INTERVIEW: Jen Baron of Girls Rock Helps Young Women Find Their Voices

It’s hard for a guy to interrupt you if you’ve got your amp turned up to 11. Many women know the feeling of being mansplained to or interrupted mid-thought with the words “just to piggyback on that.” Girls Rock Santa Barbara is all about getting girls in charge and on stage.

The Girls Rock mission is definitely one AudioFemme can get down with: “To provide a safe, diverse and inclusive space to female identified youth through music and arts education, mentorship, and community building. Our vision is to help shift girl culture to one where girls collaborate and support each other. We see a future where girls lift each other up instead of tear each other down. We see a future where girls and women lead.” #GirlPower much?

We sat down with Executive Director Jen Baron to talk about how she went from being an environmental science major to heading up an organization that has served over 4,000 girls aged 6–17 in the Santa Barbara area.

AF: Tell us about Girls Rock Santa Barbara. How did you first get involved?

JEN BARON: In 2011, I was finishing up my BA at Antioch University, single parenting and as a final project for one of my classes we had an assignment to create a blueprint of a dream job. When I presented this idea to my class, everyone was so excited and was like, “You have to totally do that!” I was an environmental science major, but had played music since I was four. It’s funny sometimes the things that you’re meant to do have been right in front of you the whole time. So I had this idea, but knew nothing about running a non-profit. I googled “rock camp for girls” and ended up finding Rock ‘n’ Roll Camp For Girls in PDX; I immediately contacted them to find out more information. They introduced me to the entire Girls Rock broader community. Seven years later, we’re the largest Girls Rock program in the world.

AF: Why is it important in 2018 to have girls only camp?

JB: Because…. equity, right? It’s so important for girls to have positive role models who show them that they are powerful. Statistics tell us that 70% of 10 year old girls don’t feel like they are good enough. This program exists to help change that statistic . Women have been conditioned throughout history to not take up space in the world, to be silenced, to feel like there is a competition between each other even.

We’re teaching them music and the creative arts, but really music is just the vehicle for building their confidence, showing them their power, acknowledging their most authentic self, teaching them to empower each other and support each other, and giving them the space to be loud and be heard and be seen.

AF: Do you feel like the learning atmosphere is more supportive when women are collaborating with one another?

JB: Not always. I think women (especially young women) are taught that there is a competition of who’s the best and that leads to these feelings of scarcity. So initially I think learning with all women can feel stressful and there’s loads of feelings, there’s a lot of working through these conditioned responses and helping shift the girls’ mindsets to one where we are being true supports to each other. When that shift happens and they see how powerful women are when they are working together, there is just nothing in the world like that, not only for our girls but also our staff.

AF: The school has five different “tracks” – Rockband, Film & Photography, Journalism & Creative Writing, Music Production & Engineering, DJ. How did the creative team at Girls Rock narrow it down to those subjects?

JB: We started with Rockband, which is the bread and butter program of all the Girls Rock programs world wide. Then a few years ago we added Photography and Filmmaking. This summer we added Journalism, DJ, and Music Production and Engineering to our sleep away camp with our teens. I only see us adding more creative tracks as time goes on. Next year I already want to add Live Sound Engineering and Slam Poetry.

AF: So exciting! I love how many technical aspects of music you’re tackling. Any synthesizer building? My husband’s been into them the last year or so.

JB: That’s so awesome! One day! Though we do partner with an amazing non-profit called Techne. The first year they came they taught the girls how to build contact microphones, another year they had them building hydrophones (so mics that can be submerged in water). It was pretty awesome – you’d have the submersible mic running though a guitar amp and the girls would put pop rocks in the water and make all these cool sound beds during their performance. This year Techne did a flashlight orchestra with the girls. They made oscillators that were triggered by different color light. At the end of the week we hid all the instruments they had made and gave the kids flashlights to go find and play each others’ instruments, like  a super rad rock camp scavenger hunt.

It was even more amazing because the very first time Techne was here, I was having dinner with [Techne founders] Suzanne and Bonnie and Suzanne was telling me her ultimate dream was to build this flashlight orchestra with the kids and I was like “Yes! I’m so in, when can we make that happen?” Then this year was the year. It’s so cool to see all those things pan out. Music Production was another thing that I wanted to be a part of our program from the beginning.

AF: This year, Girls Rock Santa Barbara also partnered with the largest Syrian Refugee non-profit in the US, Syrian Community Network. 15 Syrian Refugee girls were able to come to camp. What was that experience like?

JB: It’s hard to describe what an impactful week it was. The stories of hardship that these girls have faced and are still facing is heart wrenching, but their resiliency and kindness and bravery – fuck! I’ve never been so moved in my life. What a gift they all are. Last week we had so many kids from all over the world: Denmark, Brazil, Japan, Russia, China, Mexico, Syria. The girls were all so supportive of each other and so many friendships were made. There were so many brave kids and risks taken and the creativity that came from these girls feeling safe and loved and free to create without boundaries… it was mind blowing what they created. We just had this microcosm of how I wish the world truly was.

AF: How wonderful for all these girls to meet each other! I didn’t realize the program was so international – or was this a special event?

JB: Our sleep away kids come from all over the world (and our staff too); we are bringing 65 women from nine different countries to teach this summer. It’s so awesome! We’re always looking for rad female identified teachers every summer and workshop leaders and bands! 

AF: You’re a songwriter yourself, with pieces like “Vespertine” and “Gypsy Heart” even making it into a Sharon Stone film! How did you go from being an eight year old writing songs in her bedroom to a writer / producer working with artists in a professional setting?

JB: Music has always been my whole heart. I think growing up I mostly thought that being a musician (for a living) was almost like saying unicorns exist. I was really scared for a very long time to share my music. I would just create and create and the songs would come and go over the years. When I was recording my first record, Beautiful Mistake, which is the one those two songs are on, my engineer helped build my confidence so much as an artist. He taught me my way around the studio and engineering and my brain started to expand. One day I just walked into the studio and was like, “I think I want to write a bunch of pop songs!” I’d never written pop before and once I started, I’ve been super hooked ever since. This is the first pop song I wrote and produced:

I’ve got a new song coming out this year called “Glass Heart” that I recorded at 137 Productions. I’m really proud of it!

AF: It’s great that the girls get to work with so many talented women in the industry!

JB: Our teachers are so so creative! They are the coolest. Every summer I end up falling in love with all these new bands.

AF: Who are a few of the bands you’ve become a fan of through the camp?

JB: So I am a super diehard fan of Ramonda Hammer and Spare Parts For Broken Hearts. Lauren Kop’s project Mini Bear is just insane. Blush is probably one of my favorites right now and for sure and Marley Ferguson’s project Fade will blow your mind.

AF: In January, Neil Portnow, the president of the Recording Academy, received a great deal of backlash when he said that women in the music industry need to “step up.” It led to the hashtag #GrammysSoMale and may have convinced Portnow to step down. What do you think actually needs to happen within the industry for women to be seen and heard more clearly?

JB: So, it’s really hard for young girls to dream up what they can’t see. So number one, dismantle the boys club. Hire women. Everyone hire women. Hire so many women that men start complaining that women are getting all the jobs. Then young girls will see what’s possible for them and the cycle will shift. A movement creates visibility which is always great, but actions have to follow. Women are so smart and powerful and talented. The future is female!

AF: What words of advice do you have for the next generation of female musicians who are currently dreaming, writing, and noodling in their bedrooms?

JB: Let people see you when you’re ready. Support your friends in their dreams. Don’t gossip about other women (even if you think they deserve it) – be a part of the solution. Be as honest as you can be with your music, and when you think you’re being as vulnerable as you can, try to push yourself even further. Focus on being brave and not perfect. See the world and get to know all kinds of people from all walks of life; our differences are beautiful and what connects us as woman is so powerful. Women together are unstoppable. Rock On!

Are you interested in joining the team at Girls Rock Santa Barbara? Check out the volunteer & teaching opportunities on www.girlsrocksb.org! If you know someone who’d like to attend camp, Girls Rock is already taking registrations for next year and for their after-school program. 

PLAYING COLUMBUS: didi Grows into Their Second Album

Out of the 90 minutes I spend talking with didi, 30 are consumed by parking troubles. Circling foggy blocks in the Richmond District ahead of the group’s San Francisco show, guitarist/vocalist Meg Zakany tries fitting their tour van into one tiny spot after another, only to eventually find that the reserved load-in space has been taken by another desperate Bay Area driver. I can’t imagine a more fitting SF interview backdrop. And though the bulk of our conversation takes place before and after the time spent crowded into their car, these moments of pause and half-heard conversation are some of the most intimate I record. The car is cocoon-like, hushed and warmed by fabric hung into the back seat, and decorated with bottles of rose water. During tour, Zakany explains, “we all take turns driving, and we all take care of each other in that way. Sometimes there’s back rubs, [or] aromatherapy.”

didi and I have each gone out of our way to be in California this summer: myself taking half of my break from grad school to visit my home in the Bay Area, and didi scheduling their tour around visiting the West Coast. “We just did so well on the West Coast last tour–the reason we did twelve hour drives is to come out here,” vocalist/guitarist Kevin Bilapka-Arbelaez tells me. And so we meet each other, for the first time, outside of Columbus, Ohio, though Columbus is where we’re all spending the most time these days. Columbus is also where didi formed, five years ago, and where they released their self-titled debut. Since then, the band’s lineup–vocalist/bassist Leslie Shimizu and drummer Sheena McGrath join Zakany and Bilapka-Arbelaez–hasn’t changed, and neither has their dedication to each other. But much else has. “Five years in a person’s life is huge,” Zakany tells me. “In each of our lives individually, so much has changed. We’ve been through a lot: moving out of state, moving houses, ceremonies… we’ve been there with each other through all of that.”


All photos by Kaiya Gordon

While we talk, I notice again and again how the band communicates care to one other. They know each others’ sleep schedules, and do their best to divide tour duties equally. Zakany tells me how instrumental Shimizu has been in ensuring each member eats regularly over tour; after, I hear Shimizu ask her bandmates when they plan on getting dinner. When didi gives interviews, they make sure the whole team is present. Listening to them build off of one another, acknowledging each other’s strengths, adding on to and affirming their bandmate’s thoughts–I feel like I have been brought into their process. didi speaks to one another as though constructing a musical arrangement, paying attention to the rise and fall of each members’ contribution, pushing forward and falling back as needed. “It’s something that is important to us in general,” says Shimizu, “having all of the voices be heard in a group.”

While playing, McGrath says, “we ask each other for a lot of feedback. I think that’s a really important way in which the group is just checking itself.” Just as their conversations are, didi’s musical method is collaborative. As a new song develops, members will construct musical parts, send them to whomever initially brought the track, see if it fits, and then try the arrangement live. “We don’t really write parts for each other,” Bilapka-Arbelaez says. “Part of what I like about this band is that we all have very big personalities, but we all make room for each other.” The process isn’t always easy. Sometimes, Shimizu says, song processes will take rounds and rounds of collaborative trial and error. But they continue to center collaboration, says Shimizu, “because we care. That’s kind of what really comes across. That’s didi.”

Consistently, the band tells me, moments of personal instability have been balanced by their commitment to didi’s music. “[didi] is like my rock,” says McGrath. Back in 2013, when they first came together as a band, explains Bilapka-Arbelaez, “we were trying to figure out what our sound was. But now, us together is our sound. We love each other, and we love what we’re doing,” he says. “[We] know that it’s something that we do well together, and something we each contribute something really important to.”

Shimizu agrees. “It’s something that can actually give us strength now that we look up and say, yeah, we’ve been a band for five years. It’s something that gives us motivation and the course to keep going. If we can do five years, we can do forever.”

