Pop – Page 3 – Audiofemme

INTERVIEW: Alice Ivy Talks Dreamy Debut Ahead of SXSW

Much of the country is still in the midst of winter, but over in Australia, Alice Ivy is spinning summer all year round. Her debut record I’m Dreaming is a surreal pool party, hazy with liquor and puffs of the finer stuff – its collaged snippets could easily invite remixes by the DoLab at Coachella or blare over the soundsystem on a rooftop at some fabulous (and oh-so-elite) LA party.

“I suppose I’ll be taking orders from Dinah next!” A soundbite from Alice in Wonderland leads us into the laid-back dance club that is I’m Dreaming. One of the album’s introductory singles, “Chasing Stars,” is a gorgeous example of how delicately Ivy works with others; it’s catchy, clean, and absolutely on point for today’s pop EDM landscape. “Get Me A Drink” stands out as another potential hit, with tight lyrics and an easy swagger: “My ex just walked up through the front door/I really don’t wanna care anymore/WTF did he bring that girl for/I really don’t wanna care anymore.” They’re the kind of tracks that make you wonder what else the country of Australia’s been holding back (don’t worry, Alice has some Aussie producer recommendations). SXSW has a lot to look forward to when Alice Ivy hits the stage this week.

We sat down with the 24-year-old Alice Ivy, née Annika Schmarsel, to talk about what life’s like as a female producer and how she manages to pare down her work to just the right mix.

AF: You were raised in Geelong, Australia. From a quick Google I got: seaside city, famous for its Wool Museum. Give us a glimpse into what life is like there.

AI: Hahaha, wool museum. I haven’t even been there to be honest! I had a really good upbringing down here. Geelong is super close to the best surf beaches in Australia, so whenever I was on school holidays I would kick it at the beach all the time. It’s a very quiet town, but living so close to the beach was awesome. Geelong itself had a really good punk/rock scene a few years ago so when I was young I used to sneak out of the house at midnight and go see punk shows all the time

AF: What were some of your favorite punk bands from back then?

AI: When I say punk I mean punk and rock. This massive band called King Gizzard and the Lizard Wizard came from Geelong and used to play at this place called the National Hotel all the time; I went to most shows. They are now selling out massive tours around the world. I grew up listening to a lot of Motown and Soul Music though.

AF: Love King Gizzard! You sound pretty cool for a high schooler (a lot cooler than a certain Minnesotan who only listened to oldies).

AI: So cool! They literally played in the tiniest rooms in Geelong when I was growing up, it’s insane how well they are doing now.

AF: Tell us about your high school band, Sweethearts. I’m very intrigued by this all-girl group that got to tour Europe at age 12.

AI: So I auditioned to play in this all-girl school band (twenty-five 12-18 year olds). We would cover old soul Motown classics by Marvin Gaye, Etta James, etc. We would also play originals. Playing in this band was super cool because it gave me proper touring experience at such a young age. I toured Europe a couple of times playing the Montreaux Jazz Festival and the Poretta Soul Festival. Also understanding how shows work, writing with other people and getting used to performing at such a young age has had a massive influence on where I am at now in my music career.

AF: You’ve said you’re a fan of “sitting down and listening to whole records”. I’m Dreaming really does have consistent tone and pacing throughout. It’s an album that infuses a room with mood, a mezcal cocktail of a record. Did you end up leaving a lot on the cutting room floor in order to give it this particular feel?

AI: Sitting down and listening to a whole record is the best thing in the world. I feel like today everyone just listens to singles through play-listing and of course radio, so I wanted to create something that would make real sense if you sit down for 35 minutes and listen to the whole thing. So I chose my big songs on the record, and once I established those I wrote [/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”][new songs] or decided on the [existing] songs to fit in between. Songs such as “Bella” I revisited and re-worked a little bit so it would fit nicer. I wanted to keep the album super dynamic, so it flows up and down, and feels as if you are being taken on a journey. Choosing the songs was the hardest thing in the world.

AF: I absolutely love all the sound clips from films you interspersed throughout. Was that a concept you had or did it just sort of happen organically starting with a particular song?

AI: Thank you! Honestly it happened organically with the songs! Sometimes I even start a song with a radio sample and work my way around that. A good example is “Charlie.” The radio samples on there are old commercials from the 1950s, soon after the second world war, talking about makeup. I loved this period of time because it was like we won the war! Everything is perfect! Technology was evolving! Yet the Cold War and nuclear disaster was a very big thing. “Charlie” has that feel to it; the horns are so perfect they are almost fake. The feel of the song is like you are on top of the world, nothing can stop you. Not sure if this makes sense in words.

AF: Was the Alice in Wonderland intro a last minute add then? It seems like such a perfect way to encompass the overall feel.

AI: On ‘Touch” I actually also started with a little vocal sample and then mucked around with chords and a drum beat. Then I worked with Georgia Van Etten in the studio to work on little top lines. I really loved the idea of creating something that would take the listener down the rabbit hole.

AF: In 2017, you listed your Korg Minilogue as your favorite new piece of equipment. Not gonna lie: my husband and I just got one. We’re definitely in the beginning stages of figuring it out. Do you normally just jump in writing songs on a new piece of equipment or do you find there’s a lengthy experimentation phase you go through?

