Our track of the week is Hælos “Earth Not Above.” The London trio composed of Arthur Delaney (vocals), Dom Goldsmith (vocals, keys) and Lotti Benardout (vocals) are set to rock American waters with their new self-produced track “Earth Not Above,” their first official release on Matador Records. A methodic, seductively entrancing song, “Earth Not Above” evokes Massive Attack moods with light vocal harmonies and a soundscape fit for a Darren Aronofsky film.
Turn up your Tuesday with a psych-pop infused coffee break and watch the new video “Evil” from Avers. The Richmond-based rockers cry “Evil’s in the garden and nobody wants her…” Well, I want her. I am evil. Today, we are all evil. In burlesque masks and creepy (yet oddly seductive) clown costumes, guests dancing with chains, the six-piece group cranks up the amps and throws a party for all the freaks and monsters in their new video decked out with just the amount of creep. It’s the prom you always wanted, complete with lavish tongue kisses, and rather than fear teachers smelling the booze on your breathe all you’ve got to worry about is a possible apocalypse and the night ending with an orgy. “Dark echo rock” is the best-fitting label I’ve heard to describe these guys, couture if you will.
Meet Nashville-based Penicillin Baby. They recently released a new single ““Stick It Out.” These psych-pop rockers (Jon Tyler Conant, Charlie Davis, Taylor Lowrance, and Wesley Mitchell) describe themselves as “Space-Trash.” Listening to the single, one wonders if they are indeed from outer space, sifting through the Southern-infused surf rock vibes that burst with classic punk inclinations. Note: causing writers to wonder if you are space aliens is always a good thing; Earth is overrated. As Hesh told Christopher on The Sopranos, “Now that is a hit.”
XNY have been making classic, bluesy rock’n’roll in the tradition of the White Stripes since 2010. This Brooklyn band originally met at the Berklee School of Music in Boston, and like Jack and Meg, the two are a duo, but with reversed gender roles: Pam Autuori contributes sultry, smoky vocals and guitar over Jacob Schrieber’s drums. They released their debut album, Orange, in August 2013, and now they’re back with a new song, and an upcoming EP, Should I.
Body Language is a brooklyn-based electropop four-piece comprised of Matthew Young, Angelica Bess, Grant Wheeler and Ian Chang. They describe their genre as “Sex”, which indeed hits the nail on the head so to speak. However in their own defenses, one could also say that they make irresistibly dance-y glitch pop, that balances exquisite musicianship with catchy songwriting. Our girl Madison got to have a little chat post dance party with the gang, and discuss their fans, their tour, and how the glockenspiel is basically an indispensable musical instrument in the grand scheme of things. Here’s what went down.
Madison Bloom for Audiofemme: First off I just wanted to say: what a fun, kick ass show you guys played at Baby’s the other night! Good on ya! So, you’re about to head out on a massive tour of the West Coast. What cities are you most excited to get to?
Angelica Bess for Body Language: San Francisco is our second home. We plan to get rowdy and sell out this one coming up this Friday at the Bottom of the Hill.
MB: You guys have gotten a lot of well-earned positive press not just in the States, but in the UK as well; have you had a chance to tour overseas yet? If so, how did you find the audiences differed from those Stateside?
AB: It’s unfortunate we still haven’t been overseas yet. I feel like overseas is this pen pal that who we’ve writing back and forth to each other for years and have never actually met. Still waiting for that invite.
MB: When I was at your gig a few weeks back, I overheard a girl in the crowd asked her friend: “have you ever seen them before?!” to which her friend replied “no”. “Oh! You’re a virgin!” she said. Sounds like you guys have a pretty dedicated following. Any aspirations for pop-idolatry?
AB: Our life long fans honestly have turned into our best friends. We hang out with some of them after shows and always discover that they are also talented devoted individuals. I think we aspire to be more like that rather than idols.
MB: How did you come by the name Body Language? At first I thought, ‘that’s a damn well fitting name for an electropop outfit’. But then I wondered if it wasn’t a reference to Queen Kylie (Minogue)’s 2003 record of the same name…
AB: Matt came up with the name back in 2008 around when we first started. We had a weird name back then when we were playing underground local shows when we first moved to Brooklyn. Matt did some serious research to make sure it didn’t belong to anyone else. The name went well with the songs we were writing so we had to keep it!
MB: Angelica, I’m actively not mentioning that you are a glockenspiel guru, and instead will state that you are a vocalist guru. In fact, I think you’re all guru-like considering your respective instruments. How did each of you gravitate towards particular instruments and/or music in general?
AB: Singing was always something that was engrained in me even though I never knew I had the talent. Grant and Matt pretty much squeezed it out of me and have me something easy to sing along with since we already had two keyboards. The glock complimented almost all the songs we were performing and I quickly developed playing it. It’s basically my back up singer. I’m so in love with all instruments that I can’t decide which ones to focus on. I’m now working on playing bass and drums.
MB: I noticed at the show that there was a very distinct line bisecting the audience-those who dance, and those who do not dance. I’ve heard that New York is not the dancyist city there is, and I’ve been in denial for years, but it might just be true. What, in your experience, is the dancyist city, and how the hell can we make New York more dancy?
AB: New York City dances but we are very particular. We’re not just going to get down to old thing. We’re too experienced for that and we party late and all night so we gotta pick and choose our battles.
MB: Body Language seems to exist in this “in-between space” in music, not only sonically, but also formally; you play dance music but you’re so clearly a group of real musicians as opposed to mere sample alchemists. How does your songwriting process work in that in-between space? Are you all contributing hooks on different recording tracks, songwriting live in a practice space? How do you do it?
AB: Matt and Grant are the producers but they’re also jazz-trained musicians. They both have conquered the process of musical production. They send me instrumentals and I write hooks, lyrics, melodies. When we are ready to perform the songs we all come together with Ian to write the song in a live element.
MB: Your lyrics have a lot more depth than those found in most contemporary dance music. You don’t seem to be singing about scarfing Molly and partying, but real emotions from real life. What do you find informs your lyrics the most?
AB: Mostly the ups and downs of relationships. Crossing bridges, burning bridges, etc
MB: From what I’ve read, you are all highly collaborative and everyone takes part in crafting each song. Do you guys function this way only on a professional level, or are you kind of a family?