Yet growth, even when collectively supported, is never painless. With years of touring, interviewing, and art making under their belts, didi has learned, out of necessity, how to navigate working in an industry largely unsupportive of women and people of color. On tour, Zakany says, “You can observe the ways in which people have been socialized, for example, by the way that they carry themselves, and interact with other people.” When somebody doesn’t have “experience with people like us, a band like us or a person like us,” Zakany notices it. 

didi notices, too, when the conversation around their music rings only a single note: asking them to describe the band in terms of marginalized identity. “We recognize how important it is to have those shared experiences with artists, and to be represented,” says Zakany. “We all want to see ourselves represented in music, but I don’t know, sometimes that just takes over the conversation.” 

“I do think a lot about the idea of choosing when to talk about the things that I struggle with,” says Bilapka-Arbelaez. “Me being onstage, as I’m going to be tonight, and introducing two songs that are very important to me, is different than having something come out that like, really focuses on that identity and essentializes it. think I want authenticity more than I want brand recognition.”

“So many things that you do, and that we do, as a team, as women, [is] taking care of each other,” says Zakany. “We have a big guard up. And we have to, because we have to protect each other.”

Like Memory Foam, the band’s second album, has come out of all of this: from years of changes to their lives, their deepening connections to each other, and their experiences as musicians. When they decided on a title for the album, says Bilapka-Arbelaez, “We were talking about how different experiences can leave imprints in our lives and in the way we live our lives. A lot of the songs [on the album] are about those experiences that leave imprints on who we are.” Who they are, not just as individuals, but as a band, is something integral to didi’s artistic approach. Because they can’t speak to each other’s lived experiences, says Shimizu, didi focuses on making decisions as a group. “I can’t put into words why Kevin, for example, may have written a song in Spanish, or why Meg was envisioning this thing with [her] family,” she says. “The songs are personal to each person in a different way.”

Like Memory Foam, which had a soft release in Columbus last week, is different than didi’s first album in several ways. This time, the album will be released on a label, Damnably Records. The group has introduced new instruments, as well: percussive pieces, cello, and synth meant to “make the lyrics come alive with the music,” Shimizu says. “We spent a lot of time in the studio this time around. We had time to sit on the parts, and think about them, and play them over and over.” The result is an album which manages to be both lyrically diverse and emotionally cohesive. “I don’t think that we sat down and were like ‘what’s the concept of this album gonna be?’” says Bilapka-Arbelaez. “The through-line [of the album] is just that it’s personal to each of us, in that we each wrote songs that delved into things that we were dealing with at the time, and then musically we all helped each other sort of parse that out, and express it.”

Overall, says McGrath, as didi has spent time learning and living and making together, “We’ve learned a lot about how we are supported and what we draw strength upon in ourselves. You’ve got to find a balance between when to do it yourself and when to reach out.”

INTERVIEW: Jackie Venson Stands Her Ground With “Never Say Die”

Jackie Venson AudioFemme

Jackie Venson AudioFemme

Jackie Venson’s music feels good. Its laid back vibe mirrors Austin, Texas, the city she calls home. In recent years however, Venson’s music, like many artists living in the era of Trump, has taken on a bit more of an edge, her lyrics tackling the shift in American culture.

“‘Never Say Die’ is a song about sticking to my guns no matter the resistance I receive, and finding power in standing my ground where others might have found isolation and bitterness. This project is me stepping out of my comfort zone, using dancers and electronic instruments as opposed to my usual rock band instrumentation,” Venson says of her latest track. The single is straightforward; it doesn’t feature Venson’s signature sweeping guitar solos (something she now keeps for live performance). Instead it gives the listener just enough Jackie to leave you wanting more, an important shift for today’s artists who rely more on tours than Spotify listens.

We spoke with Jackie about her recent collaboration with Austin producer Michael Ramos and how she picked up the guitar in the first place. Read our interview and watch the video for “Never Say Die” below.

AF: Your father was a professional musician and you were taught piano as a child. What kind of music did you gravitate to early on?

Jackie Venson: I played classical music on the piano and I love Broadway and Disney. I think that’s what inspired my current day genre hopping, the drastic differences in what I listened to as a child.

AF: What’s your favorite Disney score to play?

JV: I never really play Disney songs these days but if I had to choose it’s a close call between “Circle of Life” and “Colors of the Wind.”

AF: You were born and raised in Austin, Texas. What was the music scene like there when you were a girl? I know it’s grown a lot recently.

JV: The music scene has pretty much always been consistently bumpin’. Some will claim it used to be more but [to me] it’s alive now as much as it has always been. There are artists moving here all the time, making it work and keeping the jams going. We do have affordability issues with the cost of living going up but there are a lot of great organizations in town fighting for artists.

AF: Do you think the changes are for the better? Or is that yet to be seen?

JV: I suppose it’s yet to be seen. The music is still thriving in Austin so I feel that is an indicator that things are well. Sure, the town used to be a little more laid back and affordable, however with time comes growth which is somewhat unavoidable. I also believe the wonderful organizations that spawned from this growth and support for the arts is simply amazing.

AF: I read that you picked up guitar after graduating from Berklee College of Music. Were you studying classical piano in school?

JV: Not exactly. I studied classical piano while growing up, but when I got to Berklee I dove into the production, songwriting, and arranging side of things. I got to study the nuts and bolts of what makes music and recordings what they are to us humans as a collective and ever changing culture. It was fascinating and really deepened my overall understanding.

AF: What made you jump ship?

JV: I wanted to perform and write but I was tired of the piano and the types of songs I wrote with it. I wanted to expand my sound pallet.

AF: In an interview this year with Shutter16, you discussed working with Austin producer Michael Ramos and how he opened your eyes to the differences between live performance and recording. I can definitely hear that influence on the Transcends EP and on your new single “Never Gonna Say Die.” Can you tell us a bit about the writing and recording process for this new song?

JV: I knew I wanted a minimalistic song, something that was just a beat and a melody, and I knew I wanted it to be dynamic as well. I think silence and space in music is incredibly powerful so “Never Say Die” was my anthem to that. I also wanted a strong song that carried a stark message about my journey.

AF: Transcends has so many beautiful messages in it, but I particularly love the vibe on “Fight,” where you sing “All of us are one, my fight is your fight.” There is so much turmoil around us, but you approach changing the world by changing yourself. How do you keep the positivity in your music, even when you’re tackling tough subjects?

JV: I can always see the silver lining and even when I can’t, the wonderful people that support me in my life help me to see it. There’s always positivity to be found and even when I’m feeling down I know that folks like me have to continue to fight and uphold positivity. No matter what is happening or how much control I have over the situation, I know I can always do my part.

AF: You’ve performed in many places (Germany, Poland, Czech Republic and Finland), and you recently toured with Gary Clark Jr. Have you noticed different responses from crowds? I want to assume the crowds are more rowdy and boisterous in Texas.

JV: Oh no, the crowds are never predictable by location. I’ve had apathetic chatty crowds or super pumped crowds in all different places. It’s literally impossible to know what a crowd is going to be like until I’m at the gig, plugged in, and strike the first chord.

AF: Your Spotify page says that you have 12 planned singles for 2018! What can we expect in the other half of this year?

JV: 6 more singles! Haha. For August, the single will be a private release for the JV Squad Facebook group and newsletter only, so be sure to subscribe to catch that one. Otherwise, I have some new music coming up and I can’t wait for y’all to hear it.

AF: What musicians inspire you nowadays?

JV: SZA, Kendrick Lamar, Hozier for sure. I really like the individuality they all bring to the table and I love that they are finding success being themselves in today’s crazy, information overload world.

AF: What is the best advice you’ve ever been given as an artist?

JV: My father told me “if the opportunity came around once it’ll come around again.” He also told me to “stick to my guns.” Both of these I use in my daily life.

Be sure to sign up for Jackie’s newsletter to receive a free digital download of B-Sides, exclusive tracks downloads, and updates on her touring schedule!

CHECK THE SPREADSHEET: Talking Tour Eats with Cassie Ramone, Sadie Dupuis, and Chloe Chaidez

 

One surprisingly common tour complaint is not being able to poop for the first few days. Probably due to a mix of public restroom anxiety and not eating like your normal self would, tour constipation doesn’t sound that bad compared to “fire ass,” something my former tourmates have suffered from after consuming too many gas station hot dogs. Even worse though, Darkwing’s fill-in drummer vomited for a day and a half after he solely ate ramen noodles for a week straight. It should go without saying that staying sane and healthy on the road begins with figuring out how to eat well while on a budget, but it’s not always as simple as it might sound. Around the time I started experiencing a weird cold and cough on Sharkmuffin’s last tour, our manager joked that my daily diet of coffee for breakfast, a quinoa salad for lunch, and wine for dinner might have something to do with it. With the help of our road foodie experts Cassie Ramone, Sadie Dupuis of Speedy Ortiz and Sad13, and Chloe Chaidez of Kitten we can hopefully learn to avoid all of these tour ailments.

Cassie Ramone

Vivian Girls/The Babies

First of all let me preface this by saying that I love both cheap eating and fancy food, I’m an omnivore with no dietary restrictions (although I try to eat healthy or vegetarian more often than not… key word here is “try” though), and I love both local cuisine and the comfort of chain restaurants. Sometimes when you’re on tour for an extended period of time, McDonald’s and Subway help so much to regain a sense of familiarity. I’m also a huge fan of Denny’s. If I’m in the South or Midwest, Waffle House is essential. I love getting a double order of hashbrowns with onions, cheese and jalapenos, and some over medium eggs. It’s the only American sit down restaurant I can think of where you can eat a lot and end up paying less than $10 after tip.

A good tour habit is going to Whole Foods in the morning and stocking up on healthy snacks and beverages for the day. If you shop smart it can end up costing less than stopping for lunch. That said, stopping for lunch can be an essential break during a long drive. In most of the groups of people I’ve toured with, we’ve enjoyed stopping for lunch at local diners in tiny roadside towns. The menus are similar enough to each other, and the food can be hit or miss, but sometimes you’ll end up with the best BLT you’ve ever had in your life or something. And often, the menu prices seem unchanged from the ’90s!

In the Pacific Northwest, I always make sure to get pho from an authentic Vietnamese place. As far as I can tell, the Pacific Northwest does it best in America.

I know this probably goes without saying, but street cart tacos in LA and mission burritos in San Francisco are both amazing!

There’s a lot of amazing food in Texas, but I always try to stop by this diner Magnolia Cafe in Austin. Their “mag mud” (queso, salsa, black bean dip and guac layered) is sooo good.

Ok this is a weird pro tip, because I’m sure not many people are going to tour Alaska anytime soon, but if you go to Fairbanks they (weirdly) have incredible Thai food! I had maybe the best Tom Yum soup I’ve ever had when I was there!

Hit up a steak house in the Midwest, just for fun.

My last tip is for people traveling through New York! If you play or stay near a halal deli/bodega/truck, order chicken over rice! It’s $5 or $6 for a massive portion, delicious, and tastes great the next day too.

Sadie Dupuis

Sad13, Speedy Ortiz

AF: How difficult is it to eat vegan and stay healthy while on the road?

SD: It’s easy — I’ve been vegan for almost 13 years and it’s only gotten simpler as more vegan restaurants open, and others learn about the prevalence of the diet (and environmental importance of it), and how to accommodate it.

AF: What are your favorite fast food spots / gas stations / random favorite diners and/or food trucks, restaurants, etc. in different cities?

SD: I have a hit list of favorite vegan restaurants in just about every city we tour through, and I try to stop at those every time on tour. When I’m at home I cook most of the time, but I use touring as an excuse to check out and splurge at new spots, like a food vacation. Speedy Ortiz collaborated with a bunch of them on our last headlining tour, creating themed specials that benefited local charities, which was pretty cool and demonstrative of some of my favorites.

