white.

While a significant portion of the culture was born in places like Seattle with bands like Hole, Bikini Kill and Bratmobile, all hailing

from Washington, there was a notable punk scene in California that is often ignored.

There were significantly more riot grrrls of color in Los Angeles and the Bay Area who made influential zines that impacted the course of riot grrrl culture in the PNW, but they aren’t given the credit for their work.

The riot grrrls held a series of failed anti-racism workshops in the 90s. The attempts to educate themselves and include the voices of women of color were superficial. Dawes reflected on these workshops and noted that “There was no knowledge, and more importantly no interest to know” how ethnicity made experiences of women of color different from white women in the riot grrrl scene. Kathleen Hanna recalls that they often ended up being a group of white women talking about their perceptions of racism within the movement and ended with women of color walking out.

The riot grrrls of the 90s were not all that daring in the end. They made sure to create enough room for themselves but chose not to leave any space for women of color. Riot grrrl culture has had a bit of a renaissance as of late and it’s looking different than it used to. Popular bands like Gully Boys, Big Joanie and The Txlips Band are composed of women and non-binary folks of color. For the movement to evolve and grow we must examine the failures of those that came before us so we are not destined to repeat their mistakes.

WRITTEN BY BETH WALSH 15 / EMMIE

KAT AND THE HURRICANE WRITTEN BY CLAIRE BORGELT PHOTOGRAPHED BY BRITNI PETITT

A blur of electric guitar melodies, driving drums and strong, clear vocals– Madison-based project Kat and the Hurricane toys with genre lines to create a vibrant blend of synth-rock and indie pop. Hailing from Janesville, Wisconsin, lead vocalist and guitarist Kat Farnsworth got their start playing in a musical collective called Pancake Riot, which dissolved in 2017 and granted them the perfect opportunity to pursue their own project. Eventually, Miles Away emerged from a basement recording studio as Kat and the Hurricane’s debut album, a folk-punk predecessor to the pop-oriented sounds that characterize more recent releases. After Kat met keyboardist Benjamin Rose at an open mic night, the two began collaborating closely. When they moved to Madison, Wisconsin. The duo met drummer Alex Nelson through a mutual friend and set about crafting Libra, their masterful sophomore album, in 2020. The Sorry EP, their most recent release, presents listeners with a new level of energy – glittering synths provide a backdrop for ambitious vocals and captivatingly confessional lyrics.

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Coming off of two consecutive weekends of live shows in Milwaukee, Janesville, Detroit and Chicago– and with plans to take the midwest by storm with a full-fledged tour in August– the members of Kat and the Hurricane approached our conversation with an infectious air of enthusiasm.

As they laughed about Zoom audio quality and looked forward to upcoming performances, I immediately picked up on the sense of comfort, community and belonging shared by these three bandmates.

As a queer and trans group known for what they affectionately refer to as “sad lesbian music,” Kat and the Hurricane sets about providing the sort of representation that I and so many other LGBTQ+ listeners value immensely. The way they speak about art in all its forms shows that they understand the immense value of such unapologetic, fearless expression. After discussing what it means to be a queer person in today’s music industry, emotional vulnerability and the importance of mutual support within creative communities, I left the call feeling similar to the way I

do after hearing the final notes of one of their songs – a little braver than before.

When asked about their greatest musical inspirations, Benjamin explained that the band draws from an eclectic mix of genres and eras; “I think part of what makes our music so fun to make is that we’re grabbing influence from so many different genres and styles, mixing them together to come up with something new.” While they cited singer-songwriters such as Joni Mitchell, Simon and Garfunkel and Carole King, Alex gleefully recalled discovering Tegan and Sara, along with queercore and riot grrrl bands as a highschool student. Kat mentioned Twenty One Pilots and Coldplay, and all three bandmates voiced their love for Paramore and Hayley Williams’ anthemic poppunk vocals. While Alex stressed the positive impact that seeing LGBTQ+ musicians had on them when they were younger, they went on to explain that such artists were not always easy to find. “As we were growing up and trying to understand ourselves, we did not see a lot of our experiences reflected in the music industry. Looking back, I don’t recall that any musicians I listened to growing up were trans. Personally, I had to work really hard to find that representation, especially during a time where finding a sense of self musically in general was more difficult.” Kat agreed, confessing, “It wasn’t until I moved to Madison that I was able to come into my full queer identity – until I met my bandmates and others in the scene who helped me feel as though I was allowed to be in touch with those parts of myself. Within the past three years, I have discovered so many incredible queer and trans artists, which is wonderful.” Benjamin spoke to the fact that the situation has improved, with many more queer and trans artists emerging in today’s music scene that ever before.

“I didn’t grow up knowing about very many queer artists. There’s certainly been an influx within the past five to ten years – it’s become much more normalized. There have always been queer people making music, but those who were out were the exception rather than the rule. It’s amazing that there 17 / EMMIE

are so many successful artists now who can celebrate those aspects of their identities fully.” Kat and the Hurricane is right there with them, Alex added – “I think that for us, being the queer and trans representation that we needed growing up is vital.”

With confessional, intimate lyricism, forming that type of connection is easy. When asked about what it’s like to share so much of their personal experience with listeners, Kat explained that it’s nice to have created albums over the course of several years and several stages in their life. Each acts as one captured frame in an ongoing emotional and musical evolution. “We have three albums. The first and second I wrote in their entirety, and I was able to bring the second to Ben to bring it to life musically. It wasn’t until the third that Ben and I started co-writing. The next collection of songs will feature insight from all three of us, so it’s been evolving as the band does. You can listen to the evolution of my life dating back to middle school when I began writing about my experiences,” they explained. “The first album, Miles Away, Is about a long distance relationship that I was in with a boy that I met on a video game server. We never met in person, but the connection was there.

We spent seven or eight years together, but as we grew up we realized that the relationship just wasn’t sustainable. The album serves as a snapshot of my life at the time – this was young love, and it felt real. Libra is about a different type of love for a different person, which I experienced I started to come into my own queerness.

The Sorry EP features more confident writing – we’re saying what we’re saying with our chests. The musicality and even the production just keeps getting better.”

In fact, a major source of motivation for the band is providing the sense of support and empowerment that young members of the community need – they aim to create a sense of connection to their listeners, and between everyone who loves their music.

As they recalled an early performance at a pride event in Beloit, Wisconsin, Kat described a moment when they knew that the art they were making mattered – they saw the audience they were writing for. “It was just Ben and I at the time, and I yelled into the microphone ‘who’s ready for some sad lesbian music?’... A group queer kids ran to sit in front of us and listened to our whole set – seeing all these young people get to meet each other, celebrate themselves and form support systems where they could be out and proud was amazing. That’s what I want for the future generation. This is why we make music – for those kids.”

For Alex, Kat and the Hurricane is about making the sorts of songs that listeners can see themselves in and connect with – “There was this person who came to see us perform at The Cooperage in Milwaukee after watching our show in Madison at The Majestic a couple weeks before,” they recalled. “I saw them singing along to all of our songs – I saw that our music In addition to their commitment to sharhad affected them deeply, and it made ing their authentic selves with audiences, me think about why we do what we do.” one of Kat and The Hurricane’s most glowing attributes is their desire to help other 18 / EMMIE

artists do the same. Especially as a global pandemic threatened to turn the performance industry upside down, the band has devoted themselves to uplifting other artists in the Madison community. On New Year’s Eve 2020, they planned to host a live stream along with friends and fellow musicians.

The event lasted seven hours and was met with overwhelming support. Thrilled by the success, they quickly developed the goal of hosting a similar event in-person. After pitching the idea to Colleen Bos, owner of Bos Meadery, the band gained creative control to host a variety show on the first friday of every month – essentially, they crafted a space specifically designed to bring comedy acts, musicians, burlesque and drag performers, authors, djs, artists and food vendors together. Since joining forces with Mercury Stardust, a beloved local burlesque legend known as “The Trans Handy Ma’am,” the event has grown into a unique space for creatives to connect with each other and share their work with a passionate community. “This is a project the three of us came up with because there isn’t anything else like this in Madison – we saw a need for a queer and BIPOC centered space, and wanted to use our creative control to make one.

Kat and the Hurricane Presents is meant to present all the talented artists we know and love to an audience that will give them the support they deserve,” Kat explained.

ing their love for Mercury Stardust and burlesque as an art form, Benjamin spoke about a deep love for poetry and science fiction writing. As a lover of graphic design, Alex cited visual media such as animated shows and art-centric video games as a major source of inspiration.

Kat recalled a love for theatre stemming from their early high school experience.

I came away from my conversation with Kat and the Hurricane filled with hope. This is a band dedicated to a brighter future for the next generations of queer and trans people they will inspire, and for a network of creatives who they’ve given the space to connect and thrive. They make me – and all of their listeners – want to become a louder, more courageous version of myself. For this reason, the band embodies the theme of this issue – Dare. Benjamin says it best – “The idea of ‘dare’ brings to mind the idea of courage. Sometimes we are called brave for doing what we do – for presenting as our correct genders, for being openly queer. But we don’t really have a choice. We can’t help but be ourselves.