AB: Both. We’ve known each other for years and years since we were in college so we are basically a family. But when it comes business and song writing we get pretty professional giving each other space and time to contribute to writing the song.
MB: So you have 2011’s Social Studies and current release Grammar. I can’t help but notice the school subject trend…any particular story behind these names?
AB: It’s related to growing up, immaturity, and moving on to the next grade in life. We’re still growing up, learning about life and ourselves.
MB: This is a bit of an odd question…but have you guys heard the song “Rip it Up” by Orange Juice? I think you’d really like it! Killer bass keyboard hook!
Before Jana Hunter became the woman behind the Baltimore-based Lower Dens, she was a solo singer-songwriter from Houston, TX. After releasing her 2005 debut Blank Unstaring Heirs of Doom and two follow-up albums through Devendra Banhart’s label, she started her current dreamy, psychedelic project. We talked to her about the band’s latest video, their upcoming album, and got some advice for shy musicians.
Escape From Evil, the band’s third release, comes out March 31.
AF: I read that you’ve coached at the Girls Rock camp in your hometown, Houston. Did teaching kids about music give you any creative insights?
JH: Definitely. That was one of the better experiences I’ve had as a musician, and as an adult. You want to teach them something about their instrument, but the most important thing to focus on is not being so afraid about impressing other people, or perfecting their craft, and to remember to have a good time. And kids, once they see that is a possibility, they’re quick to embrace it, and that is really refreshing to be around… kids can really throw themselves into something and lose their sense of self-awareness that prohibits them from enjoying and developing their creativity. That was really cool and I feel like I learned way more from them than they possibly could’ve learned from me.
AF: I think sometimes girls, especially, need that push of self-confidence from a mentor.
JH: Yeah, and they said as much. Throughout the week we were working with them on a little video documentary and they would say, ‘This environment helps me feel like it’s ok for me to do whatever I want.’ I imagine that had something to do with being around a lot of women, and people who were not… um… men (laughs). And not having to worry about impressing boys or anything like that.
AF: Did you take music lessons when you were young?
JH: Yeah, I started playing when I was eight or nine. My first instrument was the recorder, which I played in music class in elementary school. Then I switched to violin. I still play it, I just don’t take lessons or anything anymore. But yeah, I did a pretty rigorous study of music.
AF: The music video for “To Die In L.A.” was great, and the timing of its release- a week or so before the Oscars- seemed perfect. Was that intentional?
JH: No, I didn’t think about that at all, until I saw in our Twitter mentions a Spanish publication said something about that. That’s amazing, that we didn’t think about that at all. I wish we had. And obviously, everyone wants to know what Lower Dens thinks about the Oscars…(laughs) you know, here you go, burning social commentary.
AF: You make an appearance in that video. Is being on camera fun, or does it get tedious?
JH: I loved making that video, but there have been others that were decidedly more difficult, but this one was worth every minute of it. I think that crew was amazing, and [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][director Cody Critcheloe] is amazing.
AF: Lower Dens is starting a tour in March, correct?
JH: Right, yeah. We start touring fairly soon, but we haven’t played any shows together in a long time.
AF: Are there any favorite cities you enjoy visiting on tour?
JH: Baltimore is a place that treats local performers really well. In some towns it’s hard to get people to shows if you’re from the town. But Baltimore, for whatever reason, playing for those people is like playing for your family. People are very enthusiastic when they come to your shows; they’re also not necessarily going to hide from you when they’re not enthusiastic about what you’re doing. You have to face that honesty… There are very few places that I don’t like. If there’s one person there that’s interested in hearing you, then it’s worth it to go play there and it can be a fun and exciting time.
AF: Are there any artists or records you’ve been stuck on lately?
JH: Yeah. I did a review of Future Brown. They’re producers. They all have their own individual projects, but they got together to make a record. I was psyched about them anyway and I got to review their record for Talkhouse. I’ve listened to it definitely more than any other new record and I love it. I think it’s brilliant on a lot of levels.
AF: Do you spend a lot of time writing?
JH: I was doing more last year. This is, like, my fourth review for Talkhouse. I haven’t had as much time and I’ve also been wanting to read a lot more lately.
AF: What are you reading right now?
JH: “Escape from Evil,” which is the book we titled our record after.
AF: Speaking of your new record, what was your approach to writing new material for Escape From Evil?
JH: It’s changed for me over the years. When I was really young, the only way I really liked to write music was to walk around, or ride around on my bike, and sing to myself, come up with things spur of the moment and then match them with arrangements later. When Lower Dens started I was writing guitar loops and making up words with them at the same time, so more or less spontaneous writing. But after being in Lower Dens for a few years, we settled into an ensemble approach to a lot of things we do. We decided to write this record collaboratively. The initial step was getting together with the band, and writing instrumental stuff. I hadn’t done that with a whole group of people, and it was difficult to navigate the process at the beginning, but I think the record is a lot better for it. It’s complex in a way I wouldn’t have been able to achieve myself.
AF: When Lower Dens isn’t recording or touring, do you guys hang out, or are you sick of each other after working so closely?
JH: I think at the end of a long tour, yeah. But it’s not so much we’re sick of each other, that we miss the other people in our lives. But we’re friends, we’re all very close. We don’t have a purely working relationship. It’s easier for me to understand now why bands break up, why they can’t make music anymore than when I was a kid, and I hated people for doing that.
AF: I was looking at your recent profile in Vogue, and they described you as shy. Do you have any advice for artists who are trying to get over their shyness?
JH: Just that it takes time. What takes time is developing methods that allow you to communicate with people in a way you can showcase your vulnerabilities in a way that becomes a strength, and you don’t judge yourself for the things you’ve revealed to people. You will inevitably feel as though you’re fucking up and revealing too much. But eventually it becomes easier. Nobody ever told me that, it’s just that I went on tour, and I was miserable until I figured that out. It was just the repeated conversations nightly with people I’d never met before that made me feel comfortable being- not necessarily more of myself, but learning to present a version of myself that I felt comfortable sharing with people. And learning that I can show shades of myself instead of my entire self.
Kat Solar, aka Katrina Connor from Detroit, is a pop artist putting her drama background to work, whether it’s performing cabaret-like routines with a full cast of dancers or shooting ambitiously choreographed music videos. Since her last album Snake Eyes, the performer has been working on a different class of new material, which she calls dance-inspired songs that explore “love and all its myriad possibilities.” Her new single from the upcoming album Infinity is sparkly pop meets EDM, full of theatrical anthems and catchy beats. Check out “Infinity” below!