In terms of fast food, I don’t eat too much of it, but Chipotle and Taco Bell usually make an appearance at least once a tour since they can accommodate vegans and gluten allergies.

AF: Any additional tips / advice on eating while touring?

SD: I try to stop at a grocery store every few days for some fresh produce or juice – it’s easy to eat junk food on the road, and I am known to plow through big bags of barbecue chips, but fresh or dried fruit is just as easy to snack on and makes you feel way better. Also, an easy way to eat well when you’re in the midst of a 13-hour drive day: soup cups (like Dr. Macdougall’s) which I prepare at gas stations with dried seaweed and raw green veggies like spinach or kale. Adding hot water will blanch and cook the veggies, and rehydrate the seaweed, and you will feel sort of like there’s some normalcy in your life.

 

Chloe Chaidez

Kitten

Favorite tour foods:

  • Subway salad. Okay yes, we all know we would never eat Subway in New York City. Maybe if there was an apocalypse and Subway was the last sandwich place on earth you’d walk in there. BUT on tour, when there are literally no vegetables in sight, get a subway spinach salad and put every single vegetable they have inside of it. You won’t quite feel like a million dollars, but maybe 500,000, and you’ll be ready to rock that night.
  • Wasabi almonds. They don’t really taste like wasabi, but they’re definitely tastier than most almonds and they sell them at most gas stations!
  • Apples. Just because apples are usually the only fruit they sell at gas stations in the middle of nowhere.

More tips to eat somewhat healthy and cheaply on the road:

  1. Buy a Cooler. Just don’t forget to bring in perishables and re-freeze your ice packs whereever you’re crashing each night!
  2. Bring a Reusable Water Bottle & Thermos. This will save you loads on bottled water, since tap water is free at most places. Bonus tip: bring your own instant coffee and/or tea.
  3. The Chipotle Myth: It hasn’t worked for me personally yet, but I’ve heard if you call Chipotle and tell them you’re sponsored by them and set it up in advance they will give your band free food.
  4. Taco Bell Dollar Menu: You can make almost anything vegetarian at Taco Bell by subbing beans for beef, and the potato taco is the best!
  5. Dollar Tree: Stock up on snacks here and possibly buy a mermaid doll while you’re there. Everything is actually a dollar!
  6. Gummy Vitamins: Get a giant pack and pass it around the van once a day. Other helpful healthy supplements: Spirulina, Wellness Formula, Oregano Oil, Non-refrigerated probiotics.

TRACK OF THE WEEK: Bus “Bug Eyed Freak”

 

 

Is the summer heat making you go buggy? I don’t know how the weather has been in L.A., but in New York  in the past few weeks have been hot enough to turn us all into bug eyed freaks. Hopefully with Bus’ new fast-paced and in your face track, we’ll be inspired to squash our end of summer slump and become human again. Consisting of Ken Arimura on guitar, Oliver Strouse on drums and Ned Vogel on bass/vocals, this new L.A. trio marries ‘60s garage rock energy and Motörhead-esque driving guitar riffs with catchy vocal hooks and a fresh taste in short and sweet shredding guitar solos. We hope to hear more from them soon! 

Check out the full track of the week playlist below…

NEWS ROUNDUP: RIP Aretha Franklin, Azealia Banks’ Elon Musk Sleepover & More

Aretha Franklin 1942-2018

Aretha Franklin, the queen of soul, voice of the civil rights movement and feminist icon has died at the age of 76 of pancreatic cancer according to her family. Franklin not only defined her times with her powerful voice, but transcended them to become a key figure for social justice. With more than one hundred singles on the Billboard chart over the course of her career, she become the most charted female in history. She also had a large collection of purses that made many public appearances, with Franklin even taking them on stage on with her. 

What happened to Azealia Banks last weekend?

According to now deleted Instagram stories, Banks spent the weekend waiting for Grimes at Elon Musk’s LA home, describing the scene as a real live version of Get Out. Banks and Grimes were supposed to collaborate on a single for Banks’ forthcoming album, but when Grimes never showed, Banks went on a Musk-bashing tirade, claiming he tweets while on acid, that he is only dating Grimes because he needed a date to the Met Gala, and that she overheard Musk on the phone scrambling to find investors for his projects. Elon Musk responded by saying he has never met Azealia Banks and that her story is “complete nonsense.”

The New New

Nicki Minaj dropped her fourth album Queen this week and although she is not the main artist listed on 6ix9ine’s “Fefe,” she added the song as track 20, most likely to boost album sales. Cat Power has a new song called “Woman” featuring Lana Del Rey. Paul McCartney released a “raunchy” new song called “Fuh You.”

End Notes

 

PREMIERE: Ace of Wands “Float The Flood”

Ace of Wands lead singer Lee Rose

Ace of Wands lead singer Lee Rose

On the minor arcana tarot card from which the Toronto-based band Ace of Wands take their name, a hand reaches out from a cloud to present a flowering branch, signifying inspiration, power, creation, beginnings, and potential. It is with this offering in mind that Lee Rose, the woman behind both the music and the visual storytelling that accompanies it, prepares to release her debut EP 10,000 Feet this Friday. Amplified and enriched by her bandmates, Anna Mernieks (of Beams) on guitar and backing vocals and Jody Brumell (of SHANKS) on drums, the songs on the EP feel more like epiphanies or spells, capable of conjuring expansive visions.

Their newest track, “Float The Flood,” follows the cinematic flair of the band’s previous releases; in Ace of Wands’ music, nature becomes a main character, helping to create a physical space for their ominous, multi-layered sound. In their music videos, forests are seemingly without end, lakes never hit a horizon, and the sky looms above, eternal. Rose has provided art direction for each of these clips, cementing a potent image and creating a thematic through-line to the work. With its jangling guitar and harmonic incantations, “Float the Flood” documents the twisting turmoil of exorcising inner demons.

We spoke with Lee Rose about growing up in the wilds of Canada, how she approaches art direction for her videos, and where sustainability fits into her ethos as a musician. Listen to “Float The Flood” below.

AF: Tell us a bit about your upbringing in Toronto. What did you grow up listening to?

Lee Rose: I grew up in the neighborhood of Parkdale in Toronto. I would say my dad is my biggest musical influence. He is a musician and had an enormous record collection, so I was constantly surrounded by music. I have strong memories of listening to Nirvana and dancing around as a 3-year old. But we listened to all kinds of music – The Fall, Randy Newman, Neil Young, The Ronnettes, Bonnie Raitt and Tom Petty were all staples. My dad also worked at a drop-in center in the neighborhood called PARC – it was a community space primarily for homeless people and psychiatric survivors needing support, and music was a big part of his time there. I have memories of going to PARC to watch the open stages, and hearing my dad write songs about poverty in the city and the stories of the PARC members he worked with. It was a very formative experience for me.

AF: At what age did you start writing your own music?

LR: I started writing lyrics to songs about six years ago, but I have been writing melodies for as long as I can remember. I started a band with my brother Graeme called Rival Boys when I was 17; he did all the lyric writing and I did the singing. I taught myself how to play bass and made up bass lines. But the lyrical poetry has really just started flowing out of me more recently it feels like. I find lyrics are such a key element to a song and I admire so many other songwriters for their poetry. For a long time I was very self-conscious of what I was writing and didn’t feel safe sharing it. I have gotten more confident as I’ve gotten older I guess.

AF: Ace of Wands’ music has an epic, cinematic feel to it. Have you always been drawn to those kinds of lush, layered sounds?

LR: Absolutely! I am a classically trained violinist, and have spent a lot of time playing in orchestras. I have a love for the huge sounds you can achieve with dozens of players, and it’s been fun to experiment with creating lush sounds (that are similar in intent) with a three-piece band. I love layering effects and vocal harmonies to really transport the listener to whatever world I am writing about

AF: In your videos for “10,000 Feet” and “Grown From Good,” nature is focal point. Are these landscapes in your mind when you’re writing?

LR: Yes, for sure. I have such an affinity for natural landscapes, and while I live in the city I always find another kind of peace in nature. I am a gardener when I’m not playing music, so soil and plants and water are always on my mind. They invariably make it into the songwriting!

AF: How do you scout for locations?

LR: Well, mostly we choose places where we can safely film! But I have spent a lot of time in swimming in Georgian Bay and surrounding areas, so it has made it into both videos so far.

AF: You lead art direction for your videos, as well as construction on the key design pieces (like the recycled fabric train in “Grown From Good”). Is sustainability something you incorporate often into your mixed media artwork?

LR: I try to create as little waste as possible when I make things for the videos. But it’s hard! Everything leaves an environmental footprint it seems… but I do my best to use recycled materials. I’m also really interested in having themes that carry through my projects, so that pieces can be reused and repurposed multiple times. We also have had Ceremonial burnings of props in bonfires… maybe not so good for the ozone but it looks cool and disappears! Ha.

AF: Your new single, “Float the Flood,” is yet another song that for me, drew up intense visuals: images of whales lurking beneath the surface of the ocean, boats on fire. Can you give us some insight on how this song was constructed and what the backstory is?

LR: I was going through a really difficult time in a long term relationship when I wrote the song, and was feeling suffocated by having to express hard emotions. I was starting therapy to help with my depression and for the first time was really seeing all the ways I hate myself. I can be very punishing. I was feeling a lot of guilt and anger and was taking a lot out on my partner. I kept seeing images of myself as a fog, a flood and a mess of endless water and murk. I was trying to express how lost I was in the expanse, and how it was effecting the people I love.

AF: Are you at work on a new video?

LR: Yes we are! We are starting to create art for our next video called “Lioness.” This video will introduce our third band member Jody (drums), and will be part performance video. It will incorporate landscape shots of the fall foliage I hope! I wanted to transition between seasons from video to video as well.

AF: The digital download for “Grown from Good” was printed on paper embedded with wildflower seeds and even came with a glass jar of soil. “Float the Flood” also has a creative twist in terms of its download. What can listeners expect?

LR: “Float the Flood” will be available as a digital download, accompanied by a balsa wood glider plane. I’m really interested in the idea of creating ways for our audience to interact with our music beyond just listening. I want to make merch that turns the music into participatory experience, and the idea of ‘play’ is a central part of that. I wanted to make something that would inspire people to literally go outside play. I have found it harder and harder to get our music to people (and actually have them listen to it!) so in trying to think outside the box I found myself drawn to ideas where the music becomes almost secondary to an experience that could facilitate a listeners own personal creativity.

Ace of Wands release 10,000 Feet EP August 17th. If you’re based in Toronto, don’t miss the band’s show at The Horseshoe Tavern on August 18th.

PREMIERE: Uruguay “Pretty Pretty Rampage”

If you have something to say, say it with style. Stepha Murphy and Benjamin Dawson-Sivalia, aka Uruguay, are looking to make a big impact on the world; from their socially conscious lyrics to their carefully curated clothes, they are two artists working their image from the ground up.

“Pretty Pretty Rampage,” their latest track, is dedicated the underdog. “The song goes out to all those kids/people who have been bullied. People were and still are constantly underestimating me and telling me what to do (I know I’m not the only one). So, I wrote PPR as a dream character badass little assassin girl. She represents doing what you want, being proud of you! It’s saying “F*@# YOU!” to racists, sexists, abusers and just a$$holes. She’s already a misfit so she has nothing to lose, and she is so strong!” Murphy says of the surprisingly upbeat tune.

It’s Uruguay’s ability to address serious matters with humor and panache that really make their music stand out. Their latest message is clear: fuck the haters. Be yourself.