In a different sense, though, there is an element of bravery and courage – of daring – in being vulnerable and authentic. It’s about letting your own values and identity guide you rather than what’s deemed ‘normal.’ We are daring to do something different. Daring to make the music we The show is clearly a testament to the way want to make because we know there’s that different art forms connect, and the im- somebody out there who needs to hear it.” portance of mutual support between creatives of all kinds. The band was excited to mention some of their favorite non-musical influences – in addition to express19 / EMMIE

LITTLE RICHARD It’s quite impossible to imagine what music would be like today if it wasn’t for Little Richard. From rock and roll to soul, Little Richard dramatically changed every genre he touched. Growing up, Little Richard was surrounded by music, learning how to sing gospel music and play piano at his church.

Before entering tenth grade, he left home and joined a traveling show where he was first exposed to the genre of R&B. During his time performing for traveling shows, Little Richard developed his flamboyant onstage persona and decided to try out solo work. He won a record contract with RCA Victor following an audition and later recorded some of the first rock and roll hits.

out hits; his tracks achieved massive success and even made the Billboard charts.

The music industry and general public of the 1950s hated that a Black man had invented an innovative and groundbreaking new style of music. Little Richard’s concerts were some of the first to have an integrated audience. White supremacists warned that rock and roll would “bring the races together.” The music industry hated Little Richard’s provocative lyrics and immediately had their “safer” non-Black artists cover his tracks, watering down his lyrics and sound in the process. These covers by white artists achieved more widespread critical acclaim and charted higher than the originals by Little Richard.

Despite 1950s America’s best efforts, Little Richard defied the odds and managed to influence the music scene immensely.

“Tutti Frutti” was the title of his breakthrough track. With an energetic backing band, powerful vocals, and dynamic drums, “Tutti Frutti” introduced audiences to a new Without Little Richard, the sound of music style of music: rock and roll. It was an imme- today might be completely unrecognizable. diate hit. Little Richard continued to pump Elvis called Little Richard “the greatest.” Lit20 20 // EMMIE EMMIE

tle Richard was among the first to discover both James Brown and Jimi Hendrix and was said to be a massive influence on their early sounds. The Beatles covered countless Little Richard tracks on their earliest projects, and Paul McCartney said that he owed a lot of what he did to Little Richard and his style. Little Richard’s sphere of influence was massive. He truly impacted music in a way that we could never fully comprehend.

DJ KOOL HERC At the age of 12, a young child by the name of Clive Campbell, later known as DJ Kool Herc, moved into New York City’s Bronx borough. As he grew up, he found interest in the funk and soul music of the early 1970s, from Booker T. & the M.G.’s to James Brown. At one point in time, DJ Kool Herc convinced his father to buy him a copy of Sex Machine

by James Brown, and his friends started to come to him to listen to music they couldn’t listen to at their own homes. With a rudimentary sound system comprising two turntables hooked up to a P.A. system, DJ Kool Herc began throwing dance parties in the rec room at his family’s apartment complex.

Over time, he found that the energy of a party was heightened whenever an instrumental break would come up in a song. He began experimenting with his DJ style, by buying two copies of the same song on vinyl and mixing them together to make an extended instrumental break. This DJing style would come to be known as breakbeat, and would become the foundation for hip-hop.

One evening, during one of his famous parties, DJ Kool Herc decided to commandeer the mike to hype up the crowd, borrowing a page from the traditional Jamaican musical style of toasting. Herc ordered the crowd to dance, using a rhyming scheme, telling everyone to get together and start to move to the music. This combination of rhymed words with a backing beat marked the beginnings of hip-hop as a genre.

DJ Kool Herc’s parties continued to rise in notoriety, and he began running his own block parties in the Bronx. These parties were massively influential. After attending his performances, legendary MC’s like Grandmaster Flash and Africa Bambaataa began to make their own music in the style of hip-hop. Hip-hop began to take hold of New York City’s youth and only grew from there. Although he was the first hip-hop artist, DJ Kool Herc rarely gets credit for his musical innovation.

He never saw commercial success, but the influence he had on the genre of hip-hop and music as a whole is immeasurable.

YVONNE TURNER After disco met its fall from grace in the early 1980s, DJs began experimenting with house music, which took inspiration from disco but stripped it down to the bare minimum. In underground clubs across the country, house DJs began to gain popularity and drew people back to the dance floor. One of the first tracks that could truly be considered house was the dub version of Colonel Abrams’ debut single “Music is 21 21 // EMMIE EMMIE

the Answer.” In New York City, this track was getting a ton of playtime in clubs. The mix was credited to someone named Evan Turner. The trouble with this credit was that Evan Turner didn’t exist. The person credited on the album as Evan Turner was actually a woman by the name of Yvonne Turner.

Yvonne Turner was extremely influential on the early days of house music. Her work on tracks such as the aforementioned “Music is the Answer” by Colonel Abrams, “Set Fire to Me” by Willie Colon, and “Take Some Time Out” by Arnold Jarvis defined early house music. Her entrancing synth bass lines and simple TR-808 drum beats spread like wildfire in dimly-lit clubs across the world and helped cement house music as the successor to disco. Despite her impact on house music, Yvonne Taylor has very little notoriety amongst the masses.

From the beginning, the odds were stacked against her. She was rarely credited for her musical work, having her name mispelled or even omitted on production credits. To put it bluntly, the music industry of the 1980s was quite misogynistic, and sought to push female artists like Yvonne Turner down.

er “knew her shit and had great taste.”

Yvonne Turner would depart the music scene in the mid 1990s, when artists stopped coming to her for remixes, but she recently re-emerged onto the house scene. In 2018, she collaborated with Louie Vega of Masters at Work (another famed house group inspired by Turner’s work) on the track “Can’t Let You Go,” which was nominated for a Grammy for Best Remixed Recording. Yvonne Turner may not be a celebrity, but her impact on house music is profound. Without Yvonne Turner’s work, the genre of house would be notably different from what it is today.

S O P H I E SOPHIE’s destiny was to be a musical prodigy and barrier-breaker. In her formative years, SOPHIE spent most of her time surrounded by music and science fiction media.

She received a keyboard as a birthday present, began to create music, and then decided at the age of nine or ten that she wanted to drop out of school to become an electronic music producer. She was obsessed with shows like the X-Files and the vision Despite her lack of mainstream populari- of the future that sci-fi represented. This ty, those who worked in the house scene view of the future was strongly embedded had an extreme level of respect for her. into SOPHIE’s public personality and music.

Arthur Baker, who worked with Hall & Oates, New Order, and produced leg- SOPHIE had an idealized vision on the fuendary tracks like Afrika Bambaataa’s ture pop music: abrasive synths, caustic “Planet Rock,” said that Yvonne Turn- drums and helium vocals. This futuristic 22 / EMMIE

sound that SOPHIE strove in her music can be heard from the very start of her musical career. On her first published EP “Nothing More To Say,” bright synths and sweet vocals create a warm and inviting atmosphere. In 2014 SOPHIE collaborated with Madonna on her track “Bitch I’m Madonna” where she would experience some of her first mainstream success.

Filled with synth arpeggios, edited vocals, and electronic drums, this track is where SOPHIE truly began to refine the modern sound she wanted to create with her music.

SOPHIE would ride the coattails of her newfound musical success into collaborations with artists from Charli XCX to Vince Staples. One of my favorite SOPHIE-produced tracks is “Vroom Vroom” off of Charli XCX’s EP of the same name. I adore the variety of electronic synths she used in this song, from the Sega Genesis synth bassline, to the shrill synths used on the chorus.

SOPHIE’s style of music was and still is something wholly unique and original.

On her one and only album OIL OF EVERY PEARL’S UN-INSIDES, SOPHIE reaches her music peak, reflecting on the concepts of identity and the struggles she faced as a transgender woman. “It’s Okay To Cry” is a beautiful ballad that SOPHIE wrote to herself, reflecting to herself that it is okay to express emotion and be who you truly are. “Ponyboy” and “Faceshopping,” the following tracks, are exhibitions of just how far SOPHIE advanced her conceptualization of pop music. These tracks feature some of the most extreme drum kits and synthesizers that I have ever heard in my life. The whole album is one of the best works of music I have ever heard.

SOPHIE was truly one of the most daring artists of our time. Tragically, SOPHIE passed away in 2020. In her short time in the pop music scene she completely pushed the boundaries of what pop music could be with her beautiful and inventive music.

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THE TRADITIONAL

BABY WANTS A BABY — ST. VINCENT T MY IF I EVER FEEL BETTER — PHOENIX NEW YORK CATCHER — BELLE AND SEBASTIAN R PIZZA, PETER AND DAVID — ED ASKEW DAY — ELLIOTT SMITH U INDEPENDENCE BUILD ME UP — CLEO SOL OF SHOW — SKULLCRUSHER T DAY NOTHING CAME OUT — THE MOLDY PEACHES — LUCY DACUS H THUMBS HOW TO NEVER STOP BEING SAD — DANDELION HANDS

REX — ARCA D ELECTRA S950TX16WASR10 [163.97][EARTH PORTAL MIX] — APHEX TWIN OF THE WORLD — LINGUA IGNOTA A BUTCHER LIT — VIRGEN MARIA HITMAN (DREAMTEAM REMIX) — MARVELLOUS CAIN R THE KOLO KOLO — BALMING TIGER BOWS TO EACH OF YOUR TEETH — SIX IMPALA E TYING HAUNTED — LAURA LES THE UNCONVENTIONAL

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IBITBT — 313D3P ASMR — ONLY FIRE

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CHLO BAUMBACH

on their music journey, gender identity and musical aspirations

Perri Moran: Let’s get started. then I figured out how to get music Who are you? What’s your title? on Spotify, so I decided to go for it.