Fingerpicking patterns and Chicagoan Ryley Walker’s slightly mumbled, yet melodic and crouched angelic voice make for his latest premiere, “Sweet Satisfaction.” By way of Dead Oceans, listen to the some of the most amazing guitar work fleshed into a little over six minutes. His rarity is artfully shown in the new track, crafting together his different melodies. He can obviously jam out too, then whelping out towards the last minute, before he ends—whigging and fast percussion.
You can catch all this live March 15 at Baby’s All Right, right here in Brooklyn.
We will be awaiting for his sophomore installment, Primrose Green, on March 31.
“Spirit might give you a grand vision – like a spiritual carrot for you to chase,” says Santiparro. “It leads you onto a straighter path, to the people who will pass on good and useful teachings for your life.” Santiparro means “the lens that sees many things not usually seen.” Alan Scheurman earned the name during a 2010 pilgrimage with a Wixatari (Huichol) family to Wirikuta, the sacred desert where Peyote originates. Originally from Detroit, his debut album True Prayer is the result of such useful teachings he has sought from elders such as Maestro Manuel Fufino, his teacher at Brooklyn’s Golden Drum. The album featured collaborations with guests such as Will Oldham (Bonnie ‘Prince’ Billy), Kyp Malone (TV On The Radio), Adam Wills (Bear In Heaven), Melati Malay (Young Magic) and Ben Bromley (NewVillager).
We spoke to Santiparro about his debut album, cosmic meetings, and and ayahuasca ikaros.
AudioFemme: The debut album features collaborations from a lot of great artists – how did they come about?
Santiparro: Well, they’re all friends of mine. I recorded the second half of the record in the house where Young Magic lives and records. Adam Wills and I have been attending spiritual ceremonies together for years. There’s already been a history of collaboration with Kyp and I. I didn’t know Will that long before we worked together. I first met him in a dream while finishing up a plant diet in Peru. Two days later I went to his show in NYC and gave him some Palo Santo. It was a really brief but deeply cosmic meeting. He asked me if I was releasing any new music, as a mutual friend had already turned him onto my previous band Ka. I said that I was considering it, and he looked me in the eye and said something like, ‘You should be recording music, and releasing it prolifically.” So, needless to say, it lit a fire under me.
AF: The album invokes a lot of personal spiritual questions – will you brief me on your spiritual awakening?
S: Well, we awaken a little bit sometimes from the amnesia of life. Spirit might give you a grand vision – like a spiritual carrot for you to chase. It leads you onto a straighter path, to the people who will pass on good and useful teachings for your life. This happens to everyone eventually, in this life or in another. So it’s nothing new. I’m just another seeker following my path, fortunate enough to have the wisdom of elders guiding the way.
AF: How did you get turned on to music? Who are your biggest influences?
S: My dad played guitar and sang while I was in the womb. That’s the same guitar I play today. Artists that really made an impact on me in my youth were Paul Simon, James Brown, Black Sabbath, Led Zeppelin. All those guys have high voices, like mine. The past few years I’ve listened to a lot of drone music, African guitar music, native chants, and ayahuasca ikaros.
AF: A lot of effort went into producing this album, how does it feel now that it is finally being released?
S: It feels like i’m crossing a threshold but I know it’s only the beginning.
AF: Fun fact – I live a few blocks away from the Golden Drum and have attended many events there. How did you become involved in that community?
S: Brooke Gillespie, Matt Canale, and I once rolled a ceremonial tobacco and prayed with it together. The intention was to build exactly what Golden Drum has become. We went to Maestro Manuel Rufino with the vision which he also shared. He helped make it a reality as other students of his came to help with every single thing that was needed.
AF: What do you like best about community living?
S: I no longer live in community in the way that I did at Golden Drum for five years. It’s not all sunshine and rainbows. The purpose of living that way is to learn about your self, to heal, and to overcome your negative projections. A community is a hall of mirrors – a place to train yourself to handle life’s obstacles.
AF: Tell me about how Maestro Manuel Fufino impacted your life (and as a result, this album).
S: He saw in me from the beginning what I was meant to do and he challenged me through a process of initiation. He still challenges me, and will for the rest of my life. He’s a trickster and is very wise. His prayers and blessings have led me to many very profound meetings and realizations. Many of the lyrics are reflections of the teachings imparted through his vessel.
AF: You’re about to embark on a tour; does tour life suit you?
S: I have always been a man of the road.
AF: Do you ever get back to Detroit or feel any connections still to the city? Where do you consider to be “home?”
S: I go to Detroit about once a month to pass on the teachings that have been imparted to me by the elders. There’s a spiritual study group I work with there. They’re growing a lot. It’s very rewarding. I live in the catskills now. I love it there. But we are putting our things into storage for this tour, as we go to Peru right after. At the moment my home is the open road. My wife and I are using this tour to help gage where we’d like to really plant roots.
AF: And I’m curious, what is your favorite meal of all time?
We’ve learned from Can’t Love that the Detroit-based triad, Turn To Crime, can make even muffled white noise into a rhythmic invention. They’re back with a new single from their upcoming album, Actions (out on April 28). “Prince of Slackers” embodies that similar darker electro-kooky, unconventional sound we love getting a high from. It is nothing short of their staple gravely vocals, Derek Stanton, Ian Saylor and Dorian Foerg put together the album under their frontman’s Mugg & Bopp Records. With the guys having released their debut less than a year ago, it’s clear they aren’t slowing down anytime soon. Check out the new single below.
A precursor to SXSW, Savannah Stopover takes place March 5-7 in downtown Savannah, a haunting and iconic boutique neighborhood. As far as music getaway’s go, we couldn’t be more stoked to attend the 5th incarnation of Savannah Stopover. Check back for full festival coverage as it unfolds, and make sure to follow AudioFemme on Instagram and Twitter as we abandon the brutal Brooklyn weather for warmer scenery with one fantastic soundtrack. We’re still anxiously plotting our schedules to see how we’re going to catch as many acts, including some featured local bands, as possible, but here are five that we’re sure to see.
The Chicago-based folk artist Ryley Walker has been causing the music scene to bat their eyelashes. We can’t wait to tap our feet to these tunes in agreement. His sophomore release Primrose Green, the follow-up to the well-received full-length debutcomes out next month. Rambling and soulful, inspired both by jazz and noise music, the 25-year-old creates a collage of the Chicago music network to come up with a sound that’s wholly his own.