AI: I always need a bit of time getting used to a new bit of gear. It’s cool though; working with new gear also influences the kind of direction you are taking your music in. I bought the Korg Minilogue and then I wrote heavy synth driven songs such as “Get Me A Drink” & “I’m Dreaming,” stepping away from more of the ‘soul’ kinda stuff. You are gonna have so much fun with the Minilogue! It’s actually the best thing ever. You can do so much with it.

AF: What artists are you listening to right now?

AI: I’m listening to a bit of Australian stuff. Nai Palm just released an amazing record, Flight Facilities are great. But I’ve also been thrashing that new Mr Jukes record – the features on it are mind blowing. And I can never really walk away from SZA, Frank Ocean and Flying Lotus.

AF: I’ve heard rumor you’re coming to the U.S. for SXSW. Are there any other U.S. tour dates we can expect on that trip?

AI: Yeah, I’m hitting up SXSW! I’m super sad though because I have two Australian festivals either side of SXSW so I don’t have time to play any more shows. Will be back later during the year though!

AF: You currently run an all-female production class at Melbourne’s Arts Centre. Why is heading up this class important to you?

AI: Melbourne has been so good to me. There are heaps of youth organizations that help young producers start off their careers, there are amazing government funding bodies. About a year ago I realized that I may be a bit of a role model to young producers, especially females. I think that it’s super important to put back into the community and so whenever I have the time, I try to do as much as I can. The Arts Centre classes are a safe open space for young females to express their art. Music, especially electronic music, is so male dominated – the only way to change this is to put your time back rather than just talk about how hard it is being a ‘female producer’ making electronic music.

Get Me a Drink – Alice Ivy live at the Northcote Social Club from ash koek on Vimeo.

AF: What female producers are you seeing out in the scene that are really rockin’ it right now?

AI: I’ll list some Aussies who are smashing it right now. Ninajirachi, Nyxen, Saatsuma, Eilish Gilligan. Especially Ninajirachi; she’s 18 years old and doing massive festival circuits around Australia… so cool.

AF: What advice would you give a high-school age girl looking to become a producer? What are some of the first steps she should take?

AI: I’ll send a list of dot points!

Take your time with everything. Don’t feel like you ever have to rush art.
Collaborating with other people is the best way to get better at your own craft. Give it a go!
If they are in reach, reach out to the people that inspire you. They will generally make the time for you and you can learn so much.
Be patient. Every artist needs to do the hard yards first. Good things will always come if you put in the good work.

Alice Ivy’s new album I’m Dreaming is out now on Spotify and iTunes. If you’re headed to SXSW this week, be sure to catch her LIVE! [/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

PLAYING DETROIT: Tunde Olaniran Goes to Bat for Sleigh Bells at El Club

Last night, Sleigh Bells brought their dark electro-pop to a packed El Club for a fiery performance that had everybody in the audience sweating, despite the frigid Detroit winter. Feeling under the weather, lead-singer Alexis Krauss enlisted local artist Tunde Olaniran an hour before the show to help her out on “Rainmaker,” one of the most emotional and vocally taxing tracks from the band’s latest record, Kid Kruschev. Olaniran, who opened for Sleigh Bells on tour last year, was a perfect compliment to Krauss’ infectious stage energy, and the two absolutely “sleighed” the performance (don’t hate me, I had to).

Krauss later praised Olaniran with this adorable Instagram post:

Unfortunately, a subsequent post from earlier today confirmed that Krauss and her bandmate Derek Miller both have the flu and have had to cancel tonight’s performance at Metro Chicago, though they are hoping to reschedule it for a later date. There are no cancellations thus far for the rest of Sleigh Bells’ Kid Kruschev tour; dates are listed below.

02/01 Nashville, TN @ The Basement East
02/03 Austin, TX @ Mohawk
02/05 San Antonio, TX @ Paper Tiger
02/06 Dallas, TX @ Granada
02/07 Houston, TX @ White Oak Music Hall
02/09 New Orleans, LA @ Republic
02/10 Athens, GA @ 40 Watt
02/11 Raleigh, NC @ Lincoln Theatre
02/13 Brooklyn, NY @ Brooklyn Steel
02/14 Washington, DC @ 9:30 Club[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

INTERVIEW: Taylor Grey on Debut LP Space Case

California dreamer Taylor Grey may not be old enough to legally drink yet, but she is more mature and graceful than anyone I ever went to college with. She selflessly helped raise money for victims of the recent hurricanes by reaching out through her social media channels. And she’s also super smart – a neuroscience major at Stanford University – coming off her mini-radio tour just in time for the beginning of the fall semester.

Grey released her debut LP Space Case earlier this summer with notable executive producer Josh Abraham (P!NK, Kelly Clarkson). The album has a likeable mix of pop, electronic, and a smidgen of country. Its first single, “Never Woulda Letcha” was catchy, cute, and embodied those young, first feelings of having an unrequited crush, while the title track, though deceptively playful-sounding, tells her story of craving unexpected undertakings beyond just of chasing boys. Her latest single “Miami” is one of the album’s most mature, featuring Spencer Kane and oozing Flume vibes.

It’s Grey’s ultimate goal to advocate for women everywhere. In an interview with Audiofemme, we quickly learned that her message goes beyond living it up at college frat parties or making through the occasional all-nighter — she wants listeners to find beauty in themselves, inside and out. Check out her album below, and read on to find out why she refers to her sound as “space pop.”