Now sometimes when I think about Chlo Baumbach: My name’s Chlo it, I go back and forth between reBaumbach, my pronouns are gretting releasing it on Spotify. they/them, I identify as non-bi- It’s so unprofessional sounding. nary, I guess, singer/songwriter would be the title that I go with? PM: Are those the ones from 2019?

PM: Let’s talk a little bit about the path that you took to get to where you are. Have you always been musically inclined?

CB: My dad has always played guitar; he’s one of those people who can just listen to a song and then play it on guitar. I wasn’t gifted with that unfortunately. I started teaching myself in 7th grade from guitar tabs and stuff like that, it wasn’t anything too complicated. I played through high school and I kind of wrote my own music but not really... I had some old voice memos, I don’t think I have them anymore, but I listened to them like two years ago and was like, oh my god. It was so bad.

I didn’t realize how much my voice had changed since I grew. I was also in an acapella group in high school.

I was just involved in music all the time.

I did the musicals, and I did choir, so that was helpful for training my voice.

It wasn’t until freshman year of college that I considered releasing music. I had written a couple songs and I used garage band on my phone and I had my little Skull Candy headphones that I used as my microphone because I had nothing. Then, my friend was like, oh this is good, you should release it, so I put it up on Soundcloud and

26 / EMMIE

PM: Does that make you nervous ?

CB: A little bit, just because your own music is so raw and you’re really putting yourself out there. Some of my songs that are slower and stuff, it’s like, how do I perform this onstage?

That’s something that’s kinda concerned me. I’d need to practice in CB: Yeah, 2019. They just sound a mirror. I think it like raw edits. It doesn’t sound like would be a good any editing was done to them at all nervous though. because really nothing was. I didn’t know how to do any of it. So some- PM: And that’s just times I’m like, maybe that wasn’t a one of thes million great choice; if someone finds that struggles of bethey’re gonna be like, what the... ing an artists today. what is this? But then at the same point it’s kinda nice to have my prog- CB: I guess the bigress out there, because then I did gest struggle is just my album in the summer of 2020. finding a group of You can hear how I improved a lit- people who will listle bit, and now I have a friend from ten to your music.

Kentucky who I met on the app Lüm. Obviously yeah, my We started talking and they were mom will listen to my like, I love your style of music, I’d like music and she’ll buy to mix and edit for you. So they’re my sweatshirts behelping me out on my EP right now. cause it’s my mom.

And I have friends PM: Do you know when your who will listen, but new music is coming out? it’s just hard to find people outside of CB: I’m guessing maybe mid-sum- your group that will mer. They’re renovating their listen to you unless whole studio right now, so they’ve you blow up on Tik taken a break on editing the EP. Tok or something.

That’s kind of a way PM: Are you planning to stick to re- that people are getcording and releasing music online, ting big, but it’s such or do you ever want to do shows? a chance thing that the algorithm will put CB: I think it would be fun to do shows your video on someat some point, it would probably start one’s For You Page. out with open mic night or some- So it’s really hard. thing because I don’t have enough With Spotify, unless of a following in person to be able your music is proto do a show. But I think eventually it duced perfectly, they would be fun to do in-person shows. won’t put you on an editorial playlist, and they’re not

really just going to randomly start put- because, how do you improve your ting you on people’s radios. It’s real- gear? How do you pay a producer? ly tough to get the music out there. There’s really no easy way to get up unless you already have a foot in You can promote on Instagram and the door from coming from money. sometimes random people will fol- It’s a really hard industry to break low you, but at the same time, it’s into, especially as a queer person. like, I have 300 something followers on Instagram and I have like 100 fol- PM: You’re experiencing in life right lowers on Spotify. So not everyone now, tell me a little bit about that. who follows me on Instagram are active listeners on Spotify. That’s some- CB: I just started my third week on thing with Spotify that I know a lot of testosterone; I had thought about artists don’t like. You make a fraction it for a while and kinda just decidof a cent per stream, so that sucks, ed, what the hell, why not? There’s nothing stopping me really. Thankfully my insurance covers almost all of it.

I was a little worried at first about how it would affect my singing voice. I’m in an acapella group, and it makes your voice drop, and you basically just re-go through puberty. I have to wash my face all the time now because teenage boy acne is something I have to deal with. In probably about a month or so, my voice will start changing more. I’ll get voice cracks and stuff like that. That was something that I was a little weary about, but I sing so often that I wasn’t too concerned. I felt like, I don’t know, it’d be like training my voice a little bit. I guess there are speech pathologists who specialize in people going through hormone replacement and training their voice to not sound like they’re going through puberty again, which is really cool. That’s been helpful to know that I’m not just gonna be like, kinda out on my own with all of that.

photo: Perri Moran

CB: Yeah— by the end of the [school] year it’ll only be like, two months on T, so it shouldn’t affect anything with acapella too much which is nice. Because at first I was like, oh shit, I’m supposed to be in a treble group and I’m one of the music directors; I don’t wanna be out here cracking every time I’m trying to lead a warm up, you know? So it’ll be interesting to see how that kind of transforms over the next month or so. It shouldn’t be anything too crazy I don’t think.

PM: What’s the life goal?

What’s the plan, the dream?

CB: After a few years, I’m planning to move to Chicago, it feels like a good place to start out that isn’t Madison. It feels safe enough to get out. I don’t know if I’d be able to move across the country out of nowhere. Eventually, I’d love to live on the West coast, like Washington or Oregon. I really want to have a garden and a studio space in the house where I can record when I want to.

I’d love at some point to go on a little tour, even if it’s not huge, it would be fun. My friend who edits and mixes my music said it would be so fun if we did a little tour together. We’ve also talked about how cool it would be if we made a queer label type of thing to encourage non-binary and trans performers to get their music out there. It can be really intimidating, especially if you are going through hormone replacement. Your voice is super different, you’re coming into yourself more so your music is changing with you. Creating more of a platform. I honestly don’t know of any people that I listen to that are outwardly trans or nonbinary. I know there’s a lot of queer people in the sense of gay or bi performers.

It would be cool to create a space for more queer people to perform.

PM: I can see how that Find Chlo on Instagram at would be a concern- @chl0music or Spotify. Stay tuned ing factor for a singer. for new music in Summer 2022.

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PHOTOGRAPHED BY PERRI MORAN & CALEIGH PARSONS WRITTEN BY CORI DYNER

M

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Q BS

*** A point pronounced

of clarification: as “MOBS.”

it

is COLLECTIVE >> BAND *** Why a collective? The main difference between a collective and a band is the shared MQBS met at an open mic night in Madi- creative control. Although the group mainson, Wisconsin’s High Noon Saloon and de- ly sticks to their specific instruments, – Miscribed it as “the band version of a Tinder chael on drums, Quintin on guitar and bass, meet up.” Michael Darling, Quintin Bovre, Be- Sigra as lead vocal and bass, Beatrice on atrice Lawrence, Sigra DeWeese and Jack the trumpet and Jack on the keyboard – Brahm meshed their different profiles to form this concept of a collective promotes group the “genre-expansive musical collective,” members to occasionally part from their usuMQBS, a nod to the member’s first initials. al fortes to help back up one another when needed. Three members of the group, SigThe four original members met me ra, Quintin and Michael write their solo work, one March afternoon, trickling in from so they often trade off lead vocals. All of school, work and even gaming. Af- the members, before meeting, had their inter some introductions and banter, we dividual music, which was another drive todove into their artistry and friendship. wards a collective. Sigra helped sum up the reasoning for the chosen collective route.

In January 2020, the initial collective was formed. Eager to share their craft, “It was circumstantial to begin with in orthey booked their first gig for that March, der to formulate a more cohesive sound,” or so they thought… One global pan- she said. “We’re doing a lot. I don’t want demic and fifth member addition lat- to step on anybody’s toes. Each person er, Madison’s MQBS is back to produc- who made the music deserves to be the ing music and performing live shows. front and direct the sound they envision to have. A collective allows this to work.”

The collective’s keyboardist and newest member, Jack, joined the group after The group’s composition is what makes bonding with Quintin on the way to the them so unique. Over the last two years, the Mifflin Street block party, an annual gath- group has grown more together to feel like a ering in Madison, in 2021: “He was wear- band, yet although they do play as a full band, ing the same shirt as one of my friends so they also support each other’s solo work. we invited him to come with us to Mifflin.

He then introduced me to the rest of the The concept of genres tends to be deband shortly after,” said Jack. As a five fied in collectives. The group noted that piece, MQBS is striving for excellence, but although genres are not as important towhat drew me to the group was their de- day in general, having a range of styles termination to be a collective, not a band. creates the opportunity for the members to learn and bounce off one another.