Listen to “Pretty Pretty Rampage” and check out our interview with the band below:

AF: Ok, let’s start from the very beginning. Because that’s a very good place to start. Tell us about how you two met.   

Stepha Murphy: We met at UNC Chapel Hill, I was in school and Ben had just come back from London and Spain. He was couch surfing at the time and we just hit it off!

AF: You’re kidding! I’ve always wanted to do that. Mama Kuske said “Hell no” unfortunately.

Benjamin Dawson-Sivalia: It was cool for a while for sure. Lol, probs for the best!

AF: How did you end up moving to NYC together? Was it a spur of the moment decision?

S: Well, I was scouted for modeling at the mall in Chapel Hill and Ben was super into music production. So, we decided to go… school wasn’t really for me at the time so we didn’t really have anything to lose! It was kind of spur of the moment but we planned ahead with a place to stay, etc.

AF: How was the initial transition? I know for me it was quite a culture shock.

B: We actually got scammed out of our place and our savings and were left without anywhere to go. So, the city definitely gave it to us from the get go. But, that was good because it was the most intimidating that it could be, which doesn’t leave much room for fear. We were homeless for a little while and stayed on people’s couches until we ended up in Brooklyn for a couple of months

Culturally though, it was amazing! Super diverse, and super stimulating. Coming from the South to NYC was great in the sense that the racial tension wasn’t as bad. For me, it was a bit overwhelming with so much stimuli, but over time I got over it, and that was really personally empowering.

AF: Your first single “Sabrina Segment” has such elegance to it; I love the layering you do throughout. How did you go about building a song like that?

S: Thank you so much! Ben was working on scoring a documentary about Drag Queens in Brooklyn and I was sitting around watching him do it. I started to give more and more input but finally I was like, “Let me give this a try!”. He was kind enough to let me, lol. And I sat down and wrote “Sabrina Segment” in a couple of minutes. Since I was kid I’ve always done little jingles, so it just came out. I really connected to a specific character in the doc and so it became about her and me.

B:  I literally stepped out for like 10 minutes and during that time Stepha laid down the vocals. The ones we used for the song were her first take, which I’m still amazed by! We both worked on the music together, Stepha told me the vibe that she wanted and it came together really naturally.


AF: Did you both come from musical families? Or is music something that became an interest in adulthood?

B:  Yeah, definitely!  Both of my parents were in active musical groups since I can remember. My Dad is a violin maker and I grew up playing guitar, messing around with piano and playing drums. I went to school for jazz saxophone at UNC and Kings College London. So, music has always been a HUGE part of my life!

S:  My Mom is a trained opera singer and, fun fact, my Dad sang backup for Rick James in the 80’s hahahaha!  So, singing has always been in our household. I never did anything too concrete (until recently). But, I taught myself piano when I was 11 y/o based off of Regina Spektor songs! Also, my Dad made my sisters and I do a girl group when I was 5, which was 90’s R&B based, so that’s pretty badass

AF: I’m picturing the Star Search outfits I’m hoping ya’ll wore…

S: OMG, I wish I had pictures!

AF: In comparison to your first two singles,“Sabrina Segment” and “Pieces”, your latest track Pretty Pretty Rampage (death by girl) features playful, almost coy vocal stylings. Was tone something you purposed yourselves to experiment with?

S: Regina Spektor was a huge influence for me and something I love about her is how she literally uses her voice as a dynamic instrument, which is something we are playing on in our works. Also, we made this track directly after “Sabrina” and while it is more playful in sound the lyrics are rather dark, which is consistent with a lot of our other music.

B: But, we definitely enjoy experimenting creatively!

AF: Is there a specific message or vibe you’re trying to get out there with Uruguay? A common theme you come back to in the writing process?

S: Definitely! In a world that is overcome with technology Uruguay is an outlet for a more human experience. Our music is a bit raw and grungy, dark and beautiful, complicated and simple.  It’s all the things that life portrays. There is a mystery to it and to us but also we want people to feel our vulnerability and heart! That is always evident in our writing process, we write about what is happening and has happened to us. So, you know that it is always honest.

B: Yeah, we write about our personal experiences, but I think the purpose of what we are doing with our music is to bring people together.  It’s an outlet for us, which is nice. But, we also want to be able to use our music to help others. Whether that’s someone being able to relate to a track and have it help them through a hard time or using our platform for philanthropy, we want to help. So vibe wise: Pretty Pretty is a bit of an outlier but generally our vibe is a little darker and grungier.

AF: Stepha, you got your start in NYC as a model. Uruguay’s first videos featured local designers. Both of you modeled in an editorial piece for KALTBLUT Magazine. How does the concept of style intersect with your music?

S: Ooh!  For me, Uruguay is an outlet for fashion, art, and music! Strictly fashion was such a huge part of my life for a long time and now we get to extrapolate on that in whatever ways we want. We are currently working with local brands and pairing up with them for editorials and also merch exchange so we are definitely intertwining the two realms.

B: Fashion and style isn’t something I thought about growing up. Moving to NYC with Stepha really opened my eyes to how much fun and expressiveness you can have with personal style. It’s art and a reflection of self, which is exactly how we view music. They parallel in my mind which is why it’s fun bringing them together in our videos and shoots.

S: Also, we get to bring our visions to life through fashion, it’s like adding another layer to a project! I’d rather play in 3D than 2D.

AF: You just finished two new videos, with Stepha directing / producing and Ben taking up the camera. What have you both learned since the first video shoot?

B: I’ve learned how to better prepare for shoots and knowing what to expect. There is so much that goes into it from coordination to conceptualizing ideas and pulling people together to work on it. It’s a huge and super fun project.

S: I’ve learned that I cannot compromise what I want for anyone. I’m soft spoken, and despite being in my 20s I look like I’m 16. Also, I’m a minority female. All of those things put together means a lot of people don’t want to listen to me. However, I know that the vision is the vision and I can’t bend for anything. I am open to better ideas but ultimately we have to make what we think is true to our art.

So, I’ve learned to be tough, not to give in and not to let anyone belittle or bully me. That’s a power that goes past making videos but its something I’m grateful for. Also, we have learned that having a good team is crucial!

AF: Do you have plans for an EP or are you focused on releasing singles as they come?

S: We have like 20,000 songs (literally). We could release an EP but we are waiting for the right time, place and resources. Right now we are releasing singles, videos, and fashion collaborations!

B: We are also digging our feet into philanthropy and involvement in causes we find important, so there is a lot to come! #benefitshows

AF: I love how artists are incorporating philanthropy and activism more and more into their art.

S: Us too, if you have the opportunity to let your voice be heard why not make it mean something that can help others?!

AF: Uruguay has a show coming up here in Los Angeles. What can fans expect from a live performance?

S: For our live performance I would say it is an opportunity to let us suck you into our world. We are intimate but also we give you everything we have (and we have a lot to give).

B: I feel the same! I would expect a personal, intimate experience. Also, Stepha as a vocalist and performer is so immensely talented. To get to see that in person is incredible.

S: Thanks Ben! I feel the same about you.

Are you a Los Angeles native? See Uruguay LIVE August 22nd at The Study!

PLAYING DETROIT: Shady Groves Release Dreamy New Singles Ahead of Hiatus

Shady Groves – the culmination of Detroit songwriters Adam Fitzgerald, Dylan Caron, Jeff Yateman, Jamie Dulin, Colt Caron, and Sage Denam – recently released two singles from their upcoming record, Dreamboat, and both are worthy predecessors for an album with a title that hints at serenity. “Quiet Wolf” and “Backflips” stand on their own as separate entities – perhaps even representative of different genres, due in large part to the fact that each member of Shady Groves has a hand in composing songs, and each bring disparate styles to the table.

“Backflips” offers a fusion of shoegaze, funk, and electronic elements that join effortlessly to create an ambiance of nonchalance. The mantra of the song (“back and forth, knowing it doesn’t matter”) isn’t specific; Fitzgerald (on vocals) could be referring to love, inner turmoil, the actual act of making music – any number of things, really. The lulling synths and hooky beat settle into a casual, unbothered rhythm befitting the song’s terse themes.

“Quiet Wolf” taps into a different side of the band, with Caron’s vocals vulnerably recounting a journey down a path of self-destruction: “I want to clench my fist so fucking tight / Around that bottle of gin all day and night / I’ve been through this before.” Whether it’s a coping mechanism for a broken heart or a boomerang of a behavior pattern, the song accurately wraps the feeling of desperation and dependence into a tiny bow and presents it to the listener with a subtle emotional wallop.

All of the musicians in the band also release music under their own solo projects, and Caron’s latest also happens to bear the name Quiet Wolf (Yateman performs as Jemmi Hazeman both with and without the Honey Riders; Fitzgerald makes solo work under the name Quells). There’s no doubt the band is going places, both figuratively and literally – Fitzgerald is plotting a big move to Edinburgh, Scotland, though the band plans to continue writing music together from their home base in Detroit, even across the Atlantic. Keep an eye out for Dreamboat, which should see release sometime in the fall before the band goes on its official hiatus.

PLAYING THE BAY: Ray Reck Brings the Bounce

A little over seven years ago, Ray Reck accepted an invitation on a whim to DJ a gig in San Francisco, and since then has been swinging beats and moving hips from Venice Beach, to San Jose, to Oakland and San Francisco. Representing the spirit of Oakland Bounce, a femme collective of bounce enthusiasts, Ray has found a seat at the table mixing all types of genres – but above all, Jersey Club. Her remix EP P. Posse pays homage to all the women who have blazed trails in influencing hip hop.

You can catch Ray Reck at Hiero Day Festival 2018 in Oakland on September 3rd, and check out our interview below.

AUDIOMAMA: Making Baby’s First Concert a Success – Even When You Forget the Headphones

The second Monday of every month, we explore the trappings of the millennial mama with parenting tips and tricks that are more Tycho than Tangled.

“Forgotten Baby Headphones” by Ashley Prillaman

It wasn’t until we reached the pay lot that it dawned on me we’d forgotten the one thing parents needs to bring to a concert: baby headphones. Already, our first family outing was veering sideways.

I was going to be different than the rest of my friends with kids – I was gonna be the “cool mom“. The “cool mom” takes her newborn to see Still Woozy at The Hammer Museum. She has magically clean hair and a coordinating black and grey parent/kid ensemble. She breastfeeds with the ease of Gisele surrounded by assistants.

I am not this unicorn of a mother. I’m the new mom who manages to put on a cute outfit, blow dry her hair, and put on cute high-heeled boots. I’m the new mom whose husband got out early from work and picked up friends on the way to the show. I’m the new mom who felt pretty damn put together… until she remembered the headphones after it was already too late to pack them. Then I was the new mom sobbing in a parking lot in front of a newborn, friends, and a helpless partner.

The rest of the night was spent breastfeeding and hiding from the music. Tinnitus might not have been my main concern before I became a mom, but it turns out that even at “family friendly” events, the music is about ten times louder than my two-month old son’s fragile ear drums could be expected to handle. Turns out, he was as disinterested in watching a DJ as you might expect. All in all, I did get to enjoy the new “Made in L.A.” exhibit, but as for the music… my review could be summed up in three very Grandpa-ish words: too damn loud.

Neil Frances at The Hammer Museum (right before I ducked inside).