AF: “Never Woulda Letcha” is so catchy and sweet. I like how your feelings were circulating around this guy that broke your heart, rather than the song bringing down the “other” girl. To go through heartache is really tough, especially in a situation like this. What advice can you give girls that are going through a similar situation?

TG: It’s a hard lesson in life to learn. There’s no way to make someone love you, or make someone like you. I think the important thing is taking stride in realizing your worst is not defined by whether or not someone has romantic feelings for you. It’s unfortunate to not have your feelings reciprocated and [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][to] feel heartbroken. [These are] totally normal feelings. But at the end of the day, you have to realize you’re worth more than someone’s opinion [of you]… even though if their opinion means a lot. If you’re friends with the person that you secretly like, then… you know, still have that relationship in your life, one way or another!

AF: Definitely. Don’t let it consume you. A hard lesson to learn so young. So, Space Case is such a gem. Is it inspired by a specific event? Or did it spring from this stage in your life?

TG: Thank you! It’s actually not inspired by a specific event. It’s like when I talk about in the stories, from third person. It talks about this girl who has big dreams, kind of “space cases” [that] aren’t necessarily realized by other people. Her head’s in the clouds. Someone with big dreams trying to actualize them. It’s almost like an alter ego I want to be – I want to be more of this carefree space case. I feel like everyone has a part of themselves that would rather be on Mars. And part of the reason I chose it as the title was that I love the words. Although I write a ton about boys, love, and heartbreak, it’s not what the songs are all about. It’s about [being an] individual. I really wanted that to summarize my body of work. When it all comes down to it… be yourself, be true to who you are. Accept it!

AF: You’ve said you want to be an advocate for girls everywhere, to help them love themselves. What does that mean to you and how did you decide to make that your mission?

TG: I love being an advocate for self-love, because it’s something really challenging. I would have loved to hear it from someone, especially from the music world, because I was always questioning from such a young age. I’m still learning, and growing, and learning how to love myself. It’s important for young girls to know that it’s not black and white. There are ways to learn and grow. There are some days that I wake up, and I feel amazing… and others, I look in the mirror and I’m like, ugh, no, not today. And it’s okay to not love yourself everyday. I wish I had had that voice telling me that as long as you’re trying, and you’re your own biggest fan, at the end of the day, you’ll feel fine. So, I want to be that voice for girls my age, and younger girls, to [help them] realize that there are others going through this process with them. There are people on this journey with them. It’s not this unattainable thing, self love.

AF: You have a great relationship with your producers. Can you talk about the guidance your team provided?

TG: As a team, we have a lot of trust. I came to them [Josh Abraham and Nico Stadi] with my songs, then it was time to really create sound and melodic structure behind it. They put a lot of trust in me and my message, and in turn, I trusted them with production aspects. I think the goal, what we strived for, was to create a good sound – tracks for the radio, [but with] artistic and different angles. They have been super supportive. We made an album with every song sounding different. Some songs have an alternative vibe, some have a country vibe… and they were like, this is you, all of these songs are different facets of you.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

ALBUM REVIEW: Common Holly “Playing House”

Playing house is one of the earliest and most innate forms of childhood emulation. It is how we pantomime maturity, and begin to learn self-preservation, domestic upkeep, and the treatment of others. From pretending to prepare a meal, to sweeping the tree house, this form of child’s play is our first expression of wanting to “grow up.” For Canadian artist Common Holly, Playing House is an expression of consciously entering adulthood. It is also the name of her debut record.

Helmed by songwriter Brigitte Naggar, Common Holly greets us with a tender and sophisticated meditation on the end of a formative relationship, and the importance of purposeful decision-making. Of Playing House, Naggar said in a press release that the record “is my first real effort to create something that is entirely deliberate—the beginning of my journey of thoughtful action, and of daring to express myself outside of my bedroom.”

“Deliberate” is the perfect word for Playing House – its stunning arrangements and artful production reflect intent and restraint. Opening track “If After All” is expertly composed, commencing with a font of liquid before breaking down into a multifaceted pop gem, somehow incorporating finger-plucked guitar, swelling strings, and minimalist drums without sounding overwrought. Naggar’s girlish voice carries the same melody throughout the song, but the instrumentation blooms from indie folk to sweeping ballad before culminating in hard rock distortion and busy electric guitar. “If After All” is such a strong composition, I almost wish it was buried deeper in the record, as it’s a tough act to follow.

Though less musically intricate, “Nothing” speaks to Naggar’s ability to contrast form with concept. The dulcet vocals and bedroom rock delivery of “Nothing” portray innocence, while Naggar’s lyrics are anything but. Naggar sings of a crumbling, codependent relationship in which every attempt to problem-solve results in suffocation: “If I got you in a room/ if I got you to hold still/it would probably too soon/to hold you there against your will.”

This level of self-awareness is palpable throughout Playing House. Naggar deconstructs a banal yet dysfunctional relationship throughout the album, holding herself accountable as much as possible. Discussing this theme in a press release, she said, “Especially at the end of a relationship, there comes a time when the best thing you can do for someone is to leave them alone even though it might feel like you’re abandoning them. Sometimes trying to resolve things and being over-present is an act influenced more by guilt than by empathy.”