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“The music I tend to gravitate to is always the stuff that falls in between those cracks where you can’t really classify it easily. I think that’s what makes it so intriguing, so that’s what I always strive to emulate in my music,” Michael noted.

safe space for MQBS to shape into their unique and authentic identity seen today.

Quintin stressed this point on how “they share tips and tricks and booking information. They will even give out cheap merchandise processor recommendations.”

There is a large range of tastes presented with each member representing a distinct sound whether it be from opera to folk or Americana to progressive pop all the way to jazz. However, the collective as a whole manages to blend their sound towards more alternative or indie pop. Now, this is where the challenges of being a collective come in. Recently, Beatrice’s focus is figuring out “how the trumpet fits into pop music.” Looking at the other side of the music process, Michael tends to center more on his written melodies and then plays the game of Tetris when adding in lyrics. Although they are the two that can be seen as the most alike with their music, Michael and Sigra contrast here as Sigra heavily gravitates towards the lyrics of a song first.

The queer band Kat and the Hurricane was emphasized a lot by the group members as they have been MQBS’s main mentors in the community. They are also featured in this semester’s EMMIE issue!

MADISON’S COLLECTIVE COMMUNITY The tight-knit community seen here in Madison has been the main motivational push for the group. As an LGBTQ+ collective, MQBS was able to fit right into Madison’s strong queer community. Being able to interact with other local Madison bands has shaped the role of the collective.

TRUTH OR DARE? I concluded the conversation by asking each group member how they see themselves, both as a collective and individually, fitting into this issue’s dare theme. Michael responded right away by connecting the idea of dare to the concept of fear. He recently dared himself by “accepting the discomfort” and quit his day job. He plans to use this time to focus on his musical journey, while also allowing some more time for gaming of course. The other members highlighted the Madison community as the motivator that helped dare the collective to step out of their musical comfort zones.

This inviting and encouraging city has dared MQBS to be honest, be confident, be different and not be afraid of showing their true identity. The safe space of Madison and its queer community is so strong it helped Beatrice come out and feel comfortable expressing herself through music.

“It’s just a really good, supportive community,” Beatrice added. “Madison is Now on the rise after two years of pandemdefinitely where we found our niche!” ic-driven obstacles, MQBS has released a few new songs including “Humid June” and The genuine kindness and support shared “Lady Disdain.” The collective begins to play between other bands and the overall Mad- more local Madison gigs and is prepared to ison community itself has been an amazing take on all that is dared to them in the future.

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SHOWS to STREAMING

W

the ways music has changed with the times

by Perri Moran

here Liquid night club stands today once stood Headliners, a live music venue popular among UW students that brought names like Wilco, Red Hot Chili Peppers and Cheap Trick to Madison. Also near campus, clubs and venues such as O’Cayz Corral, Merlyn’s, Wally Gator’s, Bunky’s Nightclub, Stone Hearth, and Club de Wash drew hundreds of students to see local and national acts who were playing in Madison.

Today, the venues that students frequent are The Sylvee, High Noon Saloon and the Majestic Theatre (which almost exclusively host nationally touring acts). For students who are tuned into Wisconsin Union programs, shows on campus at The Rath or The Sett (booked by students through WUD Music) would also be familiar.

To the naked eye, it may seem like tradition is being carried on. While venues and artists change, the principle remains the same: the existing venues book the year’s popular artists and support of the UW student body helps sustain that economy. But upon closer examination, it’s clear that the music scene in Madison has changed immensely. For better or for worse? Well, it depends who Jesse Steinberg (photo: Perri Moran) you ask.

One thing can’t be debated: COVID killed live music.

While one might think two years of COVID-induced economic hardship is the sole culprit, in reality, local bands had been growing more work-starved for years.

When looking at the sheer number of independent music venues, it’s easy to see that Live Nation-owned concert promoter FPC Live (The Sylvee, The Orpheum, Ma-

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jestic Theatre and High Noon Saloon) has developed a bit of a monopoly over Madison’s live music industry.

For some people, this has been frustrating.

Jesse Steinberg, a philosophy professor at UW, is also a guitarist for a local blues band in Madison, the Madtown Mannish Boys. He recently opened a new independent music venue on the east side of Madison called the Red Rooster. The way he sees it, FPC Live booking famous national acts is a positive, especially in the sense that Madison’s music scene is more autonomous than ever; fans almost never have to travel hundreds of miles to another city to see their favorite artist or band.

“I think that’s nice,” Steinberg said, “but if it’s at the exclusion of non-national acts or acts that are less famous or local acts, then that’s unfortunate.”

Local artists are facing a higher wall than ever when trying to book gigs at established venues. With fewer venues to go around, there’s more venue-exclusivity, less collaboration and ultimately less local, live music at a professional level.

As for recorded music: today, there is more than ever before. Advancements in recording technology, increasing popularity of music-hosting platforms like Soundcloud and Bandcamp and easy access to streaming services like Spotify and Apple Music mean that the accessibility of “being an artist” is at an all-time high. While some complain this creates a music market oversaturated with mediocrity, others take a more optimistic outlook.

For Derek Ramnarace, bandleader of Baraboo-based americana/folk rock band Old Soul Society, and self proclaimed “music fan, more than anything,” streaming platforms have only been a gift to artists.

“With streaming services, there are a lot of arguments dreamed of opening a business that depended on pubeither way about what the value of them is. The truth is, lic gathering for profit: during a pandemic. you just wanna get your music out there to people and “There’s a way in which it was the dumbest decision I’ve that’s what they do.” ever made,” Steinberg said. “We just thought that our Ramnarace has spent the last 15+ years of his life in commitment to music and our commitment to having music: writing, recording, producing, booking and per- a space in our community to support the stuff we care forming. He, unlike many long-time musicians, has a about is worth that kind of risk, you know?” very assured perspective about the state of music con- The venue opened with a few values in mind: to presumption today. serve the genres of blues and traditional American mu“The good stuff will stand out,” he said. “And if it’s out sic, to continue bringing good music to Madison’s muthere and accessible to people— they can find it in sic-loving community and to provide artists with good good clean versions online– good music will never die, pay for their work. thanks to the internet.”

The first two goals can be achieved solely by bookHowever, it is fair to say that sustaining oneself as a ing shows but the third could be a bit harder to realize. smaller, local artist today is a big challenge.from the Steinberg and his team plan to see through that comway that artists make money to the way that they gain mitment with the use of cover charges. followings, the game has changed “We think that bands should be able to make a decent Today, with an exponentially growing number of artists, living with the amount of time and energy and practice it is hard to get noticed without and equipment they have to buy and some kind of big break, like a stuff like that. I don’t know how to do song going viral on Tik Tok. that economically if you don’t charge “You can make a video and if it a cover,” Steinberg said. “I think we’ll has a million views and you get a lose customers because of that. But bunch of followers, you can make that’s a commitment we have and some money doing that,” Steinthat’s something you’ve gotta do.” berg said. “But I don’t know if that It’s a tightrope to walk today for arttracks talent.” ists and venue owners alike. The For artists who spend thousands ability to sustain a local band is an art on gear and years of their lives in and of itself. The changes that the honing their skills on their instrumusic industry has endured over the ments, it can feel really defeating past 20 years have flipped the world to get a $1.78 check in the mail of music, in every aspect, upside from Spotify once per year while down. Today, people go to see muwatching someone else on the sic simply for the artist rather than for internet get a brand deal for crethe night out. It isn’t necessary to buy ating a parody-rap over a royalty a record, cassette or CD at the merfree beat. While no art form is obch booth because there is a limitless jectively superior, what is objeclibrary of music in everyone’s back tive is that the music consumppocket. And if a show doesn’t have tion system does not always Derek Ramnarace (photo: Perri Moran) pyrotechnics and a top grade lighting favor hard work. performance, is it even worth the money?

What’s the answer then? You can’t boycott artists who I’ll let you in on a little secret: it is. have large followings solely because of the size of their It’s time for young people to start appreciating music for outreach, nor can (or should you try to) you control what music again and supporting those who make the music millions of people choose to consume on TikTok The for us. truth is, there may not be a be-all-end-all solution, but Go see live shows, and not just the ones put on by rather, only small things that we as individuals can do. artists that you follow on Instagram. Find a show on a Steinberg knows how he’ll play his part.

Thursday at The Bur Oak or The Up North, pay the cov“What I can do is try to book really good bands that play er, and take a chance. good music and pay them a good wage and make them Make a playlist for your friend filled with your favorite dinner.” artists that you think deserve recognition.

In April, 2022, Red Rooster was opened by Steinberg Do what you can to strengthen and support the music and his co-owners. . The decision to open the ven- community. And don’t forget to tip. ue came at a time when most people wouldn’t have

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M A R C H 2 0 2 2

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A U S T I N T X

SOUTH BY SOUTHWEST IS AN INTERNATIONAL MUSIC AND ARTS FESTIVAL HOSTED IN AUSTIN, TEXAS SINCE 1987. THIS YEAR IZZI, MORGAN AND ARTHUR WERE LUCKY ENOUGH TO GO TO SXSW AND INTERVIEW A COLLECTION OF ARTISTS AS WELL AS SEE A HANDFUL OF SHOWS.