We’re going to want a front and center spot for Brooklyn’s Fort Lean. The vastness of their sound can surprise you they’re from Brooklyn, as if the city is too crowded to produce such chill expressions. Play into type, grab a craft beer, and see if you can fight through the seduction to stick around for the late-night shows rather than back to your motel room with a lover after listening to these dreamers.
Amythyst Kiah and Her Chest of Glass Saturday, March 7 5:00pm
Friday, March 6 7:00pm (solo show)
Tennessee singer-songwriter and roots artist Amythyst Kiah is joined with friends Her Chest of Glass for the ultimate Saturday afternoon cocktail hour time slot. “Gothic Southern Folk” is about the most exciting mix mash of adjectives I’ve ever seen to describe music, in researching artists Mythyst has to be one we’re most thrilled for (not to mention she’s got killer style).
Parlour Tricks Saturday, March 7 7:00pm
Parlour Tricks have made the AudioFemme front page before, and this editor thanks her lucky stars (as Parlour Tricks might say) to see how the New York City pop rockers translate their buzzed-about stage presence to serene Savannah.
Saturday, March 7 12:00am
After you’ve shaken off any visuals invoked by their name, Nashville’s Diarrhea Planet are downright delightful. The punk rockers promise to deliver the climax of the festival with their Saturday late-night time slot. With bold vocals, wild lyrics, and grimy guitars, we’re sure to get sweaty for this one.
Generationals, Southern Culture On The Skids, San Fermin, ASTR, Matthew E. White, Computer Magic, Diarrhea Planet, Reptar, All Them Witches, French Horn Rebellion, Donald Cumming (of The Virgins), Dumpstaphunk, Parlour Tricks, Hiss Golden Messenger, Heavenly Beat, Gap Dream, Rocco DeLuca, Lee Bains III & The Glory Fires, ISHI, Bombadil, Rose Quartz, Family and Friends, Capsula, Tall Tall Trees, Born Cages, Beach Day, Fat Tony, Horse Thief, Fly Golden Eagle, Mothxr, Young Buffalo, Jack + Eliza, SALES, Mainland, Christopher Paul Stelling, Clear Plastic Masks, Ryley Walker, Buxton, Fort Lean, Corners, PitchBlak Brass Band, Cobalt Cranes, Alanna Royale, Baby Bee, Lilly Hiatt, this mountain, Dreamers, Reputante, Caleb Caudle, Axxa/Abraxas, Suburban Living, Avers, Amythyst Kiah + Her Chest of Glass, Adia Victoria, Margo and the Pricetags, The Prettiots, Guthrie Brown & The Family Tree, ELEL, Grounders, BLKKATHY, Blank Range, White Violet, What Moon Things, Fire Mountain, Emilyn Brodsky, Needle Points, Lace Curtains, Music Band, Las Rosas, Semicircle, Ruby the RabbitFoot, Little Racer, Bedroom, Grand Vapids, Bond St. District, 100 Watt Horse, Cusses, Triathalon, Velvet Caravan, Damon & The Shitkickers, Penicillin Baby, Wet Socks, Crazy Bag Lady, Sunglow, Coeds, Wave Slaves, Beneath Trees, Paving Gravy, Nightingale News, Saint Corsair, A.M. Rodriguez, Boy Harsher, Blackrune, Black Water Choir, Heavy Boots
With a name inspired by a Kafka story, it makes sense The Harrow would be well-spoken. Yet even with the bar set high the mysterious Brooklyn coldwave/post-punk band impressed with their bewitchingly intelligent interview. The Harrow is Vanessa Irena (vocals, synth, programming), Frank Deserto (bass, synth, machines), Barrett Hiatt (synth, programming) and Greg Fasolino (guitar). They are currently working on an upcoming LP that we’re already gnawing to hear. I spoke with our Artist of the Month about gothic art, nerdy influences, and selectivity of gigs.
AudioFemme: How did you guys meet and form a band?
Barrett: We all seemed to have traveled in the same circles for some years, and it seemed like it was only a matter of time for this band to come to fruition. Frank and I became close friends during our previous band, and we had shared stages with Greg’s previous band as well. Vanessa and Frank met through their respective DJ gigs, and the timing just felt right. Frank had some demos kicking around, I jumped in and we started fleshing things out. We then invited Greg to add his signature sound, and Vanessa was the perfect last piece to the puzzle.
AF: Who do you look up to as musical inspirations?
Frank: As far as sound is concerned, bands like Cindytalk, And Also the Trees, Breathless, Cranes, For Against, and of course, The Cure and Cocteau Twins are hugely inspirational, as well as most of the players in the French coldwave and early 4AD movement. Belgian new beat and ’90s electronica have been influences that I’m not quite sure have fully manifested yet, but are definitely something I’d love to explore further in the coming years.
Greg: For me, the 4AD sonic universe is definitely a place we all intersect and Cocteau Twins are the ultimate touchstone. As a musician, I am particularly influenced by classic ’80s post-punk bands like The Chameleons, Comsat Angels, Banshees, Bunnymen, Sad Lovers & Giants, and The Sound, as well as ’90s genres like shoegaze (Slowdive, Pale Saints, MBV), trip-hop (Massive Attack, Portishead), and alt-rock (Smashing Pumpkins, Suede, Radiohead, Jeff Buckley). Lately I am very inspired by a lot of modern neo-shoegaze bands, who seem to be carrying the torch for dreamy, effects-heavy music now that much of the post-punk revival has dissipated, as well as more atmospheric metal stuff like Agalloch and Deftones/Crosses and creative, hard-to-categorize bands like HTRK and Braids.
B: I’m not sure if I can get through an interview without mentioning Trent Reznor, but he has always inspired me, through his recording methods as well as his choice of collaboration, and just his general attitude towards music. Of course: David Bowie, Chris Corner, Depeche Mode, Massive Attack, The Cure. I do have a tendency to lean on bands from the ’80s.
Vanessa: I’m a huge fan of Karin Dreijer Andersson (Fever Ray, The Knife) and Elizabeth Bernholz (Gazelle Twin). These days I’m mostly listening to techno and textural stuff (Ancient Methods, Klara Lewis, Vatican Shadow, Function, Profligate, OAKE, Adam X, Mondkopf, etc.).