“In My Heart” is yet another manifestation of that concept. A quietly complex country number, it employs pedal steel and neatly placed piano. The song’s softness negates its harsh message of letting someone go: “Don’t try/In my mind, in my mind I can’t help it/With my heart, with my heart I can’t help you.”

Resting midway through the record is the gorgeous “Lullaby” featuring Montreal pianist Jean-Michel Blais. “Lullaby” depicts Naggar at her thematic pinnacle – the anatomy of the song is true to lullabies, indeed, while Blais’ creeping keys suggest the twinkling of a nursery mobile rotating above a crib. Naggar’s lyrics, however, are biting and brutal despite this naïve melody. “If you’re busy undermining all the things I had to say,” she sings, “I know it would have been wrong for me to try to stay.” The track’s closing coda plays on a familiar children’s game, but turns that on its head for a darker finish: “Come out, come out, wherever you are,” Naggar intones, before promising: “I will keep away.”

The weighty blues of “The Rose” finds Naggar nodding at The Black Keys. The song is soft to start, but builds up and breaks down into Auerbach-worthy guitar, eventually spinning out with grunge distortion. In keeping with this dark turn, “The Desert” is a painterly narrative with sparse string arrangements evoking The Dirty Three. Hand drums and piano crawl behind scant guitar and Naggar’s reverb-heavy croons, weaving a soundscape strong enough to close the record. Though it seems that Naggar didn’t want to end things on such a heavy note. Playing House’s final cuts resort to sweet and weightless melodies instead.

The title track exudes a singsong, sonic innocence. Its melody is full of childlike “doo doo doos” and lyrics that are one word away from being playful: “I’ll play mama, you’ll play daddy and we’ll ruin us beyond repair/at the cabin, on the lakeside, if we take things too far.” It is a song you can almost skip or swing to, until it dissolves into a foreboding vibration fit for Twin Peaks.

Closing track “New Bed” is Common Holly’s most stripped-down offering on Playing House, and perhaps its most optimistic. It is the song that finalizes the breakup; the hopeful closure and calm after the storm. Naggar is vulnerable and resigned when she sings, “I feel that we will get along just fine/if everything goes the way I have in mind.” The song fades out with rain and faint sirens, but what they’re chasing, we do not know.

Playing House is out now on Solitaire Recordings. Don’t miss Common Holly on her upcoming tour.

September 28 – Nomad Folk Fest
November 2 – Brooklyn Bazaar, New York, NY w/ The Hotelier, Oso Oso & Alex Napping
November 3 – Songbyrd Music House, Washington DC, w/ The Hotelier, Oso Oso & Alex Napping
December 5 – Communion Showcase, Rockwood Music Hall, New York, NY
December 8 – Theatre Fairmount, Montreal, QC w/ Chad VanGaalen[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

PLAYING DETROIT: Tunde Olaniran Goes a Shade Darker on “Symbol”

In 2015, Flint native, artist and activist Tunde Olaniran enchanted with his vibrant, otherworldly debut Transgressor. Since then, we have been waiting with bated breath for new music. Earlier this month that wish was granted as Olaniran released the incredibly slinky and oceanic single “Symbol” which leads us to wonder if (and when) a new record is on the way.

“Symbol” stays true to Olaniran’s charismatic duality. Olaniran packages a powerful narrative – with topics ranging from identity, racial violence and global injustice – in lush layers and goosebump-inducing vocal cascades. While his new single spills over with jutting water droplet-esque movement, Olaniran flirts with a restraint not frequently found on Transgressor. Though inherently still a pop song, “Symbol” advances Olaniran’s brooding, tribalistic approach to traditional pop with a slightly more aggressive tone that might suggest that whatever material is forthcoming is going to pack one hell of a punch.

Olaniran spoke with NPR’s Stephen Thompson earlier this month and said this of “Symbol”:

“I wrote ‘Symbol’ as the child of an immigrant, under the global specter of violence against black and brown bodies, and in light of the international refugee crisis. Now, with the Trump Administration, black and brown bodies are again held up as political symbols to attack DACA and feed white nationalism. It saddens me that these lyrics feel like they will be relevant for many more generations. ‘Symbol’ is about still finding joy in the knowledge that despite a dark history, we still became the future, and that my body is the literal wildest dream of my ancestors.”

Listen to “Symbol” below:

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TRACK PREMIERE: Lily and Horn Horse “Next To Me”

Lily Konigsberg is one third of Palberta, a confusing, experimental, instrument-swapping trio based in upstate New York. Matt Norman creates intricate, instrumental compositions under the moniker Horn Horse. Fate brought them together when Matt went to his former residence in search of a lost blanket only to find Lily, its new tenant and fellow Bard graduate. The rest, as they say, is history. The two soon became collaborators and together, they make up both parts of Lily and Horn Horse, combining their strengths to make a welcomingly different type of pop music.

The duo recently signed to Ramp Local to release their debut LP, Next To Me, due in late September. The title track is a quick but satisfying single which, according to the two musicians, is “about schooling an oblivious suitor, and becoming aware of infinite love.” Lily’s voice is soft and light as she repeats several lines, almost like a mantra put to melody: “Do you see what I see? / Listen to me beforehand, baby / If you want to get next to me.”