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HAR U At first glance, no one would imagine that Haru Nemuri, the Japanese artist, would possibly throw the most punk-rock concert at South by Southwest. The artist is known for blending traditional J-Rock with avant-garde elements of noise, spoken word, rap and straight up screamo.

Haru was slated to perform at South By in 2020, but instead, she put together an incredible livestream titled “Unused Visa.”

Now, two years later her fanbase in the West has grown exponentially, with Austin being the final stop on a much anticipated U.S Tour. According to Nemuri, at concerthouses in Japan during the pandemic, people are not allowed to say a word. When she knew that she could have full capacity shows in America she was extremely eager to get back on stage and perform her new songs.

NE M UR I tune and experimental hip hop beats, with religious motifs permeating through Nemuri’s performance as well. In “Déconstruction,” the singer directs her audience as if she was leading mass. Every gesture captures your attention as she methodically dances on stage, repeating the opening riff and ordaining the audience into her music.

Do not ever miss an opportunity to see Haru Nemuri perform live. Language barriers no longer seem to exist as everyone is connected through the energetic emotional performances. The amount of interactivity that comes from Nemuri’s theatrics is unmatched and truly unique. Even if you are not a fan of J-Rock (or any of Nemuri’s dozens of influences) it will be impossible to not sing along to the call and response choruses of “Sekaiwotorikaeshiteokure.”

Using a simplistic set-up with her manager and producer Minato Murakami playing the WRITTEN backing tracks on a laptop and Nemuri stealing the spotlight for the entire set. The high energy performances include mosh pits, Nemuri dancing amid the devoted crowd (and on top of tables), and screaming… so much screaming. When tracks like “Inori Dake Ga Aru,” one of the lead singles for her upcoming album, the artist shocks crowds when she lets out a powerful guttural growl.

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MACHADO

For her next album (and Haru is very adamant in saying it’s 21 tracks long), she draws inspiration from different religions.

Clerical chants and hymns are transformed through inclusions of Vocaloid-like auto37 / EMMIE

At the Tulsa Oklahoma Showcase, one band managed to capture the hearts of the audience, putting smiles on everyone’s faces as they stood in awe of the shirtless saxophonist Dony Nickles. I didn’t see a band in Austin that week that was happier on stage than Cliffdiver.

The six-piece emo-punk powerhouse from Oklahoma has branded themselves as beacons of hope in the DIY emo scene. During their shows, the band creates a safe environment for all their fans, reassuring that even if life is rough, there is always light at the end of the tunnel.

GULLY BOYS

From the basements of Minneapolis, to touring across the country with riot grrrl modern stars Dazey and the Scouts and Mannequin Pussy, Gully Boys has been killing it in the grunge pop scene.

It all started in a Minneapolis Ragstock, where Nadirah McGill and Kathy Callahan worked and bonded over their mutual love for Panic! at the Disco. “We didn’t know how to play our instruments and so we were like: ‘I dare you to join a band with me bro. I dare you. I double-dog dare you to join this band.’ And we don’t back down from there,” said McGill.

The band’s DIY origins remain true in their attitude and social media presence, being one of the primary voices on DIY Emo Twitter. As McGill puts it: “I’m glad we grew up the DIY way because that’s where we got the work ethic and now we can just like still rise and grind but you know, actually play a little bit bigger spaces but still keeping that ethos at heart.”

One highlight of seeing the Boys perform live is noticing how flawlessly they direct the crowd’s attention amongst each other. In songs like “Russian Doll” the call and response nature of the bridge allows for the band’s front person Callahan to seemingly harmonize with drummer McGill and bassist Natalie Klemond as they put together a vulnerable cathartic performance… All while the band’s newest member Mariah Mercedes absolutely shreds on their guitar.

Their latest EP Favorite Son, where you can find “Russian Doll,” showcases how much the band has evolved from their humble beginnings. The EP mends the gap between the grungy, fuzzy sounding debut Not so Brave and the melodic catchy EP Phony. With the addition of lead guitarist Mercedes the band “levels up” and in Favorite Son they establish the trademark Gully Boys sound as expansive, emotional, melodical, and above all, daring.

While not rivaling Backstreet Boys and breaking down mid-concert in a highly choreographed dance break, Gully Boys is sure to become your next favorite boy band.

They encapsulate the carefree DIY attitude in inspiring performances and before you know it you’ll be singing along to hits like “Neopets Graveyard” and “New Song No.2.”

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BY

ARTHUR

MACHADO

“Old emo was like: ‘I’m so sad, this will never get better,’ but there’s a ‘but’ there. That’s what we like to do. We take those nostalgic feelings but then sprinkle them into a ‘Yeah, it can get better!’ Emo doesn’t have to stop at ‘everything is meaningless.’ You can take a deep breath, step forward and create something fun,” says Joey Duffy, the band’s original vocalist.

In songs like “Gas City,” the band draws upon twinkly riffs from midwest emo and Kenny G-like saxophone prowess to portray a message of positivity and support. In a genre that has been consumed by toxic masculinity and selfishness, Cliffdiver helps redefine the modern emo scene by daring to be vulnerable. In their lyrics the band breaks down stigmas behind mental health, addictions and sexuality.

The band also recently added singer and former fan Briana Wright, whose commanding vocals set the tone of their live performances, to their line-up. Wright says: “I grew up in a scene that didn’t look like me. It does take a lot of bravery to acknowledge that. It’s daring to walk into the room and know you’re the only person like you and you do it anyway.”

“The best thing you can do to be daring is to be painfully honest and vulnerable with yourself,” says Duffy. And through this ethos Cliffdiver set themselves as perfect examples of what the current generation of emo aspires to be. Be it through having an inclusive roster, that embraces queerness and diversity or through deconstructing the pessimistic aura that permeated Hot Topic emo in the late 2000s. With their highly anticipated debut album set to come out this year, emo fans are set to be inspired by the Oklahoma band’s wholesome anthems.

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ARTHUR

MACHADO

CLIFFDIVER

WEDNESDAY Less than an hour after screaming into a microphone at Cheer Up Charlie’s in Austin, Texas, Karly Hartzman joined me for a conversation outside an unknown federal building. Escaping the heat, we laughed about the security guard that kept interrupting our interview and talked about her journey with her Asheville, North Carolina band, Wednesday.

With two LPs out and an album of covers, Wednesday has picked up some attention, especially at SXSW. They played a handful of shows, official and unofficial, throughout the week and shared the stage with some other great artists such as Cassandra Jenkins and MJ Lenderman, another band that Karly plays in. What drew me to Wednesday multiple nights of the week was the stage presence each bandmate has: everyone seems to be having a good time.

But Karly wasn’t always a musician, actually she wasn’t until sophomore year of college.“I just wanted to play music forever. And I didn’t think I’d have the chance to because I didn’t have lessons or anything growing up,” she explained. “And then when I was a sophomore in college, I was just like, whatever. I’m just going to start playing.” Since then she’s worked on finding her sound, something louder and more honest, and the perfect collection of bandmates to make it happen. Recently she feels like she’s reaching that place with her band and music. “It just became what I always wanted it to be really recently, which was just loud. Screaming,” she smiled. “It started as more poppy and slow, but now I think I’m finally making what I first set out.”

Karly got to showcase this energy at SXSW and the

hard work paid off– everyone loved Wednesday.

Karly told me how she draws inspiration from the bands around her and recently from country music.

“I just feel like my favorite lyricists are all country,” she told me. “I’ve been trying to study them and listen to what I like and what makes their songs so perfect.” Other places she looks to is the band MJ Lenderman. Another band from Asheville, Karly not only plays bass for them but is also dating the front-person, Jake Lenderman. “I love playing in MJ just as much even though I’m not like front and center, which is a relief, actually to not be the front person of both,” Karly said. It was clear from talking to her how much she appreciated being surrounded by musicians and how that has helped shape her as a person but also as an artist.

It’s daring to commit to music, and Karly told me just that. “Because doing music is daring. Yeah.

It’s really revealing,” she explained. She told me how it felt to finally feel confident as a musician. “I think I just found the thing that feels the most true to what I wanted to do,” she said.

“I’m pretty reserved and it’s my place to let go.”

As Wednesday heads home to North Carolina, and I back to Wisconsin, I am inspired by Karly’s ability to embody her music and craft. I look forward to her next album, soon to be announced.

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IZZI

BAVIS

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G I R L P O O L We walked for 30 minutes to see Harmony Tividad and Avery Tucker of Girlpool. My shoulder hurt from my bag and I could feel my cheeks were already burning. We sat down in a small area of Space 24 Twenty, a venue for creatives of all kinds in Austin, Texas. Here to play South by Southwest, the two Los Angeles based musicians opened up about their experience as a duo.

They played two shows in Austin during SXSW, one at Space 24 Twenty and another at 3TEN Austin City Limits. Both spaces showcase larger artists such as Girlpool and this year Japanese Breakfast.

I talked with a lot of musicians while in Texas, but what stood out to me about Girlpool was their approach to the festival. To put it simply, the week is exhausting, especially for artists. Harmony and Avery had a different, more calm, approach to the chaos. “South By’s been amazing. It’s been a long and winding road for us,” Harmony said. “I feel like we’ve been taking it pretty easy compared to a lot of other people. We’ve been taking care of ourselves, focusing on that and playing our shows.