AF: What about other artists: poets, painters, writers – who else has influenced your sound?
F: Literary influences are as important to me as musical influences. There’s the obvious surrealist and nightmarish nods to Kafka, but other authors such as Isak Dinesen, Robert Aickman, Albert Camus, Charles Baudelaire, and William Blake have inspired the lyrics I’ve written for the band, some more directly than others. As for art, the same applies; Francis Bacon seems almost too obvious to mention, but his work is incredibly moving. Francisco De Goya as well. I’m also drawn heavily to bleak, medieval religious art, usually depicting the crueler aspects of Christianity. Perhaps a bit cliché as far as gothic influences are concerned, but lots of imagery to draw upon.
B: David Lynch, John Carpenter, Jim Jarmusch, Anton Corbijn, just to name a few. These guys paint wonderful pictures through film, and I always find it very inspiring.
V: Frank and I have pretty similar tastes in art, so I definitely agree with him on the above, but I think it’s worth mentioning that we’re also all a bunch of huge fucking nerds. I’m not ashamed to admit that lyrical inspiration for me can come just as easily from The Wheel of Time or an episode of Star Trek: TNG as it does from Artaud.
AF: What do you credit to be your muse?
F: My bandmates.
G: Posterity.
V: My shitty life/Being a woman.
B: Dreaming.
AF: Blogs love labels, but how would you describe your music?
F: I don’t ever attest to reinventing the wheel. We all draw from different influences and I mostly consider our sound to be a blend of shoegaze/dream pop, 4AD, and early ’80s post-punk vibes. We generally err on the dreamier side but have no qualms with getting aggressive if the mood calls for it. At this point in the game, creating a new sound is out of the question, but our varied tastes and interests have led to some cross-pollination of genres that hopefully proves to be interesting amidst dozens of modern bands operating in a similar medium.
B: I’m still trying to get a little saxophone in there.
AF: Will you speak to the darker element of your style?
F: Operating in this medium is less of a conscious choice for me than it is a catharsis. Therapy in a sense – a method of expressing otherwise unpleasant thoughts and feelings to make something creative, rather than letting my shadow side consume me.
B: Darkness is way more interesting. And real.
AF: If you could collaborate with any artist, who would it be?
F: At this point, the idea of collaborating with someone famous is an overwhelming thought. Sorry for the cop out, but I can say that we’re looking forward to some collaborations from some of our peers, both original and in remix form. More on this as it develops!
B: Sorry Frank, but I’m going with Pee-Wee Herman.
AF: Will you tell me about your current LP you’re working on?
F: We spent the majority of 2014 hunkering down and working on the record. We recorded Silhouettes in piecemeal form over the course of the year, layering synths and guitars and drums as they fell into place. The record is currently in the can and is being mixed as we speak by the uber-talented Xavier Paradis, and will hopefully see release this fall via aufnahme + wiedergabe.
AF: How does it differentiate from previous work?
F: The new record is incredibly diverse – there are ambient segues, the occasional industrial/hip-hop hybrids, and plenty of other eclectic sounds to go around. There are more complex rhythms that are the result of Vanessa and Barrett’s superior drum programming talents, for starters. We also took turns writing lyrics this time around, with Barrett, Vanessa, and I all contributing. It’s truly The Harrow as it’s meant to be – a band hitting their stride as a full working unit with equal love and collaboration driving us.
AF: Can we expect any live shows for you in the future?
B: While we enjoy playing live from time to time, it isn’t the primary focus of the band. We are at points in our lives where making the music is more important and rewarding in and of itself than performing it on stage. Our goal with the band leans much more toward the creative side. When we do play though, we want to make sure it is an event, and something to look forward to, not just the typical four random bands on a Tuesday night thing.
Raindear is the Swedish indie-electro artist 25-year-old Rebecca Bergcrantz. With dark purple lipstick, a septum piercing, and hair so fine someone would steal it to make extensions, the artist transcends her personal style through music and visual aesthetics to create a fairy tale with a perfect built-in soundtrack. We’ve seen a lot of this particular genre of music emerge from her homeland, so to say that she’s caught our attention isn’t so much jumping on the bandwagon, but rather finding someone who sticks out of the herd. “Veins” (WTNSS Remix) is a moodier take on the original, a well-tied version of lumbering bass sewn with joyful synths, all decked-out with her enchanting voice.
The title of Hailey Wojcik‘s single “XO Skeleton” presents an excellent opportunity to examine the artist as a whole. It’s cute yet creepy, with a wink of charm that rightly earned her the description “the Wednesday Addams of her genre,” a characterization I wish I had come up with myself. Currently on tour with the Shondes, On March 3rd Hailey releases her upcoming EP Book of Beasts. The singer-songwriter described the five-track work as a “feminist album,” an empowering step in her career. She recorded the EP after a traumatic break-up, fleeing the country, then reclaiming her voice with the help of one of her best friends, fellow singer-songwriter Julie Peel. The result is a bold yet intimate look into a enchantingly wild mind. Hailey describes crushing a moth into powder in “XO Skeleton,” which has a clever music video chock-full of insects to accompany. As for all the animal references, after all, Hailey was raised by zookeepers.
Of all her musical skills, her song-writing talents shine the brightest on Book of Beasts. Her songs draw on raw experience, and always come across original and darkly amusing, like smoking a lover to the filter in “Cigarette.”
I caught up with Hailey on the road to talk about growing up with zookeepers, inspirational friendship, and thrift store clothing.
AF: Do you enjoy life on the road?
HW: Yeah, well this will be the longest tour I’ve ever done so I guess we’ll see. But I really do like being on the road and traveling. It’s good to be moving. It’s just nice to have a change of scenery.
AF: Any cities in particular you’re looking forward to visiting?
HW: I’m glad we’re going to several warm places. I have never been to the Pacific Northwest, and we’re going to Seattle and Portland and I’m very excited to see those places. Portlandia.
AF: What is the inspiration behind the songs that are coming out?