Are you a new mama thinking of braving the elements to see your fave band? Don’t sweat it. I’ve learned a lot since that first concert. Below is my best “Baby’s First Concert” advice:

  1. Buy two sets of baby headphones. Keep one in the car and one at home. Our apartment complex is plagued with a bunch of kids who love pulling the fire alarm (yes, I’m aware I sound like Mr. Wilson from Dennis the Menace), so having a home set is required. But honestly, loud noises can strike at any moment. It will give you peace of mind, and the average set is pretty cheap. We love Baby Banz.
  2. Bring snacks FOR YOURSELF. Breastfeeding is like a non-stop workout for your boobs. Hunger can strike at any moment. I have a rotation of granola bars in our house and eat on average two a day (sometimes three when we have a full-length feeding session in the early am). Kind bars and Health Warrior Chia bars are just a couple of my go-tos.
  3. Heeled boots make any outfit feel dressy. Heels are not my thing, but when you’re covered in piss and breastmilk, it’s the little things that make you feel human. A pair of comfortable boots gave me the confidence to walk around the museum with a baby attached to my tit.
  4. Keep it to the family unit. We made the mistake of inviting everyone we hadn’t seen since the baby was born. Which made every learning moment a very public affair. For your first time out, make it a strictly family affair. That way the only person you have to answer to is you, your baby, your partner, and a room full of strangers.
  5. Bring bottled milk. I hadn’t started pumping by the time of the concert, so I was solo when it came to fulfilling his needs. My advice? Schedule your first concert around your first pumping week so you won’t have to miss so much of the show.
  6. Find the quiet spaces. Even in the middle of a crowded event, there’s bound to be hidden areas where you and the baby can chill. Newborns are easily overstimulated, so don’t be afraid to tell your group “Hey, we gotta go.” At the Hammer Museum, I found a bench by the bathroom, a couch by the gift shop’s entrance, and a chair inside the exhibit.
  7. Wear your emotions on your sleeve. It’s okay to get upset. Your emotions are valid (even if they do stem from a lack of sparkling water at the cash bar). Keep your partner in the loop! You may feel like they should be able to read you, but they’re tired too.
  8. Download the right e-book. It might sound counterintuitive, but sometimes when you’re tired and there’s a succubus on your teat, the right book may lift your spirits and help you carry on. David Sedaris has been my new mom savior; his writing contains the real life grit and humor a mom needs to get her through the day.

“While at the beach we sensed more than ever that our lives were governed by luck. When we had it – when it was sunny – my sisters and I felt as if we were somehow personally responsible. We were a fortunate family, and therefore everyone around us was allowed to swim and dig in the sand. When it rained, we were unlucky, and stayed indoors to search our souls. ” – David Sedaris, Dress Your Family in Corduroy and Denim

Since little buddy’s first concert*, we’ve gone to another museum concert. It was a Natural History Museum “Summer Nights in the Garden” event. We went early and left early. I was fairly relaxed. The baby slept most of the time. At one point we found a spot behind the DJ booth and he bounced a bit with his headphones on. Victory!

*Baby’s first concert GIF below. As you can see…he was thrilled.

HIGH NOTES: People Share the Most Bonkers Things That Happened to Them in Ibiza

If you’re looking for an adventure involving music, drugs, or (ideally) both, there’s no place like Ibiza. The Spanish island is known for its collection of famous DJs and, thanks to the Mike Posner song “I Took a Pill in Ibiza,” its abundant supply of recreational drugs. Largely for this reason, many people have had some of the wildest times of their lives there.

With the island’s clubbing season in full swing, I asked people about their most memorable Ibiza moments. Some are terrifying, others are hilarious, and others still are charmingly tame. Here are some stories that might inspire your next Ibiza vacation.

“When I was 19 years old, I moved to Spain to work and travel a bit. After working in the Canary Islands as an activity organizer/entertainer in hotel resorts, I quit my job and flew to Ibiza. I was planning on finding a job but found a guy instead who was 17 years older than me. He lied that he was 30 and I lied that I was 20. We hung out around the island for a week and a half, partied, took drugs, and I spent all of my money. When he left, I was in my hostel with about 100 euros in my bank account, no job, and clueless what to do next. So, I went to a Go-Go dancer casting (it’s not stripping — I had all my clothes on!). It went fine, except I slipped and fell while dancing on the stage. I did not go back there anymore. I bought plane tickets to Barcelona with the last of money and left the island.” – Lana, 27, Israel

“I stayed in the room that Jean Paul Gaultier and Madonna stayed in when they went. I went to a foam party and got felt up by ten trillion hidden hands. Woke up on a beach octopussed up between two beautiful naked German girls. I was fully clothed. That was a wild weekend.” – Dutch, 43, Houston

“I was playing poker with a guy when his girlfriend undressed, masturbated, came, and got up to sit with us while were discussing US politics.” – Anonymous, 43, New York

“I was best woman in a gay wedding in Ibiza, and the grooms rented a gorgeous mansion with an infinity pool that overlooked the Mediterranean and mountains. Their friends rented rooms in the villa, so it was a big party house. There was one very desirable, studly, cool guy that everyone was trying to sleep with. And one morning, my friend, the groom, innocently walked in his room and saw four naked legs entwined and two bare asses. He gasped, ran out, and told everyone. We were speculating like crazy on who it was. I even snuck by the window to get a peek. We were nosy! Turned out it was the groom’s other best friend, Paul. We were all thrilled for him. The night after the wedding, Paul and I chugged wine until who knows when, because in the summer in Spain the sun is up at like 4 a.m., and when we finished our second individual bottles of (affordable, local) wine, the sun had been up for a while. So there was one straight guy at the wedding and back home he was screwing some other girl who came to the wedding who was, get this, married. But I’m such an alpha dog when I’m single. I got him to ditch her in Ibiza and come home to the villa with us. After Paul went to bed, the one straight guy and I ended up very not romantically and not otherwise memorably boning on the deck overlooking the sea and mountains and infinity pool. My groom friend’s new husband was just then getting up bright and early to do morning yoga and caught us. He gasped and ran in to ask my friend who it was. He knew it was me. His two best pals were the hoes of the trip. We had a good laugh.” – Anonymous, 38, Boston
“My only really mad story is when I thought I was going to die in Space watching Disclosure after smashing some mental pills. Then walking back to the hotel and having really bizarre hallucinations for about 10 hours. I was so hot and twitchy and couldn’t sleep. Dreams were all weird. I was eaten by a snake with a kaleidoscopic throat. And there were these weird depictions of the devil chained to the earth by big concrete slabs — the sort of stuff that freaks you out big time. Funny day actually. Wouldn’t like to repeat it.” – Anonymous, 29, London
“I once saw a prostitute chasing a guy around Playa den Bossa. That was funny. At like 8 a.m. opposite Pizza Piadina.” – Anonymous, 29, London

“I studied abroad in Barcelona when I was in college and we went to Ibiza. Basically, I ended up getting my nipple pierced (just one, no money for the second one) and there is still a photo of it — along with my friend, who bet me that if I got a nipple pierced he would get a bull ring — grinning like idiots in the tattoo shop. Which, if I ever go again, I will take down.” – Michelle, 28, Atlanta

“My friends and I met an undercover drug cop at the airport and crashed at his fancy apartment instead of our Airbnb, and my friend hooked up with him!” – Anonymous, LA
“There was one night I went to Ushuaia, and I don’t think I was planning on doing molly, but a friend gave it to me. I was like, Oh, why not? So I’m frolicking, I’m dancing, I’m also on my period. I personally don’t really like tampons because something about them itch my vagina, but I put in a tampon because I was wearing this tight-ass dress and I didn’t want to wear a pad. It was starting to irritate and itch me, and I’m on drugs, and I don’t understand what it means when I rip out my tampon. I think I threw it in this guy’s patio area. And I don’t give a shit and I just dance. Then I meet this super cute guy and I’m walking around, my teeth are chattering, and I look like a crazy person. We were dancing and talking and then you lose track of time, you’re going to a bunch of different places and bars around Ibiza, and I think we were making out, and then we get to the time when we’re like, OK, let’s have sex. It’s at that moment that I realize I had taken out my tampon hours ago and my entire underwear is soaked red with blood and it’s running down my leg. And he’s like, I don’t care. And then we have sex anyway, and I think we were in public.” – Anonymous, 26, Chicago

“Dalt Vila at sunset… watching the white-washed homes that dot the landscape fall asleep as the Mediterranean sun goes down while you’re standing in a walled city from the 15th century. It’s not what people think of Ibiza and it surprised me.” – Andrea, 42, Canada

PLAYING DETROIT: This Summer’s Hottest Releases You Might’ve Missed

[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”]

Summer Like the Season released “Wakey” in July via PopMatters. Photo by Allen Zhang.

As we all know, it’s impossible to keep track of all the incredible music being released on a regular basis, even on a local scale. Instead of focusing on one particular release, I wanted to do a roundup of some seriously solid Detroit artists who released music in June & July. This list spans all genres and shows the deep complexity of Motown’s musical landscape.

Soviet Girls – Filled Up With Nothing EP


This local indie-rock outfit – comprised of Anna Baghina (vocals/guitar), Jonathan Franco (vocals/lead guitar), and Devin Poisson (drums) – released their first set of songs this July and it is a goddamn treat. Teetering somewhere between garage rock and the bright, smart songwriting of the ‘60s (think Beach Boys, early Jonathan Richman), Filled Up With Nothing is a collection of masterfully simple songs, encapsulating the emptiness that lost love, adulthood, and, well, just plain old life can bring, but somehow makes it sound…fun? Enjoy.

Nebr, The Tiger – “w&b”

Detroit hip-hop artist Nebr, the Tiger released an escapist anthem called “w&b,” which stands for “weed and brews.” Sure, it may not be the most cryptic song on the planet, but it’s obviously fuckwithable. Who couldn’t use some weird and a nice brew in THIS economy?

Saajtak – Hectic EP

Consistently impressive art rockers Saajtak offered up their Hectic EP, and it is nothing sort of a sonic masterpiece. Lead vocalist Alex Koi gives a transcendental performance with her ethereal vocals, bending between operatic and punk rock. The title track evokes the mood of its namesake and meditates on the tumult of undying, unhealthy love. “If You Ask” incorporates heavily syncopated beats a la the band’s drummer, Jonathan Taylor. The 7-minute opus is a gorgeous and haunting journey through a myriad of emotions.

Mango Lane – El Diablo

Superfunky indie new-wave group Mango Lane shared single “El Diablo,” a couplet of FTW tracks that will save any shitty day. Its A-Side is a catchy, meaning-fits-all song impossible not to sing along to. The B-Side, “Vacation,” has the same weightless beat with a more grounded theme – wanting to enjoy a vacation but being mentally plagued by responsibilities.

JMSN – “Talk Is Cheap”

Christian Berishaj, a.k.a. JMSN, is a rare and underappreciated jewel of Detroit’s R&B/funk scene. “Talk Is Cheap” is a clap back at all the bullshitters that waste our time – in work, love, friendship, whatever. Berishaj’s no-bullshit message could be easy to miss when delivered by his sweet-as-sugar falsetto, but sinks in deep to anyone who is truly listening.

Summer Like The Season – “Wakey”

Writer, drummer, producer, and all-around talent Summer Krinsky captures restlessness on “Wakey.” What started as a solo effort in 2014 has blossomed into a beautifully balanced quartet complete with Tasha Peace, Scott Murphy, and Sam Naples. The group makes what they coin as “indie art rock bizarro pop,” and I couldn’t describe it better myself. Treat your anxiety-ridden insomnia with “Wakey.”

Legume – Shrug LP

Shrug is a summery, light-hearted, and freaking cute record from local indie-outfit Legume. Channeling some vintage Fleet Foxes vibes, Liam McNitt joins forces with Arman Bonislawski, Paige Huguelet, and Alex Murphy to craft the windows-down sunshine record of choice.

[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

PLAYING THE BAY: Arumi Dances on the Glass Ceiling

Straight outta Southern California, Arumi discovered her artistic expression in the Bay Area through a love of house and world music. As a recent graduate of San Francisco State University, she manifests her passion for music through DJing and producing.