And that’s kind of been the intention.”

maturing and moving forward together The two are best friends, they were goofing off as soon as I arrived. They grew a lot since 2013 but one thing that’s remained a priority is their friendship and their connection with each other. “A lot of our relationship skills mainly come from this relationship because we had to learn how to come up against blocks between us and move closer to them with love,” Avery said honestly. Harmony chimed in about how far they’ve come and all things they got to do together. “There’ve been so many amazing moments together,” she said. “I remember in 2015 we sold out Scala in London, it was just the two of us. We were a two piece and like, 19 or 20. I mean, there’s been so many things since then, but that felt very surreal.”

Harmony and Avery concluded the interview by tumbling down a rabbit hole of inside jokes that I couldn’t keep up with.

When questioned about The Dare Issue they fell even further. “I feel like in my life, I can be ballsy,” Harmony laughed. The two continued to banter and I made my own deductions of what was daring about Girlpool: they are unequivocally themselves.

Intention is a big theme for Girlpool and their upcoming record, Forgiveness. The WRITTEN album has a different feel than previous projects, it’s vulnerable and deviates away from their punk rock sounds from earlier Girlpool. “It took a year to get focused and get it exactly the way that we wanted it,” Avery commented. “The album has a lot of different themes, but a lot of it has to do with reckoning with parts of ourselves that maybe aren’t serving us in the long run.” This album is a sign of the group 40 / EMMIE

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IZZI

BAVIS

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S O U R W I D O W S

When the members of Sour Widows were asked to describe their sound, the trio said that their music was slow, sunny, dark, dynamic, brooding, heavy and… spider web (?!) You’d just have to listen to their self-reflective EP Crossing Over and each of these mood descriptors would be proven true.

The band recorded the EP remotely during quarantine, a period when the Bay Area trio was patiently waiting to perform again at South By Southwest. “Coming to South By has long been this sort of holy grail at the end of COVID. [...] To be here now feels very full circle and feels really sweet,” said Susanna Thomson, one of the two guitarists and singers.

Sour Widows took the pandemic as a time to both grow as people and as musicians. This evolution is the one aspect the group is most proud of. In the words of Thomson: “We have been through so much as a group and as friends. And yeah, I feel really proud of the way we’ve moved through the difficult last couple years. [...] It feels like we’re not just little baby birds anymore.”

Alongside musical growth, the band found themselves with a growing fanbase during the pandemic. Fellow musicians like Babehoven deeply inspire the sound of the band. The deep connections they formed with both the scenes they are a part of, and their audience mimics the strong bonds of friendship that tie the trio together. Be it through Tesla owners blasting the band’s songs as they tail the drummer Max Edelman, or through the overwhelming wave of positive support the band gets on Twitter, it is clear that human connection is the driving force behind Sour Widows.

Before every live performance, the band hype themselves up by saying that they have to “defend every blade of grass.” This poetic quote once said by a sweaty football coach on primetime television helps set the tone for the band’s live performances. Thomson and fellow vocalist Maia Sinaiko seemingly command the room with their slowcore-influenced guitar syncopations. Edelman’s drumming transforms the somber storytelling songs into expansive ballads. And after those cathartic performances they sure as hell defend every single blade of grass in Austin.

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ARTHUR

MACHADO

I sat down with Alexandra Levy, otherwise known as Ada Lea, on a rare quiet morning amongst the general chaos that is South By Southwest.

Recently having come in to Austin all the way from Montréal, Canada, she shared this same qualm with me and made a point that her main priority of the week was to stay relaxed. We talked about creating and storytelling, art and poetry and the intersection of it all.

As a songwriter, musician, painter, and student, the art of creating is something that Levy holds close to her heart. When asked about her approach to and her goals with her art and music, she remarked that “the goal is to create:” To create without limits and without value judgements.

Levy is interested in pushing the bounds of art forms to find a sort of synthesis.

She spoke of an American poetry class she’s enrolled in and cited her admiration for the New York School of poets and their similar aim to transcend boundaries, describing the approach of poets like Frank O’Hara and John Ashbery as “trying to create a poem that is as much like a painting as possible.” As a person who has also always gravitated toward both art and writing, I think this concept stuck with me much in the same way as it has clearly stuck with Levy. This sublime quality blurring art and music certainly comes through in Ada Lea’s musical discography, and from the sound of it, this integration will only grow with time. Levy hinted toward a future, longer form and media-spanning project she hopes will come to fruition in the near future involving her passion for immersive storytelling.

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BY

MORGAN

DOOLEY

ADA

LEA

been about just being ready with more materials. So it was kind of our time to really go for it.” During that spring, they recorded their 2021 EP, Nastavi, Calliope. Following that release is Sunk, a more vulnerable look into Maya’s life and Babehoven’s artistry.

I saw Babehoven play their set at Cheer Up Charlie’s a few days after this interview. Seeing Maya and Ryan in action gave me a greater perspective on the duo. They are committed in a very earnest and collaborative way to each other and the Babehoven project. Sunk represents this commitment to each other but also allows them to reflect on issues in a safe space. “The inspiration of Sunk was in large part a processing of a lot of endings in my life and a lot of moments of growth that propelled me into being who I am,” Maya told me. As the breeze picked up she dove deeper. “A lot of the songs are about the decision making process of deciding to let go.” The EP is about saying goodbye to the things that cause you pain and understanding that even though it’s hard, you will be better in the long run. Ryan touched on his part in producing the EP. “Sunk was a natural extension of our communication style and I felt really comfortable behind the wheel and trying to record things a little bit more minimalist with more emphasis on simArriving to the Cherrywood neighborhood in Austin, Texas, I was exhausted plicity, but also still delivering an emotional punch.” and already sweating. It was mid-morning and I saw Ryan Albert sitting on the porch drinking coffee and recording Sunk to cassette. This was how I I was touched by Maya and Ryan and the way they met Babehoven, with the birds chirping and Austin just waking up. Maya Bon talked about their project. As the sun shifted we joined us and we all sipped coffee and commented on the beautiful foliage. moved to goodbyes and final thoughts. “It’s scary to write about family, you know, that’s daring,” Maya Coming all the way from Hudson, New York, Maya and Ryan were excited to said. “A lot of love focused music is about romanbe in Texas. “It’s really interesting and great for me and Maya to come further tic love versus familial love, and with familial love south,” Ryan remarked. “Everything’s blooming this morning. We smelled the you’re bound to in a lot of ways, and it’s, it’s scary.” soil on the ground for the first time in a long time. And it was just really sweet She went on to add that she felt proud of herself and really nice.” The two had a very peaceful and easy presence, which stayed and Babehoven. “I feel really proud of us and proud as we unpacked their musical career, inspirations and most recent EP, Sunk. of myself for doing it. And we also dare to play on stages in front of people, that’s really vulnerable.”

Maya talked about the way the pandemic influenced and catapulted the Babehoven project. “I feel like quarantine made us blossom in a lot of ways. And I feel Leaving the Cherrywood neighborhood I felt really grateful for it,” Maya said. She explained to me how the quarantine gave at peace. I put on my headphones and listhem the opportunity and time they needed to record, produce and explore a lot tened to Sunk one more time before the chaof what she had been working on. “I had a lot of songs already written and we os of SXSW continued and I was reminded to were able to record together with a lot more care and attention,” she said with a be gentle with myself and those around me. smile. Ryan explained the production side of their project. “What is the one thing BY IZZI BAVIS we can control? That’s recording,” he explained. “Babehoven has kind of always WRITTEN

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“If it’s not a fuck yes, it’s a no.”

I asked Mia Berrin, frontwoman of Pom Pom Squad, for a piece of advice to EMMIE readers, and without skipping a beat, that is what she told me. This is the kind of outspoken spirit that Pom Pom Squad is built upon.

I was able to catch Mia for an interview before one of her SXSW sets at Stubb’s, a music venue and barbeque joint in Austin, Texas. As I sat with Mia, both clad in our platform shoes, I thought I’d feel more out of place but her self-assured demeanor made me feel like I was right where I was supposed to be.

Empowerment and reclamation are key themes that run through the veins of Pom Pom Squad’s being, down to the very name itself. Mia reflected on her time in middle and high school, growing up in a place where she never felt she fit in. With Pom Pom Squad, she takes on this cheerleader persona to reclaim that space that her younger self was denied. “Cheerleaders seemed so powerful and untouchable. It was like the feminine ideal which I thought I could never live up to, so I think I chose the name kind of as a fuck you.”

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PO M PO M S QUA D “If it’s not a fuck yes, it’s a no.”——— I asked Mia Berrin, frontwoman of Pom Pom Squad, for a piece of advice to EMMIE readers, and without skipping a beat, that is what she told me. This is the kind of outspoken spirit that Pom Pom Squad is built upon.

explained an interesting dichotomy between being inspired by a piece of media and also recognizing that you’re completely left out of the picture. “I love that movie and I also realized that all of [the characters] are white and straight. I wanted to empower myself by putting myself in the picture frame of what I thought I couldn’t be…to put myself inside this story that I always loved and related to.”