HW: The record is called Book of Beasts. I feel like I always, not intentionally, but have some kind of animal theme. My parents were zookeepers, and we’ve always had a lot of animals around. They’re mostly about, well some of them do deal with animals like “XO Skeleton” and “Dog Vs. Man,” so I guess I should say that it does inform the content. I’m a singer-songwriter who writes about my own life. Some people sort of look down upon “confessional songwriting” but that’s pretty much what I do. It’s mostly based on my life and experience, and I recorded it myself. This is the first time that I’ve done that, that I’ve engineered everything, and I played everything except for the drums, which were played wonderfully by Brian Viglione of The Dresden Dolls. He’s obviously a genius, and I’m super happy to have a drummer on this. But yeah, everything else was me.
It was recorded in the wake of a traumatic breakup. I had fled the country sort of impulsively, and was in France to see one of my best friends, Julie Peel who is also a singer-songwriter. She has a studio set up in her room, it kind of felt like an empowering thing for me. And really like a record that’s about self-reliance and female friendship. She was the one who encouraged me and told me I could do it. I had gone a year without playing a show. I hadn’t recorded, I hadn’t done anything, I was really depressed. She was like, ‘You can just figure out how to use logic, and you can do this in your bedroom.’ I’ve never made something without a bunch of dudes, not that they were trying…I’ve just never been navigating the entire thing. That was really important to me. It feels like a feminist record in that sense.
AF: What was it like growing up with zookeepers for parents and how did you discover music as a child?
HW: Until I was in about fourth grade my parents were both zookeepers, and I would go to the zoo like pretty much every weekend. Then after that my dad continued to work with animals in another educational program where he would take animals around. We had monkeys sometime in the house, we had a beaver, dogs, birds, snakes, all over the place. I started writing…I still kind of consider myself more of a songwriter. That’s the thing I identify the most with. So I started trying to write songs when I was in like 7th grade or something like that. I moved to New York to kind of pursue music a few years ago. I’m not there now, I would like to go back at some point but I’m trying to just be on the road as much as possible.
AF: There’s been a lot of commentary on the darkness in your music.
HW: I really identify with dark subject matters mixed with humor. Dark humor, I guess. I think that kind of shows in some of my stuff, like the video I made for the song “XO Skeleton.” I had insects that a lot of people are grossed out by moving around in a cute sort of way. Like jittery stop motion. I like to do stuff like that, I’ll have fake blood incorporated into videos and photo shoots as much as possible. The biggest compliment in the press I got is that was called ‘The Wednesday Addams’ of my genre. I identify with my inner-goth girl. She’s still there even though I don’t always look it on the outside.
AF: How would you describe your personal look?
HW: I do like things that are dark I guess. A dark wardrobe. Right now it’s so crappy because it’s so cold out; I feel like it’s the worst time of year for clothing. But yeah, I think I kind of have a little bit of a darkness. I like a lot of black clothes, and I obviously, well, music’s not particularly lucrative so a lot of my stuff is second hand.
AF: If you could collaborate with anyone, who would it be?
HW: So many people, but I love, I feel like everybody loves this person but I love John Darnielle of the Mountain Goats. Doing anything with him would be a dream. But I also love St. Vincent.
AF: Where would you see yourself if you weren’t working in music?
HW: Living under a bridge? That’s like the quarter-life crisis question, because music is not totally secure I guess. I would like to think I would be involved in writing in some capacity. I went to school for creative writing and that’s sort of have thought about trying to get things published. Short stories, non-fiction. I feel like I would be doing something writing related.
CaveofswordS is a dreampop project based out of St. Louis, led by vocalist Sunyatta McDermott. They released their lead single, “Lately” today, off of their forthcoming album, Sigils due out on 3/10. Dark and atmospheric, McDermott’s vocals are simultaneously breathy and soaring, accompanying an elegantly dreamy, sinister minor melodic synth and electric guitar. Within the track, there are nods to both 80s new wave and late 90s pop rock thanks to the seamless blend of infectious electronic drums and McDermott’s vocal prowess, underpinned by a grittier guitar line than we’re used to hearing in this brand of electro.
We’re super excited to hear what CaveofswordS has in store for us with their upcoming full length; in the meantime, check out our premiere off “Lately” here via Soundcloud.
Dig the fresh dirt and check out the music video for Chelan‘s “Before It All.” The new video is the first off the Californian electro-pop duo’s new LP Equal Under Pressure via Echo Phono. The video amps you up from the first frame with celebrating beats over harmonic vocals framed with kaleidoscope camera work.
Chelan is composed of Jen Grady and Justin Hosford. Most of what you hear was created in Hosford’s studio in the high mojave desert, which explains the terrific trippy nature cinematography, as does learning that Hosford composes films scores while Grady teaches classical music. Joining the energies of a classical background and a knack for the video world allows the two to create videos such as this, that allow you to see all that their music makes you feel.
Lyrically, the song focuses on modern relationship struggles, and other sorts of anxieties that come with being a 2015 human. Some warped problems for the emotional human of today, and Chelan presents them beautifully in this video with delightfully warped shots to chill your eyeballs on as your heart enjoys the music.
Brooklyn-based Electropop project, Syvia, is releasing a stunning debut full length album titled FWD, that seamlessly weaves together darker Nordic rock traditions with airy east coast dance vibes. While the band is a traditional four-piece, comprised of Norwegian-American vocalist Ruth Mirsky, Frank Banisi (guitar), Sheldon Chow (bass/synth) and Richard Moyle Jr. (drums), and while the music they produce possesses classic rock underpinnings, there are also darker, more insidious elements to each track that are at once obvious and indelible. Perhaps it’s Mirsky’s gritty vocals – reminiscent of 80s goth rock darling Siouxie Sioux – anchored by edgy synth beats, that make songs such as the opener “Soon”, evocative of the distinct feeling one gets when racing down a highway in a speeding car. “Dawn On The Dancefloor” takes on a dreamier electro structure, with drum tracks that float above the vocals, sinister melody lines and Mirsky’s breathy request to “step away and put some space between us…then come close”, compelling us into the darker aspects of her psyche as well as the music at large. Other stand-outs on the album include “Up Up And Away”, which incorporates tinges of 90s-inspired alt-rock, making for a delightful nostalgia-inspiring throwback gem, and my personal favorite, “Hearts Down”, which feels stripped and confessional compared to some of the more intricate compositions throughout the 8 tracks. Mirsky’s vocals are softer and honest, without sounding vulnerable in the least – a difficult feat for any female vocalist to achieve. The melodies are straightforward yet never boring largely thanks to the music’s interplay between major and minor cadences. While the lyrics speak about heartbreak (“my heart’s down for the count”, she professes), we still get the sense that she’s okay, if not a tad jaded by the experience – sad, but prepared to move forward. Speaking of which, the last and title track, “Fwd Fwd”, is perhaps the grandest of those comprising this album, with anthemic kick drums and orchestral-esque synth melodies. The first half feels a bit slow moving, as Mirsky comments on the inexorable march of time, but shifts into a higher gear midway through with the addition of an infectious snare drum line before slowly fading out, as if we’re all driving off into the sunset together.