Though undeniably a dance track, Matt’s compositional flair shines through in cinematic flourishes and jazzy, stuttering synths that at one point melt convincingly into the sound of traffic. The vocal lines are catchy but unexpected, and pair well with the many rhythmic layers. It’s pop music with a playful quirkiness, so their supporting spot on Deerhoof’s fall tour makes perfect sense. Catch both bands together in Brooklyn at Villain on 10/7, and stream the single “Next To Me” below.

https://soundcloud.com/ramplocalrecords/lily-and-horn-horse-next-to-me/s-U6E6g

TRACK PREMIERE: Pine Barons Talk “Chamber Choir”

There’s a kind of yearning nostalgia in the songs of the Pine Barons, an earnestness that never feels forced even though it competes with an eclectic array of elements and influences. The Philadelphia-based band has a sound that meshes atmospheric rock and folk, with intricately layered vocals and a member assigned, in part, to sampling. Like the New Jersey woods they took their name from (though they’ve tweaked the spelling), their music is dense, mysterious and a bit dark.

We spoke to the band about what inspired their latest song (the moody but uplifting “Chamber Choir”), how a childhood keepsake inspired the name of their upcoming album, and how this release is different from anything else they’ve done.

AudioFemme: When I listen to your music, I hear hints of Modest Mouse, Dr. Dog, and Arctic Monkeys, among other things. Are any of these accurate? Can you elaborate on the band’s main influences?

Collin (drums, vocals): I’d say all three of those are accurate to an extent. We all share very similar tastes musically. Influences as far as writing span across many spectrums and genres, somewhat eclectically as individuals. That ranges anywhere from backgrounds in jazz and world music, to punk, indie, pop, hip hop, etc.

A few main influences we all share would be Tom Waits, Pet Sounds by the Beach Boys, Animal Collective, Dr. Dog, Daft Punk, Leonard Cohen, Of Montreal, Les Miserables, and many many more.

AudioFemme: Can you explain the meaning behind your album title, The Acchin Book?

Keith (lead vocals, guitar): I was sorting through boxes from a recent move and found a book that I made when I was about four years old, titled The Acchin Book. Each page had a different picture with a caption next to it. My spelling was horrid and there were even various different versions of recurring words throughout the book, but the only consistent one was ‘acchin,’ which is pronounced ‘action’ in the real world. So that’s where the title came from.

AudioFemme: Can you tell me about the recording process for the album?

Collin: The process was a bit different from our past approaches. There was a lot of pre-production. The Acchin Book was recorded from Spring 2015 to 2016. Up until that point, we’d recorded everything and basically did everything ourselves. [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”][For The Acchin Book,] we recorded everything with Kyle Pulley at Headroom Studios in Philadelphia, who also helped produce. This was, in all, a huge learning process for the lot of us because we’d never worked in a studio or with someone producing our work before. That brought us to be able to focus more on intelligently structuring these songs, and slowly weeding out the excess with what fit and what might be unnecessary. The process taught us a lot creatively, and also collaboratively on how to work differently together. I believe in the end, we only wound up cutting two songs off the final product of what is The Acchin Book, and we are extremely excited to finally be able to share what we’ve made with everyone! We’ve certainly learned more patience these past two years.

AudioFemme: Let’s focus on the song “Chamber Choir.” What was the inspiration behind the track? I get kind of sad, but hopeful vibes from it, and the noisy portion at the end is really interesting and unexpected.

Keith: The song was triggered by waking up in a panic after dreaming about someone dear to me being in some sort of emotional crisis and immediately feeling the need to reach out to them. I think if you care enough about someone you sort of share their emotions in a sense; I guess that’s called compassion. But that panic that you might feel after waking up from some nightmarish world is fleeting, so in that instance I didn’t actually end up reaching out to that person. Maybe they did need help, who knows? Thinking about fleeting emotions inspired the rest of the lyrics, because most extreme emotions are fleeting, like a glance at the sun leaving a bluish afterglow.

AudioFemme: I feel like the Philly music scene is often overshadowed by Brooklyn’s. Can you tell me about your connection to and experiences in your local music scene?

Collin: As early as the formation of Pine Barons, we’ve essentially always been a part of the Philadelphia realm of music. Our first few shows were in Philly, and shortly after we embarked on a short tour which brought us to New York and the upper half of the east coast. The end of that tour was the first time we actually played in New Jersey.

Past bands I’ve played in, as well as bands some of our family members have played in have all placed roots in Philly the past decade or so. It was easier to book shows, and play with bands we liked in Philly than it was in Jersey. [Starting there] made the most sense and created the most opportunity. Nobody knows where Shamong, New Jersey is. But most people have an idea of Philadelphia, PA. The Philly music scene has treated us humbly exceptional through our time playing and now living here, and we’re happy to be a part of it. Most of our closest friends all play in bands throughout the city, so in a way Philly has it’s own community of musicians aside from just “bands.”

AudioFemme: Your songs are incredibly layered. Do the studio versions differ from your live versions?

Alex (keys, percussion): There is a lot going on in these songs, indeed! Growing up with these boys has been an incredible experience, but one thing that always broke my heart was when they’d end up sacrificing their instruments to play another instrument. Since joining the band a little over a year ago, I’ve been able to take on most the multitasking by juggling between the Nord, microKORG, sampler, and aux percussion, and I really feel it’s helped balance out the live sound of Pine Barons. The live show will hit you hard in all the right places, whereas sitting down and listening to the recorded album will send you on a vast, euphoric journey.