Alongside DJ Lil Waifu, Arumi cofounded Global Thotties – a collective for female artists focusing in on world music – as a means to reclaim female sex positivity. During our interview, we discussed what it feels like to be at the intersections of being an Asian American artist and the interruptions that occur as a female DJ during her sets.

Listen to what she has to say here:

VIDEO PREMIERE: Emily Jane Powers “Sullen Days”

With her latest video, Emily Jane Powers proves there’s more than one shade of blue when it comes to feeling sad. The Chicago-based art rocker’s clip for “Sullen Days” is an atmospheric meditation on the spectrum of emotions contained within a sullen or sad mood. The entire video was shot on an iPhone by Powers’ husband, bass player, and creative collaborator Alec Jensen (Dream Version). The couple’s DIY approach and clear creative intimacy yielded a raw visual that coincides with Powers’ honest songwriting.

To capture the phases of sadness, the pair wanted to portray Powers as a passive vessel, experiencing, but not engaging, in the moving world around her. “I think that one of the biggest themes of the video was that things were happening around me, but I was passive and still,” says Powers. “We’re trying to evoke an idea that there’s a loss of control as well, which I think goes along with the mood I’m describing.”

However, it’s not always easy to remain still while hanging out of a moving car, which is how the bulk of the video was filmed. “There were a few times when Alec was driving in circles and I was physically unable to hold on to the car,” says Powers. This explains some of her agitated facial expressions throughout the film, but Powers also describes how the “sullenness” she’s capturing doesn’t hold one distinct characteristic. “To be sullen or sad isn’t just one mood, it’s a range of moods that can change pretty rapidly, and the changes of the moods in the video illustrate that,” says Powers.

Powers’ voice swells and evolves, too. Starting in a calm, hypnotic tone and spiraling into a swirl of inundated emotion, she rattles off stream-of-consciousness lyrics that hint to the depths of her psyche. She even identifies the effect her peers can unwittingly have on her feeling when she sings of “transferred desire.”

“I am pretty hyper-aware of the transference of emotions when I’m with people,” says Powers. “If someone’s sad or I’m with someone that’s happy, I sometimes absorb that too easily. Desire could be a bunch of different things – desire to feel better, desire to belong.”

It’s easy to empathize with Powers’ weighted conscious in “Sullen Days,” a cathartic burst of artistic expression. Watch the video below, premiering exclusively on Audiofemme.

Sullen Days by Emily Jane Powers from EJP on Vimeo.

 

PREMIERE: Church Girls “Black Seas”

Church Girls by Marissa Carroll

[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”]

Church Girls by Marissa Carroll
Photo by Marissa Carroll

Mariel Beaumont has a few tricks up her sleeve this year. Her band Church Girls has a new EP Home, set to release in September, with more music coming down the pipeline later this year. Beaumont has described her band as “straightforward punk / 90’s indie rock”, and it is refreshingly so. In the era of EDM, anything resembling rock stands out in the crowd.

Beaumont’s voice rings clear and sweet over cascading guitar riffs on their new single “Black Seas”. “Black Seas is about wanting to help someone you care about while uncertain of the boundaries — does this person want my help? Are my motivations purely benevolent? Am I even in a position to offer help, given my own problems?”, Mariel says, describing the mood behind the music.

We talked with Mariel about the music scene in Philadelphia and what the rest of 2018 looks like for Church Girls.

Listen to “Black Seas” below:


AF: You’re based in Philadelphia. What’s the music scene there like? When I think of that city I just picture Tom Hanks and that’s about it (Philadelphia novice that I am).

MB: Haha. Philly is a great music town – I think the secret is out now. The city has gotten a lot nicer in the eight years I’ve lived there, with a ton of new venues. We have some seriously amazing local bands – Palm, Queen of Jeans, Cayetana. It’s still pretty cheap to live in Philly too. Hopefully that doesn’t change anytime soon.

AF: What kind of music did you grow up listening to? Were your roots always fairly rock n’ roll?

MB: I was really into punk growing up, and I lived and breathed by the band Against Me! There were a few DIY all ages venues that I was able to go to throughout high school that instilled a love for shows. But I also really loved classic singer songwriters like Neil Young, Joni Mitchell, and Jackson Browne.

AF: The band’s bio reads “Church Girls is an indie / post-punk group on a quest to tap into listeners’ emotional marrow and explore the ways we work to become better humans a little at a time”. That is quite an artist’s statement. Can you tell us a bit about how the band formed and how that became your vision?

MB: Haha, well I should first say that my friend Kathleen (who has done most of our artwork) wrote our bio. I think it’s pretty accurate, though. I think most of my songs are my way of confronting my own shortcomings, whether it’s a failure to communicate in a relationship, or how my own bad habits get in the way of the person I want to be. Even when the song is told from someone else’s perspective, they all revolve around the same theme of trying to become a better person in spite of our insufficiencies.

AF: The artwork is beautiful. It has a cool, mystical feel to it. Did it take a while to get to that or did the artist come in with the style in mind?

MB: The artwork for Home was done by Marissa Carroll, who also did an amazing job conceptually. She came up with the idea of having an individual illustration for each song on the EP based on the lyrics, so we sent a few ideas back and forth until landing on the final version. We all really love it.

AF: “Brother, the bodies are falling again / the days drag and the sunlight is no one’s friend / I write my life hour to hour, unsorted as ever / but I can’t help but pick you up.” Can you give us the backstory behind “Black Sea”? The lyrics conjured up a lot of imagery for me, especially with your line “the bodies are falling again”.

MB: It’s about watching a close friend go through a tough time, partly by their own doing, and wanting to help them even if you’re not in the best state to give help. I know the language is pretty dramatic, but I’ve found as I’ve gotten older that consequences really can be dire. Things that could pass as cute when we were young aren’t very cute anymore.

AF: Scott Solter (Spoon, Superchunk) worked with you on this EP. What was it like collaborating with him?

MB: Scott is great. We talked beforehand about the sound we were going for and it was clear right away that he really listened.  He’s very present in the studio and gives his full attention, and he gives great suggestions without being too overbearing. Plus, he’s hilarious and a great hang. We’re looking forward to going back to record with him in August.

AF: You’re planning on releasing new music later this year. What can we look forward to in terms of themes / soundscapes?

MB: There was even more collaboration on the new stuff – Joey and I were constantly sending each other tracks that we’d rework and send back and forth. We were also listening to the same stuff – Parquet Courts, Interpol, and Television. The themes are similar, but more of an introspective look than an examining of external relationships. We’re really psyched to go back to Scott since we feel our collaborative vision will be even tighter.

AF: Is a tour in the works?

MB: Yep, we have a short tour in August, and a longer one in the fall to support the release. For the fall tour, we’re focusing mostly on DIY venues. 

Church Girls’ forthcoming EP Home, recorded with Scott Solter (Spoon, Superchunk), is due out September 7th via Chatterbot Records. Preorder HERE! Want to see Church Girls Live? Check out their August tour dates below!

August Tour:

Tues, Aug 7 – Cambridge, MA @ Lilypad Inman w/ Jacksonville Kid & Stains of a Sunflower

Wed, Aug 8 – Burlington, VT @ Radio Bean

Thurs, Aug 9 – Brattleboro, VT @ The Stone Church w/ Belle Machine

Fri, Aug 10 – Bethlehem, PA @ Musikfest (Steelstacks)

Sat, Aug 11 – Brooklyn, NY @ Pine Box Rock Shop w/ Dalton Deschain & the Traveling Show & Cat Tatt[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

PLAYING DETROIT: “O.D.” on Britney Stoney’s New Video

Detroit singer-songwriter Britney Stoney recently released a video for her latest single, “O.D.” and it’s a glamorous ode to the city she calls home. Only her second single since 2015 EP Native (the other, “GRIP,” was uploaded to Soundcloud last year), the track sees Stoney embracing a sound that veers away from her previous work and into experimental R&B.

Stoney says that the song itself came to life organically. “I wrote the song and my friend Manner produced it. It was very spur of the moment,” says Stoney. “We were just hanging out and he came up with this really simple beat and about an hour later we had a finished song.” The “simple beat” could loop in your head for days, and it fits perfectly between Stoney’s glassy vocals. Her lyrics (“Call me when you want me/Call me when you’re all messed up/Touch until we’re okay/Tell me that you want my love”) linger just as easily and tell a story of infatuation with simplicity and accuracy.

The video pairs gorgeously with the upbeat song and follows Stoney as she wanders through her old neighborhood and dances on rooftops with the city behind her. “The roof I shot on was a building I lived in for six years,” says Stoney. “Recently, I had to move, so I decided I needed to take that view with me. I went through many phases of my life in that building, on that street, so it definitely holds sentimental value for me.”

Shot by Detroit-based filmmaker KATAI, the video juxtaposes grainy, vintage film with vivid shots, giving off the feeling that you could be watching a home video or a Cannes-nominated film. Stoney’s tulle-draped movements seem effortlessly paired with the song’s addictive rhythm; with every repetition of the line “gimme all you got” she leaves us wanting more and more.

PLAYING THE BAY: MahaWam is Taking Names and Snatching Wigs

MahaWam has become a staple among many establishments in San Francisco and Oakland, weaving house beats with his influence of tech metal and progressive rock to usher in a new era of queer freedom and expression. On any given night you can find MahaWam hosting and organizing club nights and events with notable Bay Area DJs and drag queens like the House of Towers.

In this interview, MahaWam explains how they create and share beauty in a world that can oftentimes feel isolating. 

 

INTERVIEW: Kat Cunning on Carving a Niche For All The Weirdos

If ever there was a case for blazing your own trail to success, Kat Cunning’s rising stardom is certainly one of them. Back with a new single called “Stay On The Line,” Cunning is a study in fluid adaptability; time and time again, she’s made opportunities for herself in all the spaces where she once found walls – by tearing them down completely. “I think a lot of the stuff I do has been bred out of survival,” says Cunning. “Its been bred out of a lack of opportunity for me.”

Cunning understands first hand what it feels like to lose something you love because you don’t adhere to a stereotype. She’d dedicated her early life to studying dance, only to feel shame around her body after she hit puberty and suddenly didn’t fit the body type of the typical dancer. Moving to New York City after graduating from the Purchase Dance Conservatory – one of the best dance schools in the country – Cunning struggled to find work as a ballerina with a body type that didn’t fit the mold. Frustrated, she decided to break the mold entirely, eventually performing off Broadway with burlesque theatre troupe Company XIV and Cirque de Solei’s Paramour. 

In New York’s burlesque community, Cunning was finally celebrated for her body, rather than shamed for it. “I shouldn’t have to hide my body because it is a dangerous form of arousal for people who can’t control themselves,” Cunning says. “I’ve spent my entire childhood in leotards, and tights, and less than that, and I grew up to be an adult in the burlesque community where I’ve felt more safe and celebrated than anywhere I’ve ever worn clothes.”

Cunning’s singing roles with Company XIV (in Nutcracker Rouge and Rococo Rouge, particularly) earned her major accolades when the New York Times gushed that her voice brought “an exquisite, indie-siren quality to a series of covers.” It was one of those fateful moments where it felt a new path had suddenly opened up, and Cunning could see a smidgen of hope in a forest of doubt. Even her family, who had originally told her not to quit her day job, realized her potential then, and Cunning forged forward, beginning to write and sing her own songs as well. She quickly found freedom in making her own music; it allowed her to create the kinds of worlds she wanted to exist in, as opposed to the structured, more patriarchal industry of classic ballet.