I was able to catch Mia for an interview before one of her SXSW sets at Stubb’s, a music venue and barbeque joint in Austin, Texas. As I sat with Mia, both clad in our platform shoes, I thought I’d feel more out of place but her self-assured demeanor made me feel With Pom Pom Squad, Mia is not only maklike I was right where I was supposed to be. ing space for herself but for so many others out there like her younger self who feel lost Empowerment and reclamation are key and unrepresented in the place they’re in. themes that run through the veins of Pom Pom Squad’s being, down to the very name Looking ahead to the future of Pom Pom itself. Mia reflected on her time in middle Squad, I asked Mia whether or not she’d and high school, growing up in a place continue to take on the cheerleader persowhere she never felt she fit in. With Pom na that’s become so closely tied to the projPom Squad, she takes on this cheerlead- ect. “Well, I’m an adult,” she laughed, “I’m er character to reclaim that space that growing up and the project is growing up her younger self was denied. “Cheerlead- with it...I think that character’s always going ers seemed so powerful and untouch- to be a part of it but in a much less literal able. It was like the feminine ideal which I sense.” While the vivid cheerleader imagery thought I could never live up to, so I think might not live on forever, the spirited reclaI chose the name kind of as a fuck you.” mation it represents isn’t going anywhere.

As a queer person of color, the high school halls weren’t the only setting where Mia has WRITTEN felt out of place in life. She also explained the idea of feeling unrepresented in the media that she grew up with. I asked about her inspirations, particularly inquiring about her song “Lux” and its nod to The Virgin Suicides—a favorite movie of hers—and she

BY

MORGAN

DOOLEY

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I could tell that Cassandra Jenkins has an eye for detail when I met her at her AirBnB in Austin, Texas. Originally from Brooklyn but here for SXSW, the musician sat strumming her guitar in the afternoon heat before we settled into the interview. I wanted to ask her so many questions about her visual art career, her relationship with music and what it’s like at SXSW, but as we chatted the interview turned more into a conversation and I truly got to know Cassandra.

This was not Cassandra’s first SXSW, she had been four times prior with her own band and other bands. She told me that this time things were different. She remarked, “I think this year feels different. I think we’re all a little bit more grateful to be here. I think we take it less for granted. And I for one am very happy to travel, to play music in groups, to be doing my job again. Doing my life again this way. It feels great. I’m lucky, I get to play some stages I’ve never played before.”

CASSANDRA J E N K I N S

Curious about her process in performing and music creation, I asked her about the way visual art influenced her work. She went to college for visual art and told me that it is a mindset for her to create. “I have a very visual mind,” she started. “As simple as seeing the image of a space that I’m going to play in helps me visualize what that performance will be like and feel like and I definitely visualize it in my mind before it happens. And it helps me kind of focus. But I write a lot of my songs about experiences of seeing our art as well.” Visual art and music are intertwined for Cassandra and her most recent record, An Overview on Phenomenal Nature, she strives to create something beautiful.

The record feels very innocent but when I paid closer attention to the lyrics I found them to be incredibly moving. She told about what inspired the record. She said, “I was inspired by the people I was reading about. It’s very much a series of snapshots of conversations with individuals that I happen to meet because of where I happened to be at that moment in time.” It was a moment in time that brought out An Overview on Phenomenal Nature.

To wrap our time together, I asked about how Cassandra fits into The Dare Issue. She told me about her outlook on life and determination to vulnerability. “I’m trying to focus on daring myself to be really vulnerable, in non life threatening ways. So to be really vulnerable in conversation with the people that I love.”

We left the conversation and got some ice cream and I felt full with life and a newfound admiration for how musicians create something they are passionate about.

WRITTEN

BY

MORGAN

DOOLEY

I met Isabel Olive of Half Gringa at a lookout spot for the Colorado River. The temperature was perfect and we sat with the wind and talked about Isabel’s journey with music and her project, Half Gringa.

It was interesting to me how Isabel sort of fell into making music. She told me about going to college and studying poetry and how music was something she always did but never took seriously.

After she graduated from the University of Chicago, she realized that a lot of her poetry sounded like songs. “I started writing a lot of poetry that just felt very song-like,” she said. “I thought maybe I should try, just like on my own terms, privately, alone, making music.” And that she did.

By 2015, Isabel formed her first band that would later become Half Gringa, she wanted to be more intentional about her music and focus on her own identity. “I had also been starting to kind of think about my own identity, and growing up biculturally,” she explained. “When I found my feet performing live, I realized I wanted to be a little bit more intentional about what I’m writing about and who I am.” After taking time to reflect, she stepped back into the music scene as Half Gringa and ready to share her work.

This past fall Isabel shared a vulnerable record, Force to Reckon. It focuses on her identity and experiences in adulthood, and she told me that the Chicago music scene played a major role in its creation. “I’m really inspired by the people in the Chicago music scene honestly, like people that I play with,” she told me. “I think I’m always sort of writing and thinking a little bit about them and what they’re doing.” As someone who grew up just north of Chicago, my heart melted a bit.

H A L F G R I N G A

Her work on Force to Reckon helped Half Gringa get to SXSW, but this wasn’t the first time Isabel applied to SXSW. “We applied for South By in 2019 and we got waitlisted for the full band.

So we just went on a tour and did it unofficially,” she recounted. “This time we got it. It was awesome. I felt like I was more prepared this time. Like just having had that record that came out recently, I was able to sort of make a better case for myself for being able to perform.”

As we finished up at the Colorado River, Isabel left me with some parting words about her career. “It feels daring for me to just try to be as much of myself as possible and really show people the different facets of being bicultural,” she reflected. Her work is honest and after our brief conversation I felt like I understood her approach to music and life. She wants to be the most authentic version of herself and she uses her music as a vessel to explore all parts of herself. The Chicago scene is honored to have her and I look forward to future projects.

WRITTEN

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BY

IZZI

BAVIS

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In an era of music led by 808 drums, sampled triplet snares and Autotune vocals, Horsegirl showcases how rock n’ roll will never truly die. Banded together over their love for bands like My Bloody Valentine and Sonic Youth, the Chicago trio brings the sound of the past to the forefront of Gen-Z culture.

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Bringing back analog music amid the digital world is a priority for the band. The trio is set out to inspire a generation of young musicians, much like them, to pick up an instrument and jam out on their garage.

“Rock music has been very appealing to young people. I think it’s meant to be made for young The group, who recently added to the exclusive Mat- people [...] Hopefully people our age will feel that ador Records roster, was formed while their mem- way by seeing young people make this kind of mubers, Gigi Reece, Penelope Lowenstein and Nora sic and start their own bands,” said Lowenstein.

Cheng were still in high school. Even after all the recent (much deserved) critical acclaim the trio is get- The band’s debut album is expected to drop latting, their approach to songwriting remains the same. er this year and their schedules are completely booked with shows. The trio is also set to finish “Oftentimes, someone will have a very small their national tour and take over Europe in the part [...] we sort of improvise, or we’ll just sort summer. These performances are sure to inspire of visualize the aesthetic of the song together, a multitude of young people, and if their mission and then chip away at it until we feel satisfied,” is correct, these fans will follow Horsegirl’s steps said guitarist, bassist and singer Lowenstein. and dare to create incredible analog bangers.

The collaborative nature of the band is clear during WRITTEN their livesets. Lowenstein and Cheng flawlessly harmonize amid fuzzy shoegaze guitars. Their care-free attitude on stage is not that different from all the rockstars of the past they celebrate.

BY

ARTHUR

MACHADO

“We’ve been together because it is fun. It’s like no one else understands each other like we do. So. I think that maybe that is daring of us just to be trying to do it all and do a lot of it ourselves,” said drummer Reece.

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DO YOU

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WORDS by the EMMIE staff ART by Claire Wilcox

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Kate Bush is one of my favorite daring artists. Kate owns her unique voice, letting her passion shine through in full force in all of her vocals. A great example of this is her popular song “Babooshka” off of her album Never For Ever. Kate exhibits her wide vocal range, playing with the sound of her voice and adding sensual accents. Kate also shows her musical flare by adding eccentric, interesting textures and sounds that display an expert understanding of how to piece together a wide array of elements. My favorite example of this is in her song off of The Dreaming titled “Night of the Swallow.” This jig-like song incorporates so many gripping instruments, vocal sounds and fun rhythmic features. She knows how to create a complete, almost palpable atmosphere just like she does in “Deeper Understanding” off of her album The Sensual World. The chorus of this song has such an ethereal quality with multiple layers of vocals, deep percussion, and an active bassline. All around, I find Kate to be admirably bold in her choices and it makes her music very compelling!

JESSICA ROGOFF

I recently discovered the online phenomenon, “girl, interrupted syndrome.” If you’re unfamiliar with this trope, it’s essentially the idea that someone feels they are misunderstood and plagued by a torturous sadness. To feed this identity, they find solace in their favorite artists in the genre known as “sad girl indie” made up of singers like Mitski and Phoebe Bridgers, producers of music that quintessentially capture yearning, heartbreak and feelings of inadequacy. Fans then fuel the narrative that the curators within this genre are also tortured. These artists aren’t as one-dimensional as some would like to believe. They write of love, comfort and contentment too. What happens when these artists dare to go against their “sad girl” persona is what I truly find fascinating. In a recent Crack Magazine interview, Mitski stated, “Let’s retire the sad girl shtick, It’s..It’s over,” fundamentally telling her fans that this caricature they’ve created of her is one she no longer wants tied to her image.