AudioFemme: Do you have any upcoming plans for the band?

Collin: We’re currently working on another music video. We’re definitely planning to tour; where is the real question. We also have the skeletons written for an entire new albums’ worth of material, which we will start the demo process of this winter, and we are very excited about that!

The Acchin Book is out August 4 via Grind Select. Listen to “Chamber Choir” below!

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ARTIST INTERVIEW: Friend Roulette Discuss ‘The Matt Sheffer Songbook’

A well-worn cliche is that imitation is the highest form of flattery, but Brooklyn band Friend Roulette has taken it a step further: their latest release, The Matt Sheffer Songbook, Vol. 1, is a collection of songs an old friend wrote, but rejected, deeming them unworthy for the world to hear. To prove him wrong, they recorded their own versions and released the five songs as an EP on 6/16 via Pretty Purgatory.

The result is a quietly beautiful, albeit short, collection. If you search for Friend Roulette, you’ll quickly see adjectives like “whimsical” and labels like “chamber pop.” That doesn’t quite cut it, but it seems impossible to write a succinct description of their unique sound; it’s orchestral, and incorporates pop, folk and psychedelic elements. The Matt Sheffer Songbook brings together all of those things in turn, beginning with the somewhat somber “You’re A Fox,” moving into the funky “Snow Pea,” and eventually ending with a playful ditty about killing a spider, “Bacon And Raisins.” There’s a certain antiqueness to the songs, as if they’re the soundtrack to a black and white movie, or heard in a dream that stays in the back of your mind all day. Though they were simply Sheffer’s unfinished sketches of songs, the only thing that’s missing is more of them.

We spoke to several members of the band before their release show at Silent Barn, and they filled us in on the man behind the songs, their recording process and more. Read some of our conversation, and listen to the EP, below.

AudioFemme: Let’s talk about your friend Matthew Sheffer. Your new EP is a recording of some of his old songs, but I was reading that he’s maybe not so happy about that.

Julia Tepper (Violin & Vocals): He’s more recently become a confident and powerful and musician in his own right, and I think he’s still coming to terms with the fact that people love his old stuff too.

Matthew Meade (Guitar & Vocals): I just hung out with him a couple of weeks ago in Texas, and, you know, a good review would come and out and he would be like, “I don’t really care.” I talked to him about how we might do Volume II, and he was like, “Eh, you don’t really need to do that. There’s so much bad stuff.” But I’ve got over two hours of material of his to sift through.

Julia: We recorded them without asking. But I think he knew it was coming from a good place. And we’re not trying to say that they’re our songs, or anything. The band is all about us being friends, and being supportive of each other as musicians, and we feel that way about him, even if he doesn’t feel that way about himself.

AF: Is the EP an exact copy of his old songs, or did you just go by the lyrics and melodies?

Matt: I had to find all the old MP3’s he made and transcribe them, because they were really, really bad recordings. But yeah, it’s like the same songs.

Julia: They’re pretty similar. And on the cassette we released, the B side is actually his original recordings. I think the coolest thing about it is hearing them both.

Nate Allen (Bass): We barely even changed arrangements or anything like that.

Julia: Which is why they’re so short, for the most part. He never finished them. They’re sketches of ideas, and they still hold up anyways.

AF: Which songs are your favorites?

Matt: I like “Snowpea.” Well, I like “Snowpea” but “Joan” is my favorite song of all time. If I were to die, and someone was like, “What was his favorite song?” tell them it’s “Joan.” It’s a great funeral song.

Nate: I think I like “Bacon and Raisins” the best.

Julia: Yeah, that’s my favorite, too.

AF: You went to school together, where you studied jazz. Would you say that you use what you learned there now?

Matt: I want to say no…

Julia: I love that one metaphor, I forgot who said it: you drink from the fountain of jazz, so it can’t help but, um… come out…

Matt: Yeah, that’s Robert Wyatt. “I drink from the fountain of jazz, so I can’t help but piss it out.” And that’s really us.

AF: But it seems like you guys are sometimes still stuck with that “chamber pop” label.

Matt: Yeah, we got slapped with that on right from the get go.

Julia: It’s more of… I don’t know how to describe what genre we fit into, but when you work in an industry, and you want to play shows with other bands, they ask, “What are you?” And then you kind of have to see, well, what other bands would want to play with us? So we get paired with chamber pop and math rock. That’s not what we are, but also, who else would we play with? It’s confusing.

AF: What was the recording process like for this EP?

Matt: We recorded it in Ryan Weiner’s apartment. He’s in the band Tiny Hazard, a good friend of ours. We didn’t go into a studio at all. But that was two or three years ago.

AF: What made you decide to release it now?

Matt: Oh, we had every intention of releasing it. We’re just slow as fuck. And it’s not even like we’re working that hard. It’s not like we’re geniuses or anything, perfecting our craft. We’re just really irresponsible.

AF: Do you have any memorable moments from your tour this week?

Matt: Yeah, Richmond was memorable. We got shut down during our first song, by the landlord. He made a random visit to the apartment, and he shut it down and said, “The devil’s had its fun!”

Nate: We were playing a really quiet ballad, it was a very sweet song. Everyone was leaving and bummed as fuck, but then we realized, everyone was on their phones, making calls, sending texts, looking for a new venue. People weren’t like, oh, cool, I’m gonna go home.