“Nina Simone wanted to be a classical pianist, and I feel like her relationship to piano is similar to my relationship to ballet,” Cunning says. “[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”][There’s] this thing you want the most, that you will always strive for, that is already the most perfect fine art, and then you just don’t make it [because] nobody lets you. So you fucking figure out how to sing a song and [as it] turns out, that resonates with people. [Nina] moved me so much, because she’s a human voice who loves another art form. She’s not trying to be the best [vocalist], but it works because she’s a human speaking from her heart.”

Musically, you can hear Simone’s influence in the classic jazz aesthetic that informs Cunning’s singing style. She combines those undertones with elements of pop and electronica, her vocals strong and sultry. And burlesque has played a huge role in her lyrical approach; so many of Cunning’s songs – including “Stay On The Line” and the recently-released “Make U Say” – are about owning her sexuality. She narrates sensual scenarios with an ease and confidence that has seduced fans and critics alike, and the theatricality of her stage show only adds to her allure. Cunning just finished a North American tour run with LP (Laura Pergolizzi); she’ll also appear as a recurring character on Season Two of HBO’s The Deuce and plans to release more new music in the coming months.

Cunning says that where she’s at now is just the tip of the iceberg, and if this is just the tip, the iceberg must be giant. She says her dream is to create a multi-layered live performance where many different kinds of art forms and artists can stand out for their unique aesthetics. Already combining fantastical costumery, visuals, and choreography into her live shows, Cunning’s aim is to create an emboldened performance that allows people to find solace in their own truest expression – not just for herself, but for the friends she’s made along the way, who, like her, don’t always play by the rules.

Too often, she says, other creatives in the burlesque community are overlooked. “I’ve been to so many auditions where, for whatever reason, we are too weird, or our bodies are too different, or the way we are expressing ourselves is too unique to fit in. And I don’t want that,” explains Cunning. “I want to create a career as an artist where I can keep producing shows and tours where I feature people who are weird like me. So that the people in the audience who are weird know that there can be a place for them, even if the only lesson they take away is that they have to make it [for themselves].”

It is Cunning’s hope to highlight those who’ve had similar career blocks in finding success through their art, even as she makes something more for herself than the world was willing to hand over. “I want to inspire people to be whatever mixture of things they are and to know that they belong too,” she says. “I want to transport people to a place where they feel free to feel something personal.” As Cunning’s courageous efforts continue to pay off, those self-proclaimed “weirdos” are guaranteed a voice and a platform for expression.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

PET POLITICS: Drummer Diana Kinscherf on Bashing Kits and Cuddling Rescue Cats

I first saw Diana Kinscherf slamming the kit during an excellent set backing Hamish Kilgour of The Clean at The Glove in Brooklyn. The next time I saw her play live was in Manhattan at Pianos when she made an awesome impromptu appearance in Nick Rogers’ (of Holy Tunics) solo set. Before meeting Diana, I had also heard some recordings of her both playing and experimenting on the kit with fellow musicians. I was impressed by the force behind her drumming and her ability to jump on the kit at any moment alongside any other instrument – whether it was guitar, saxophone, vocals, or otherwise – and immediately find a compatible and consistent beat for the song. When I got to know Diana on a personal level, I was introduced to her wicked sense of humor and we bonded over our mutual love of music and animals (specifically cats). I learned that Diana was not only a fellow cat lady but a regular volunteer at animal shelters.

Diana moved in with some friends of mine and the first time I paid them a visit with their new resident, I almost accidentally sat on a an enormous and friendly brown tabby smush sitting on an antique chair. His name was Toki, and he was happy to let me stroke and hug him (but he clearly wasn’t going to give up “his” chair). Just when I thought I was going to die of a cuteness overload, another equally adorable and giant feline came slowly crawling down the stairs.  It was Scrambles with her chubby orange belly charmingly draping through the gaps in the staircase. I could tell the entire household was smitten with these two kitties, and I could understand why!

AF: Please introduce your furry friends!

DK: Meet Scrambles and Toki – both nine year old rescues! Five month old Toki arrived first from a litter of kittens being fostered at a Bayside, Queens vets office, and a few months later Scrambles came to me via a friend who took her in from the street in Bed Stuy but couldn’t keep her. They became best buds immediately!

[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”]

Scrambles & Toki (All images courtesy of Diana Kinscherf)

Toki and Scrambles have very strong personalities. Toki is well known for his forward friendliness and his love of being handled – he’s a giant baby that loves to be held! Any attention is good attention for Toki. Scrambles has a more introverted personality, but still loves attention… though she is less forward than Toki, she WILL (vocally) let you know when she wants something!

AF: You volunteer at animal shelters. Can you recommend any for those looking to adopt a new fuzz love?

DK: I’ve volunteered and worked for BARC (Brooklyn Animal Resource Coalition), an independently run no-kill animal shelter in Williamsburg. I’d volunteer to walk dogs and worked with cats. I’d definitely recommend adopting from BARC, [/fusion_builder_column][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”][or] another no-kill shelter, like Sean Casey in Park Slope. I’m a strong supporter of “adopt, don’t shop” so any animal shelter is a great place to save a life! No-kill shelters are a great to support in general, as vetting and animal care is costly and if you can’t adopt, shelters always appreciate a donation!

Diana cuddling up with Toki & Scrambles

AF: When did you move to NYC, and where did you grow up?

DK: I was born in and raised in Queens; my high school was in Manhattan so I spent a lot of time hanging out on St. Mark’s Place, spinning the cube on Astor Place and haunting the local record stores (I later ended up working at one of them, Kim’s).

Diana playing with Hamish Kilgour at the record store she currently works at: Earwax in Williamsburg, Brooklyn.

AF: When did you start drumming, and can you remember the moment you decided to hit the kit?

DK: I wanted to play drums most of my life, but I didn’t give it a solid start til around early 2012 – I began playing small gigs with anyone who’d let me play with them almost immediately after. I began lessons around that time from a friend (Michael Evans – an excellent and versatile drummer) and Oneida’s Kid Millions. Kid’s best advice to me as a beginner was “Don’t wait until you’re ready – get out there and play!” This resulted in a few shaky first shows, but you gotta start somewhere!

Diana playing with Loop Diary for their “Sun Ra Remix” cassette release for Personal Affair at The Glove this past October. Photo credit: Ben Jaffe.

AF: Can you give us a rundown of all the projects you are in now?

DK: I’d say my current main projects are Giggle The Ozone, The Unnamed (we’re working on a name!) a trio with organ, drums, and bass/guitar (we haven’t played out just yet, but hoping to play soon), and occasional backing for Hamish Kilgour (The Clean) in his solo sets.

Flyer for a Hamish Kilgour show Diana played this past November featuring art and design by Diana.
Diana playing with Hamish Kilgour at Secret Project Robot last August. Photo Credit: Jordan Bell.

AF: What was your first band? How many bands have you played with since you started drumming?

DK: My first band was duo (sometimes trio) Pulcinella, with largely improvised sets. One of my first on-stage performances was playing with several other drummers for Man Forever at Death By Audio for Thrill Jockey’s 20th anniversary show. Since then, I’ve also played with one-off projects or as fill-in in Caring Foxen, Straw Pipes, electronic dubbers Loop Diary, Brooklyn theatrical noise band BBW, with Sugar Life at the kit for half of one show (that was unplanned but exciting!) and a couple of jams with Eighty Pound Pug. There’s probably more, as I rarely turn down a gig when offered!

Diana playing a Bushwick Rooftop with Giggle The Ozone in September 2016. “Not a doom metal band, contrary to the aesthetic” says Diana. Photographer unknown.

AF: Who was your first pet? How many have you had over the course of your life?

DK: My first pet was technically a budgie named Genaro, but I was like 3 years old and barely remember him. Genaro went to a relative as at five my family adopted a pair of kittens from North Shore Animal League in Long Island; Louie and Ricky were my best remembered childhood pets. I was very close with Louie and he made it to almost 20 years old! We also had two dogs, two iguanas, and two garter snakes (although reptile expert Ben Jaffe told me they were probably ribbon snakes) in my childhood household in the course of about 15 years. There was a fish tank at some point, too. Later on, I had adopted an older adult cat (also from North Shore Animal League) who I’d only gotten to know for a year, as he passed away shortly after I’d adopted him. As sad as it was to have such a short time with him, it’s beautiful to let an older animal be able to live out their last days in a loving home rather than at the shelter.

Young Diana with her First Major Fur Love: Louie.

AF: What was it that drew you to your current kitties? Did you choose them, or did they choose you?

DK: Although Toki and Scrambles are both rescues, there was not a lot of choice involved! Toki was one of many near identical tabbies in a litter, and the vet opened the cage and told me “Have a look!” All the kittens scattered out of the cage except for one that preferred to stay put and continue eating. I picked him up to look at him, and he immediately kissed me on the nose! There was no decision to be made, I was taking this little guy!

Toki and Diana snuggling up

Scrambles’ adorable face was on a flyer in the window of the shop next door to my workplace at the time I was looking for a buddy for Toki with the words “FREE KITTY” – excellent timing, I needed a free kitty! As previously mentioned, Scrambles was found on the street and taken in by someone who wasn’t able to keep her… I remember going to Bed Stuy with my empty kitty carrier at night to get her, not knowing what this cat would be like; I heard her loud meows before I even saw her when we got to the door. Scrambles was a little aloof the first few years, but is now my best (fuzzy) friend and incredibly close to me!

AF: You are now working with GP Stripes. I loved your recent flyer for their Northside showcases! What would you say your role in this label is and how did you begin working with them?

DK: My involvement with GP Stripes is kind of a “right place at the right time” sort of deal… I had just left a less than great living situation and moved in with friends… so my part in GP Stripes snuck up on me! I’ve been able to get a bunch of GP tapes into a couple of the shops I work at and online, and have assisted in organizing a couple of shows. Of course there’s always the actual tape production that always needs a few hands on board; dubbing tapes, cutting J-cards, packing tapes… QUALITY CONTROL! Toki has been glad to “help” too!

Toki testing out a GP Stripes cassette
Toki “helping” Ben Jaffe fold some Holy Tunics shirts

I guess my role in GP Stripes aside from production of the tapes is distribution – the tapes are in a few shops in NYC and in the works for being stocked in some stores in Tokyo – a few are on their way to Dunedin, NZ as well! Psyched you liked the flyer btw! It’s one of my favorite things I’ve done recently.

The GP Stripes Northside 2018 Flyer by Diana Kinscherf

AF: If Toki and Scrambles started a band, who would be the drummer?

DK: Scrambles would definitely be the drummer; I’ve caught her tapping her tail to the rhythm of music I play at the apartment! She’d be a singing drummer… Scrambles loves stoner metal!

Scrambles rocking out on keys

AF: What instrument would Toki play?

DK: I could see Toki potentially play keyboard, but Toki appears to be indifferent/dislike music, so maybe he’s more of a fan of John Cage’s 4’33”?

Toki not giving any fvx about jamming

AF: What are your pets’ favorite human foods?

DK: They don’t have any real interest in human food (I’m not upset about that!). Toki will want a bite of cheeseburger here and there, but Toki’s interest in food instantly declines as soon as I try to give him any.

AF: How do Toki and Scrambles influence your creative side?

DK: I’d say they’re very supportive of me; when I work on flyers or any design stuff, I’m often up at all hours of the night (apparently the only time these things get done). Scrambles will sit and sleep by my side as I work – Toki may try to sit ON my work!

AF: Can you share a funny memory you have with your cats?

DK: Scrambles enjoys licking my high hat stand (for reasons unknown). There’s a whole video of this, but a picture will have to do for now …

Scrambles also has an owl beanie that she loves – she stole it from me and I just couldn’t take it away from her! It looks suspiciously like her…she’s thrown it at me (only when I’m not looking) with incredible force!