Sonically diverse and showcasing of a wide array of musical talent, FWD is surely a glimpse of what’s to come from Syvia. You can listen to the full album, streaming now on Audiofemme below, or catch them at their album release show on 3/15 at the Cameo Gallery in Brooklyn.
For those of you not too familiar with the DIY whirlwind that is Burger Records, it is a Fullerton, California-based independent record label founded back in 2007 by Sean Bohrman and Lee Rickard. Burger is most well known for taking the off kilter route of releasing most of their material on cassette. This year marks their fourth year hosting the Burgerama music festival, which this year seemingly has their most impressive lineup yet. Held at the Santa Ana Observatory, it is quickly approaching on the weekend of March 28th and 29th. Other than the duh-worthy ripping main acts, here’s a list of bands us West Coast femmes are stoked to see.
Froth
For a band that was supposedly formed as a joke, their record certainly doesn’t sound like one. Froth emulates a well done version of the garage, surf, psych, and drone-sounding rock that is consuming the Southern California music scene right now. They definitely throw a little twist in their sound, though, with the use of an omnichord. Here’s a new track Burger uploaded on their Soundcloud a month ago titled, “Postcard Radio.”
Mr. Elevator & The Brain Hotel
These Los Angeles-based, wacky psychedelic dudes, sound exactly like what you’d think a band playing a similar festival set in the Sixties would sound like. We are so okay with that. Here’s them performing, “When the Morning Greets You With A Smile” for the video series Jam In The Van from last year’s Burgerama.
The Coathangers
The always badass Atlanta-based trio, The Coathangers, are a longtime AudioFemme favorite (they headlined one of our showcases last year). Yes we’re biased, but with good reason. From their 2009 full length, Scramble, to their recently released cover of The Gun Club’s “Sex Beat,” their set is bound to be seamlessly chock full of dance-y punk hits.
White Fence
Tim Presley is the blast-from-the-past prolific psych band that is White Fence. With almost all of his past releases recorded in his home, Presley helps to emulate what Burger Records seemingly stands for. Here’s a stream of his most recent album titled, For The Recently Found Innocent. Smoke a bowl and enjoy.
Meatbodies
Fronted by Chad Ubovich, guitarist of Mikal Cronin as well as the bassist for Fuzz, Meatbodies is a guitar heavy Jay Reatard lovers dream band. With their first album just released in October, this band’s buzz is about to explode. Highly suggested set to see for all of your head banging pleasures. Here’s a live video of them performing “Mountain” on KEXP Radio.
Jeff The Brotherhood
The always killer Jeff The Brotherhood, who recently announced being dropped by Warner Brothers Records, are releasing their new album (coming out just a few days before the festival) on Infinity Cat Recordings. With all of the excitement of a new start for the band as well as a new album, their set that weekend will not be one to miss. Here’s their new track featuring Ian Anderson of Jethro Tull on flute titled “Black Cherry Pie.”
La Luz
La Luz is a Seattle-based surf rock band. These girls’ mellow beach vibe is danceable and to blatantly put it, fun. La Luz, which translates to “light” in Spanish, perfectly emulates their vibe during live performances. This is their beautifully hazy video for their most popular track, titled”Call Me in the Day.”
Tomboy is Will Shore and Sarah Aument, a Brooklyn synth pop duo. Will contributes the backing music for Sarah’s sultry vocals, and the result is songs that are both heavy and melodic, reminiscent of Little Dragon mixed with some Zella Day. The beat of their new single “Say I” draws you in, and then you’re captivated by a sweet voice that hides something darker: “You set me up like stacks of paper on the table ever since you met me/Rearrange me, ball and chain me, entertain me/ Just so that you want me,” Aument sings, drawing out words and syllables as if she can’t bear to part with them completely.
Catch them in action at their March 5th album release party at Lot 45, and check out “Say I” below!
How I (Rhythm Love Affair) is the upcoming effort of Anglo-Mauritian producer Mo Kolours. The five-track EP is the follow-up to his self-titled 2014 debut. Repetitive tribal percussion are accented with low-fi vocals and dashed with shakes from a rain stick. Drum-circle advocates will certainly enjoy it, but dreadlocks are not needed to enjoy the strong dub influences of the EP. To those unfamiliar world music, the EP offers a Tribe Called Quest-influenced introduction to sega, the traditional music of Mo Kolour’s homeland.
How I (Rhythm Love Affair) comes out March 9th. Listen to the single “How I” below.
Aradia embodies a style similar to 90’s electronic freestyle without being dreadfully cheesy. Perhaps it’s because she is a multi-instrumentalist, a unique song-writer, and a woman of many sounds. She may be originally from New York City, but she is now based out of Seattle, where she released Citizen of Earth. Her new album is completely harmonious, electronic-driven, with dashes of striking guitar to create a capsule of mystical art.
While the 11-track album may sound playful, inspired with electro-beats and percussion, her lyrics deliver meaningful positivity. “To trust your instincts they’re always right. And now you know that you walk in the light. Don’t hold your breath ‘cuz another day is coming. It’s different now, you don’t have to keep running.” “The Light” was charged by Aradia—showing her fans that her new-wave electronic music isn’t only about dancing, but dancing in luminosity. She seems very in-tune with her natural surroundings, frequently citing examples from fire, starlight, and the how she is one with the sky and sea. “Isolation is a tragedy. The idea that we’re separate is just illusory,” she also remains poetic in “Trouble.” And being that she is in search of another “M-Class” planet, is she also revealing her dark side—a loss of hope?
Her complexity in the album can also be reflected by her unreal style, where she is known for out of this world (literally) fashion designs and style. When she’s not busy writing new songs or putting together a space-travel-star-princess costume, you can catch her performing in an upcoming West coast tour. In the meantime, check out one of my favorite tracks off Citizen of Earth below, “Trouble.”