John Stanesco (Bass Clarinet & EWI): What you see on the tour is, the DIY scene is so strong in so many cities and towns. I was thinking, I wish we had something like that in New York, but then I was thinking back to when Shea Stadium shut down, or when Palisades shut down, and there really is that community here. People band together to find new venues to hold shows that were rescheduled.

AF: Any upcoming Friend Roulette projects we should watch out for?

John: I think we’re trying to get back into really doing things, just putting out stuff really fast now. We’re not sure if we’re going to stick with the traditional EP, followed by a full length formula. We were talking about some other strategies to maybe just, keep releasing. And we’re also getting better as producers, getting better gear, where maybe we could self release stuff, you know, to keep in the public eye. So to speak. Rather than just waiting for the machinery of labels and PR to churn.

PLAYING DETROIT: Britney Stoney Holds Tight with “Grip”

Singer/songwriter and soul songstress Britney Stoney reemerged last week with her first new track (and video) since 2015’s acclaimed Native EP. This time around, Stoney shares a newfound intimate inflection with “Grip,” an unofficial sad-girl prom anthem.

“Grip” masterfully and quietly provides an echo of personal cinema. Sure, it’s a pop song – one that could easily soundtrack a Hannah-seeking-Adam montage on the recently deceased Girls. But Stoney flips the script and fastens a flimsy, sparkly bandaid to a heart-attack with grace and vulnerability. Her voice, breathy with delicate invitation, is undeniably enchanting against the fluttering choral playground and a glitter of synths fit for Johnny Jewel.

Visually, “Grip” finds Stoney tangled in a candy-colored pinhole dreamworld created by renowned visual artist Dessislava. A dizzying camouflage, Stoney spends the video entirely alone, rocking Eighties formal wear and Nineties-era Brandy box braids from scene to scene. Like a late night “WYD” text, its tender-hearted pop-seduced torment begs to be set free and longs for intimacy all at once. Relatable, danceable and totally love-sick, “Grip” holds tight and won’t let go.

Dream on with Britney Stoney’s magical trip down Heartbreak Lane below:

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TRACK REVIEW: Marika Hackman “My Lover Cindy”

Don’t let Marika Hackman’s innocuous appearance fool you – this Brit has bite. The 25-year-old singer songwriter has been acknowledged for her moody, in-depth approach to folk music, landing her touring spots alongside the likes of Laura Marling. While her debut full-length, We Slept At Last, was glum and gorgeous, Hackman had another tone in mind for her upcoming sophomore release, I’m Not Your Man.

“I wanted to let rip and lose control,” Hackman said in a press release. “That’s the kind of music I’ve always wanted to make. When I was younger I wasn’t looking at Joni Mitchell. I was looking at Nirvana thinking, ‘I wanna be like that!’”

The artist has successfully achieved something coarser in her latest single from I’m Not Your Man – the snarling “My Lover Cindy.” Before you can taste the bitter core of this track, Hackman pulls you in with insatiable melodies. Her lithe voice suggests a safe space, priming you for a puppy love number with the opening lyrics.

“If I was a liar, I would call you my friend/Let’s hope the feeling’s mutual in the end.”

Hackman’s sweet yet rigid delivery floats atop tangy Johnny Marr-esque guitar riffs, making the nasty little chorus all the more shocking.

“’Cause I’m a fucking pig/I’m gonna get my fill/I’m gonna keep my eyes on the prize/And I’ll suck you dry, I will”

Hackman has suggested that the song is a critique of instant gratification in every aspect of contemporary life – even relationships – especially in a time when sex is a “throwaway thing.” The song’s rather unlikable narrator is clearly afraid of commitment, but isn’t willing to deal with the consequences associated with such fear.

Near the song’s end, small voices chant behind Hackman’s croon – as if they’re whispering in a lover’s ear, or dictating a late night booty call: “I’m not the one, I’m not the one, but I like you.”

It might be depressing, but “My Lover Cindy” is certainly a song for the modern romance.

I’m Not Your Man is out on Sub Pop Records on June 2nd.

PLAYING DETROIT: Flint Eastwood “Oblivious”

New year, old song, new video: the perfect transition into a what is sure to be a creatively bountiful year for Detroit and beyond. While our gaggle of talent puts the finishing touches on upcoming projects, releases and new visions Flint Eastwood’s latest video for “Oblivious” a track from last year’s Small Victories EP is a beautifully hyped visual for a song that begs to brace for change with a tumultuous fluidity. We find our heroine Jax Anderson, dressed in her usual dapper, western priestess attire dancing a warrior dance with similarly clad compatriots in a warehouse space. We are also introduced to our antagonist and mysterious femme fatale, who is shown by the lakeside and sauntering through a wheat field cloaked in black with rope precariously in hand. “Oh, I keep my eyes closed/Keep my mind oblivious, oblivious” claims Anderson, covering her eyes mid-dance as if to insinuate that our blindness is voluntary. It is with that imagery that Anderson is ambushed and a black bag is thrown over her head as she is dragged off and kidnapped. The most striking visual component is the violently ethereal underwater footage of our simply clothed leading women, swirling about in a tangled tango of light and dark as we are confronted with sporadic shots of what must be a brief life-flashing-before-your-eyes moment. The water bubbles look like cosmic explosions against bare skin and the mirrored black tile crosses which feel curiously morbid in context. Are we in control? Is it best to remain oblivious and be swept up in spontaneous fate? For a pop song, Flint Eastwood poses existential quandaries and pairs them with brooding cinematic storytelling that keeps us guessing, heads just above water.