Scrambles relaxing with her Owl

Toki never has a dull moment – he’s very possessive of a particular chair and will try to push whoever’s sitting in it off. And Toki doesn’t actually “meow” or make normal cat sounds. He makes a sound that can best be described as “MAGUB.” I found out about this when Ben insisted Toki was saying “magub” and I thought he was messing with me. Soon after, everyone else in the apartment has heard “magub” and I have no idea what they’re talking about until Ben records Toki making his notorious “MAGUB” noises – my best guess is that’s what Toki calls everyone that’s not me!

AF: Where and when I could see can we catch your next set?

From Diana’s most recent set with Hamish Kilgour at The Glove this month. Photo Credit: Anthony Procaccino.

DK: My last set was backing Hamish Kilgour at The Glove July 15th. I love playing with Hamish – we rarely (if ever) rehearse, and the cast of characters is subject to change from gig to gig when I play with him… the set tends to be a mix of Hamish’s solo compositions, songs by the Mad Scene, and sometimes a Clean song here and there. Hamish is one of the handful of people I can play with intuitively, so there’s never much of a struggle to “find the groove” in our set. As Hamish is a drummer himself, his rhythmic guitar style allows me to change between a motorik drive to a painterly, less pulse-based sound. Violinist Marija Kovacevic and tenor saxophonist Greg Vegas joined us for the show Sunday night at The Glove; both Marija and Greg are fun to play with as well as they both have a good sense of space and dynamics during the semi-improvised set. The four of us have played together before – it’s always exciting to see what direction we’ll take!

The Glove. July 15th, 2018. Photo Credit: Anthony Procaccino.

I was delighted to have many people tell me after we played Sunday night how much they loved our set! That’s always a good feeling, when audience members give you that positive feedback. sometimes I’ll get on stage and behind the kit super last minute – you never know where I’ll pop up!

Diana backing Hamish Kilgour at Earwax Records in November 2015. Photo Credit: Alessandra Maria Iavarone.
[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

INTERVIEW: Women That Rock @ Brooklyn Bazaar

Last week on Friday the 13th at Brooklyn Bazaar, Women That Rock put together their first GIG LIKE A GYRL summer extravaganza showcasing women in punk rock & other DIY music scenes, women of color and LGBTQ+ artists & musicians. The stacked lineup included GYMSHORTS, Sharkmuffin, Sister Munch, Monte, Lady Bits, Strange Parts & DJ Jess Louise Dye (of High Waisted), and you also could have gotten your first Friday the 13th tattoo, take goofy (or spooky) photos in the PhotoBooth, and browse through the special pop-up night market featuring apparel, jewelry, art & more creations by local female artists.

We chatted with some of the bands who played below about everything from their bands spirit animal and their favorite release this year to what they would like to change about society today…

Gymshorts

What’s your bands spirit animal?

Our bands spirit animal is andy milonakis!!

What’s your favorite single/ep/album to come out in 2018 so far?

lalalala just released a song/video off their new album thats coming out in september and its fucking awesome! Its called destroyer and the album is called the lamb!!!

 

Monte

What was the last CD you ever bought?

Well, I recently bought a CD from this awesome band from Vermont called Clever Girls!  

What’s your favorite NYC venue to play & why?

A lot of the venues I used to love playing no longer exist, but I used to have a lot of fun at Trash Bar.  It was the right amount of grunge, grit, and grime for a Brooklyn punk centric venue. Currently, the new Knitting Factory BK is my new favorite venue.  The room is large,the sound is great and the staff is friendly. All good vibes from the knit!

Monte’s debut single out July 20th!

Lady Bits

If your band were to replace the cast on any television show, which show would it be?

Arrested Development:

Krishanti – Lucille 2

Adriana – Maeby Funke

Kat – George Michael Bluth (I like the way they think…)

What is your favorite part of playing live?

There’s a different energy every time we play, which makes it exciting. The room, the stage, the crowd, the other bands – all of these elements contribute to our performance and make every song feel new and special. Everyone is lost in the moment together at the same time, and it’s exhilarating to create that space.

Stange Bits

If your band were a fast food restaurant, which would it be?

  • Strange Parts is definitely an Arby’s. My bandmate Corey has written several books on the chain and has the hat tattooed on his chest.

What do you think the most important thing that should change in our society/culture right now? 

  • erase all borders

  • dismantle the prison industrial complex

  • pay women of color fair wages

  • eliminate single-use plastic

 DJ Jessica Dye

What’s your favorite meme?

What EP/Album are you most excited about being released in 2018?
The new Sunflower Bean record won my heart over. So in love with “Twenty Two in Blue”

 

NEWS ROUNDUP: Political Popstars, Return of the 2000s & More

[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”]

Pussy Riot

Political Popstars, Return of the 2000s & More

By Jasmine Williams

Pussy Riot Forever!

Days after members of Pussy Riot were arrested for staging a protest during the World Cup, the Russian firebrands were awarded a settlement relating to their 2012 jail sentences for performing a “punk prayer” at the Cathedral of Christ the Savior in Moscow. On Tuesday the European Court of Human Rights ruled that Russia has to pay around $57,000 in damages to Maria Alyokhina, Yekaterina Samutsevich and Nadezhda “Nadya” Tolokonnikova for being unfairly imprisoned. Following the World Cup, Pussy Riot released a new music video called “Track About Good Cop.”

M.I.A.

This week, another controversial female musician returns. M.I.A. has never been one to shy away from politics, forever finding a way to inject global news stories into earworm hooks. (“All I wanna do is bang, bang, bang, and get your money” has to be the most gangster satire on anti-immigrant sentiments, ever.)

Finally, fans of Maya Arulpragasam will be able to get an insider view into her life through an upcoming documentary. Matangi/Maya/M.I.A. will journey from her childhood among Tamil Tigers to her Super Bowl settlement. The film comes out this September.

That New New

It’s not just early aughts fashion that’s back, three of your favorite feely bands from the 2000s have dropped videos this week. Death Cab for Cutie and The Blow both released new clips that veer into art-student-film-project territory while Cat Power debuted the song “Wanderer,” featuring unlikely collaborator (and tour mate), Lana Del Rey.

Chance The Rapper announced his foray into media with a new track. “I Might Need Security” discloses his purchase of local news site, The Chicagoist.

Alt-rappers Brockhampton also entered new waters this week, the group dropped a music video for “1998 Truman,” their first release since the departure of ex-member, Ameer Vann, due to allegations of sexual abuse and misconduct.

End Notes

  • Pitchfork Music Festival is this weekend in Chicago. You can livestream many of the acts, including Lauryn Hill, Blood Orange, and Courtney Barnett on Pitchfork’s YouTube channel.

 

  • Fans who were worried about SZA can breathe a sigh of relief. After missing some dates on TDE’s Championship tour due to damaged vocal cords, the Drew Barrymore singer made a valiant comeback at Firefly Festival.

 

  • Jay-Z is disputing with Philadelphia mayor, Jim Kenney over the music festival that the rapper founded six years ago. Since its 2012 inception, Made in America Festival has been held in front of the Philadelphia Museum of Art,  but this may be about to change. Without talking to festival organizers, Kenney told local news that the fest’s busy location was inconveniencing the city and would have to be moved in 2019. In response to the mayor, Jay-Z published a statement in the The Inquirer to voice his disapproval. Maybe op-eds are the new rap battle?

 

  • Mad Decent Block Party returns to New York after taking a one-year hiatus from the city. On September 24, TroyBoi, Walshy Fire, and more will play at the Brooklyn Mirage.

[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

LIVE REVIEW: Guerilla Toss at Union Pool

[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”]

All Photos by Sarah Knoll

The New York based genre bending band Guerilla Toss established a month-long residency at Brooklyn’s Union Pool. Playing every Tuesday in June, residencies like this make me question how a band with such a high energy and stamina like Guerilla Toss could keep up with the same performance every week. However, attending the last performance of their residency on June 26th with opener Kalbells, Guerilla Toss did not disappoint.

Opener Kallbells is actually the synth-pop project from lead singer of Rubblebucket, Kamila Traver. Her jumpy and energetic presence was quite shocking compared to her chillaxed presence observed at the bar of Union Pool earlier in the night. With an army of synthesizers played by Kamila and two other band members, Kalbells seems like Kamila’s bedroom diary.

A collective of sounds similar to Rubblebucket but with their own flavor, Kalbells’ performance was one of extreme interest and sensibility, creating a dialogue with the audience and speaking to them in an open context about song’s meaning. Such as in the song “1,2,3,4,5,6”, Kamila ended the song saying “this song is about orgasms, multiple of them” The all femme band is one to not sleep on, the dynamic of Kalbells is one of mutual respect for each other’s individual talent that they bring to the table. This band is a great blend between the 90’s girl riot bedroom pop and the synth pop wave of our contemporary time.

 

 

 

 

 

 

The Brooklyn based band Guerilla Toss was a band that has been hyped about for a long time. Their release of “GT Ultra” in 2017 was a sweet treat after their debut LP “Eraser Stargazer” in 2016. The band’s blend of poppy guitar riffs, intense synth parts and a complex bass line, the instrumentation of Guerilla Toss alone holds up to the band’s name. Lead singer Kassie Carlson sported an innocent look of overalls, but once she grabbed the mic, her vocals roared. Kassie does use some pedal effects to enhance her vocal quality to almost have an instrument of her own.

Her voice cuts through the heavy synth and bass and creates its own character to play a role in the narratives of Guerilla Toss’s sound. Playing songs off both of their releases such as “Betty Dreams of Green Man” and “Eraser Stargazer Forever”, the instrumental performance held far above the performance of the vocals. The vocals held their own means of necessity to carry the songs, but weren’t too memorable in comparison to the recordings. The small stage of Union Pool seemed to limit Kassie’s ability to be more energetic and dance around. Had there been more room, the band’s performance energy may have been higher. However, considering that this was week 4 of their 4-week residency at the Williamsburg centered bar and venue, it doesn’t come to shock that the energy was a bit lower than expected.

Maybe the band’s energy was a little low, but the crowd was anything but lackluster. A giant mosh pit formed almost as the band began their first song. It was not a friendly one though and made a lot of the show-goer’s uncomfortable. Shoving a lot of people whose faces from smiles turned to frowns. Even witnessing a couple who decided to leave the show from discomfort. Under no circumstances should a mosh pit be like that at all. It showed no respect and etiquette for the people around them, trying to enjoy the show. Swaying their bodies all across the middle of the room. It’s okay to dance, it’s okay to jump around, but for the sake of the other’s around, please do not throw yourself to start to engulf the whole middle of the venue. It was very unpleasant and put a damper on the show’s overall energy and safety.

Despite that, Guerilla Toss invited a bunch of brass players to play a couple of songs on stage. Making for a performance that sounded more similar to the recordings. Although it crowded up the stage even further, it did make for a more energetic performance just by the amount of sounds alone. Guerilla Toss definitely holds to its name but needs a push to translate the recordings to the performance.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

VIDEO PREMIERE: PowerSnap “Chemistry”

The only thing I remember from high school chemistry class is making ice cream and how a microwave works. I don’t remember any specific purple substances guarded by emotionless 20-somethings wearing black. Like PowerSnap front woman Romi Hanoch, I too would be intrigued and would feel the need to attain said purple substance. Maybe this purple substance is the essence of PowerSnaps’ punk grunge pop, and once you have a taste it will send your brain into a fuzz-soaked seizure. Formed after two members moved to NYC from Tel Aviv, this new band’s crunchy guitars and grimy vocal hooks will stick to your head like that purple goo would stick to those white walls. PowerSnap new EP ‘Delatency’ out now on King Pizza Records. Watch their new video, written/directed Gal Shaya and Efrat Kariv below…