By playing into this romanticization of “the sad girl” the internet has designated listening to these artists as somehow a “red flag,” tainting their art and legacies. Even worse, when these artists choose to write about something other than sadness they’re occasionally met with snarky comments and feelings of betrayal. Instead of using artists’ music to make spectacles of sadness, we could dare to challenge these clichés by choosing to find comfort within our shared dynamic emotions and ruminate about their happiness as well.

RORY STERLING

Demon Days, by Gorillaz is one of my favorite albums of all time. The album contains my favorite skateboarding song ever, “Dirty Harry;” “Feel Good Inc.,” which contains one of the best basslines in modern music; and “November Has Come,” which features a great verse from MF DOOM. This album pushes the envelope of what pop music can truly be, and it has aged extremely well. The album is, in a sense, daring. Do you know the story behind “DARE” by Gorillaz? When recording the song, the hook lyric “It’s Dare” was originally written as “It’s There.” However, the guest artist on the song, Shawn Ryder, is British, and pronounced the word “there” as “dare.” This mispronunciation turned the song into what it is today.

QUENTIN HOLLE 49 / EMMIE 11

This past summer, I found a box of cassettes while cleaning my basement. Each tape was labeled in messy handwriting, stacked between sheets of protective newspaper. The print read out tracklists and dedications. Each recorded song, none of which were his own, my dad had devoted to my mom. The tapes were cheesy, composed primarily of 1980’s ballads. But as a teen, organizing these songs for my mother was the best my dad could do to show her just deeply he loved her. As of this moment, I have 548 playlists on Spotify: a cataloged journal of every experience from the last seven years of my life. Scrolling through them is, frankly, embarrassing. My middle school emo phase. The month where I only listened to Kanye. How three years ago, I was hopelessly—desperately—in love. How two years ago, I was painfully—devastatingly —heartbroken. Nevertheless, the playlists all exist. Online. Anybody could find them, find me. Similar to the cassettes in my basement, they are testaments to emotion.

Some, gifts to those I love, others, a shout into the void of the universe. I believe that there is a dangerous, daring, vulnerability in playlists: creative, curated efforts formatting the art of others for others. It’s tagging lyrics that pull at your heartstrings, lines that unearth your very soul. It’s capturing crescendoing feelings, memories and flashbulb memories. It’s saying, “Here, I relate to these words. Here, I find this composition to be beautiful. Here, I think you need this feeling right now. Here, this is what I cannot find the courage to express myself.”

RIA DHINGRA

I believe that there is a dangerous, daring, vulnerability in playlists: creative, curated efforts formatting the art of others for others. It’s tagging lyrics that pull at your heartstrings, lines that unearth your very soul.

Lover by Taylor Swift is a great album, everyone is just mean and hates being happy. Now that I have your attention, put the pitchforks down and let me explain. Swift’s seventh studio album was under fire when it came out and some still love to hate it, however, if you listen past “Me!” and “You Need to Calm Down,” it is actually a pure work of art. From a hot summer fling to masked political statements, this album takes listeners on a journey; it has everything someone could ever want! If you need to convince someone of this album’s starpower, I suggest playing the “Cruel Summer” bridge and then hitting them with “Soon You’ll Get Better” for emotional whiplash. Finishing off their “swiftification” will be a breeze with “Daylight” and “Death By A Thousand Cuts.”

Although it is super fun to be a “sad music, crying in my bed” person, you may find it refreshing to bop along to some fun, sweet little tunes. Give it a listen–all the way through–and give it a chance. You just might thank me!

JILLIAN TURNER

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I’ve spent a while trying to figure out London-based artist and DJ Blane Muise, better known as Shygirl. Sure, her lyricism is daring in its assertive, bold sexuality and her sound is a hypermodern genre of its own, but I’ve always felt that there’s something even more compelling about her music. Adrenaline filled songs like “BB” or “NASTY” combine elements of house, hip-hop, and experimental electronic pop. Elements like the sampled horror movie scream in “UCKERS” and car crash sounds in “SIREN” perfectly combine with her almost-whispered vocals and badass lyrics. Her music videos transport you into a futuristic universe where Shygirl stealing your man is a doomsday-level threat. Shygirl isn’t trying to be edgy, though, she’s trying to be understood. The attention-grabbing cover art for her EP ALIAS is a flattened prosthetic Muise had made of her face as an introspective, unintentionally creepy creative experiment. Her work often explores duality and identity, crafting new personas and examining experiences through visceral sensations. The name “Shygirl” is both an ironic play on Muise’s confidence and a nod to her aversion to being accessible — her Twitter bio is “not trying to be approachable.” In her recent single, “Cleo,” she sings “I can play anybody, I can be your fantasy” over heavenly orchestral production and an infectious house beat. Even at her most commercially friendly, Shygirl is daring in her commitment to never remaining the same.

CALEIGH PARSONS

Shygirl isn’t trying to be edgy, though, she’s trying to be understood.

No one dares to break the rules quite like R&B artist Dua Saleh. Known more recently for their role as Cal on the Netflix Original Sex Education, the 25-year-old nonbinary artist Dua Saleh continues to be daring in both music and television. Saleh’s debut album Nūr invites listeners in with funky drum beats and experimental vocals that discuss their journey in everything from childhood refugee camps in Sudan to queer love in the United States. The style of Tierra Whack, their inspiration, resonates clearly through their work with playful melodies and hard-hitting verses. Their ability to create clever lyricism through complicated beats, whilst also telling a deeply personal story, exhibits Saleh’s ability and potential as an artist. Saleh expresses their daring style through their craftsmanship, using tracks like “smut” and “tic tic” to rap in both Arabic and Spanish. I love Saleh for this specific reason— their ability to be unapologetically themselves while also creating music that dares to defy genres is inspiring, and I cannot wait to hear what they create next.

SAFFRON MEARS

I love Saleh for this specific reason— their ability to be unapologetically themselves while also creating music that dares to defy genres is inspiring, and I cannot wait to hear what they create next.

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DOUBLE DARE DOUBLE DARE A PLAYLIST BY EMMIE STAFF

ART BY DOMINIC DORAIS BURT

FIGURE 8 — FKA TWIGS DO IT — KAYTRANADA MASOCHISM — SEGA BODEGA LEAVE ME ALONE — CIRCLE JERKS CHICAGO — FLIPTURN BABY BOY — KEVIN ABSTRACT SPIT — SHOW ME THE BODY FALL IN LOVE — GOLDLINK WASTED — TOMBERLIN KYOTO — YUNG LEAN RUNNING — SNOOPER WAITING ROOM — PHOEBE BRIDGERS

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FIGURE 8 — ELLIOTT SMITH DO IT — TUXEDO MASOCHISM — KY VÖSS LEAVE ME ALONE — NEW ORDER CHICAGO — SUFJAN STEVENS BABY BOY — CHILDISH GAMBINO SPIT — WARGASM (UK) FALL IN LOVE — ERYKAH BADU WASTED — TIESTO KYOTO — PHOEBE BRIDGERS RUNNING — MILKY CHANCE WAITING ROOM — TAYLOR JANZEN

DOUBLE DARE DOUBLE DARE ART BY DOMINIC DORAIS BURT

A PLAYLIST BY EMMIE STAFF

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MICHELLE by Maddie Wilson

ph o t o g a l l er y

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MICHELLE by Maddie Wilson

MICHELLE by Maddie Wilson

MICHELLE by Maddie Wilson

MICHELLE by Maddie Wilson

NNAMDI by Amany Khreis

NNAMDI by Amany Khreis

Black Midi by Amany Khreis

Black Midi by Amany Khreis

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Old Soul Society by Perri Moran

Old Soul Society by Perri Moran

Doc Robinson by Perri Moran

Doc Robinson by Perri Moran

Old Soul Society by Perri Moran

Chlo Baumbach by Perri Moran

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Natty Nation by Perri Moran

Natty Nation by Perri Moran

Natty Nation by Perri Moran

Natty Nation by Perri Moran

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READ MORE @ EMMIEMUSIC.COM

58 / EMMIE

THROUGH THE PUBLISHING OF OUR FOUR STUDENT-RUN JOURNALS AND MAGAZINES, THE PUBLICATIONS COMMITTEE OF THE WISCONSIN UNION DIRECTORATE PROVIDES A CREATIVE OUTLET FOR UW-MADISON STUDENTS INTERESTED IN CREATING POETRY AND PROSE, REPORTING ON MUSIC OR DELVING INTO FOOD AND TRAVEL. WE CELEBRATE CREATIVITY ON CAMPUS BY PROVIDING HANDS-ON EXPERIENCE IN PUBLISHING, EDITING, WRITING AND DESIGN.

SPECIAL WISCONSIN LIAM

THANKS UNION

TO:

PRESIDENT GRANLUND

PUBLICATIONS COMMITTEE DIRECTOR LAUREN DAMGAARD PUBLICATION ROBIN CREATIVE CHARLIE

COMMITTEE ASSOCIATE

ADVISOR SCHMOLDT

DIRECTOR HILDEBRAND

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THE DARE ISSUE.