Bang Gang, the Icelandic composer Bardi Johannsson you may of heard of from Starwalker and Lady & Bird fame released a new single, “Out of Horizon.” As someone fascinated by Icelandic culture, one day hoping to travel there and live inside a mountain with a colony of elves, I’m always on the hunt for what’s emerging from their art scene, and therefor stoked to receive a heads up that Bang Gang (what a name) released his first single in over seven years.
“No regrets” advises the song, an entrancing demonstration of what Bang Gang’s indie pop is made of. The phrase “No regrets” is sort of the original YOLO, but Johannsson encourage the message with such grace not a pinch of cliche made it into this brew.
Protecting us like a fluffy new jacket from the harsh cold as we walk to and fro happenings, a pair of headphones playing a proper album will do a lot more than ear muffs. Girls and God is Dave Scanlon of Leverage Models live band joined by Alena Spanger from Tiny Hazard, Angelo Spagnolo of Parlour Tricks, and Rob Lundberg from killer BOB. They just got together and created a lovely new album, You Are Copper Greening in Open Air. The result of their labors is a soft yet warms-your-soul-like-whiskey coherent album that stays true to taste and form open to close.
“As you stay, loosely committed.. ” Dave and friends observe, on the aptly titled “Loosely Committed.” The album is tailored with comfortably fitting reflections on snapshots of minute details of life and reserved relationship revelations.
Rhythmic yearnings and inner dialogue entrances on “New Bodies.” “Don’t tell her, don’t tell her…” the lyrics warn, leading into the powerful muse described in “Woman with her Hair Down to her Down to her Waist.” Girls and Gods indeed, the female form and all its mystery’s influence on the album is obvious, but gracefully so. The musings and stories sung are enough to make you fall in love.
You Are Copper Greening in Open Air comes out February 27 (via soundcloud, youtube, bandcamp, etc).
Mexico City Blondes are a musical duo from Santa Barbara, CA, that know how to place the packaged whipped cream with the homemade cherry pie, so to say, lovingly delicious. Or, put more succinctly, “Sort of marriage between the electronic and organic sounds,” says Greg, one-half of the Blondes.
The group recently released the single “Shot the Moon,” a delicately sewn sultry couture dress of a song with layered synths laced with Allie Thompson’s seductive vocals.
“It’s definitely a snapshot of our dark side,” says singer/songwriter Allie of the single. “A musical confrontation of some of my deepest fears, a way to address nameless faceless foes who don’t have the power to hurt us unless we let them. Even going to the dark side is more satisfying to me when there is redemption and light in the darkness, hence the imagery of a white moon in a dark sky.”
We spoke with Allie and Greg from Mexico City Blondes about fashion influences (Gwen Stefani of course, power to the blondes), the power of Black Sabbath, and getting in touch with their dark side.
AudioFemme: How’d you come up with the name Mexico City Blondes?
Greg Doscher: I came up with it on a flight to, of all places, Mexico City. Really loved it for the project, and Allie liked it immediately when I suggested it. It has a meaning to me, but I don’t like to spell it out for people. It can be whatever comes to anyone’s mind when they hear it, and it’s more fun that way.
AF: How did the band form?
GD: Allie responded to an ad I put on Craigslist a year or so after the last band I was in dissolved. I advertised myself as a local producer looking for singers/songwriters to collaborate with. I can handle the production and recording, but can’t sing to save my life. Allie and I hit it off immediately and seemed to be on the same page as far as influences and the type of music we wanted to make. She’s also a great songwriter and we’ve had a lot of fun collaborating.
AF: Who have been your primary musical influences?
Allie Thompson: Growing up, I was exposed to a lot of folk music with introspective lyrics. Joni Mitchell, Dylan, Paul Simon…The art of crafting a song was always revered in my childhood home, and the production was an afterthought. It wasn’t until I started writing songs that I began to experiment with production style in order to bring the songs to life in the way I wanted to hear them. Around that time I was listening to a lot of Portishead and Beachhouse, and around that time I met Greg who was able to translate my rudimentary descriptors into the songs I wanted to hear!
GD: Aside from those above, as a teenager I picked up a guitar because of Black Sabbath and that’s still with me. Was really into the big 70s groups like Sabbath and Floyd, David Bowie and Zeppelin of course. As I grew up my tastes evolved a bit and realized that electronic music could be as sonically nuanced as some of the rock I grew up on.
AF: Do you have any fashion influences?
AT: I grew up with posters of No Doubt all over my walls, and I guess I never really got over Gwen! 15 years later I still look to her for fashion influence both on and off stage. I’ve always been a sucker for red lipstick, and it sure is convenient that she’s a blonde!
GD: Haha, my wife.
AF: Much is made of labeling sounds, what words do you like best to describe your music?
GD: Hard to say, but from a production standpoint I’ve always been really heavily influenced by groups like Massive Attack and someone like DJ Shadow who’s made incredible music with a sampler. That being said, I’m a guitarist with a pretty extensive rock background, so there’s always going to be some elements of that in there. Sort of marriage between the electronic and organic sounds I like and that we try and use. “Shot the Moon” is a good example of that mix. The electronic elements are the Moog synth that pulses throughout and a drum machine, but we also recorded live drums and live piano on top of those.
AF: Will you tell me about the meaning behind your new single “Shot the Moon?”
AT: It’s definitely a snapshot of our dark side. A musical confrontation of some of my deepest fears, a way to address nameless faceless foes who don’t have the power to hurt us unless we let them. Even going to the dark side is more satisfying to me when there is redemption and light in the darkness, hence the imagery of a white moon in a dark sky.
AF: How much of your personal life gets worked into your songs?
AT: The songs are always personal. Sometimes I write in a moment of acute emotion, but often a song will take me a few months to complete. It takes me that long to process emotions and gain perspective. The songs have the most power for me in understanding a situation as a whole, and that often takes time to unfold.
GD: Just about all of it. Hard to separate the two because of course whatever you’re feeling emotionally or going through personally is going to bleed into the music in terms of the sounds you pick, the chords you play and more obviously the lyrics that get written
AF: What’s next for Mexico City Blondes?
GD: We have a single that’s sort of the B-side, companion to “Shot the Moon” called “Yellow Sunshine” that we’ll release soon and a video for “Shot the Moon” on the way. Aside from that, lots more music in the pipeline and we’ll try and get out and perform these songs wherever we can.