The most striking visual component is the violently ethereal underwater footage of our simply clothed leading women, swirling about in a tangled tango of light and dark as we are confronted with sporadic shots of what must be a brief life-flashing-before-your-eyes moment. The water bubbles look like cosmic explosions against bare skin and the mirrored black tile crosses which feel curiously morbid in context. Are we in control? Is it best to remain oblivious and be swept up in spontaneous fate? For a pop song, Flint Eastwood poses existential quandaries and pairs them with brooding cinematic storytelling that keeps us guessing, heads just above water.

Watch the video, via the band’s Facebook page, below:

PLAYING DETROIT: Stef Chura “Spotted Gold”

Quickly rising as Detroit’s DIY pensive pop priestess, Stef Chura and her captivatingly peculiar lo-fi sensibilities shine and burn playfully in her latest video for “Spotted Gold,” the third single from her debut album Messes due out January 27. Chura’s candy-colored, battery acid coated disharmonious world beckons late 90’s MTV feels complete with pop-star commercialization and her signature voice, which teeters between collapse and eruption, finds its visual counterpart in “Spotted Gold.” The colors change quickly like the tuning of an old television set as does the wardrobes of Chura and her bandmates as if to But the most strikingly unsettling element is the montage of

The colors change quickly like the tuning of an old television set as does the wardrobes of Chura and her bandmates. But the most striking element is the montage of rapid-fire imagery depicting activities that are considered taboo (smashing a mirror) and bad judgment calls (pouring milk on a laptop) to completely self-destructive behaviors (drinking poison and playing finger/knife roulette) all of which end as badly as one might imagine. The aesthetic is clean, perhaps even sterile, but in Chura’s sugary torment, is messily sincere. It’s easy to interpret “Spotted Gold” as a mischievous night out or miscalculated reckless relationship but the lyrics: “Spotted gold turned black and blue” reveal that perhaps Chura’s sand-in-the-eyes, hand-on-the-stove universe is less of a lark than it is a tale of emotional masochism and that when a good thing goes bad, well, maybe we are more in control than we think.

No, your toaster doesn’t need a bath. Keep tinfoil out of your microwave and check out Stef Chura’s series of unfortunate events in “Spotted Gold” below:

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TRACK PREMIERE: Citrus & Katie “Sludge”

Citrus & Katie’s latest track “Sludge” embodies its title, dredging its way through your system and sitting contentedly in your ears. It’s parts garage rock, funk, soul, and pop, making for an upbeat fusion track that’ll leave you smiling. For the most part, “Sludge” is true to its name as a slow moving track, until the end when it really picks up pace, kicking up the rock ‘n’ roll vibes and ending on a fun note. Take a listen to it below! Their new album, NSTYLDY is out this month.

TRACK REVIEW: Frederick The Younger “Horoscope”

Opening with a crash of drums and bending guitars, “Horoscope” captures your attention instantly. Then Jenni Cochran starts to sing, and her powerful voice demands it: “Pack your bags, you’re leaving for a little while.”

“Horoscope” is the lead single from Frederick The Younger’s upcoming debut album, Human Child, and it’s an infectious throwback to sultry 60’s soul mixed with strong hints of psychedelic pop.

The song is propelled forward by an intense energy from every instrument. Starting with a note that “says you’re leaving for a little while,” it tells the tale of someone who was left behind, and the one who left them, switching scenes between the two effectively. As the song fades out, you can’t help but wonder, how does this story end?

Human Child was produced by Kevin Ratterman (of My Morning Jacket, Andrew Bird, Twin Limb, Houndmouth) and will be available 2/3. Listen to “Horoscope” below.

TRACK OF THE WEEK: DRUZY “How You Feel”

Get ready to dance off your extra Thanksgiving turkey weight to DRUZY’s latest track “How You Feel,” a vulnerable and raw pop track. Vocalist Brianna Conroy brings a real, sultry side to this track as Luc Alexiades crafts the music into an upbeat, addictive song. The Los Angeles-based duo is creating feel-good music that’ll get you up and moving while also digging into your more passionate side.

Listen below!

VIDEO PREMIERE: Snow Angel “Trampoline of Emotion”

Thank fucking goddess it’s Friday. It’s been a hellish month, yet rising above the heated political climate are women helping women. California-based Snow Angel are here to sprinkle their magic into the girl power fire with their latest single “Trampoline of Emotion,” off their upcoming first full-length out this fall. Celebrating the importance of friendship, and crucially, the complicated truth of being yourself, “Trampoline of Emotion” is an anthem for anyone who needs a reminder that they are powerful.

“‘Trampoline of Emotion’ jumps with introspective joy into the realm of the emotional self,” says front-woman Gabby La La. “As human beings, we experience intense extremes which are in our nature to feel. Insecurity, pain, loss, love, compassion, defeat… no one is perfect, but that’s exactly what makes being human so unique – those sparks seem to hold all of the power in the universe!”

The whimsical and catchy dose of self-love features the five women in a variety of Snapchat-ready scenarios that will have you dialing up your besties ready to finally get out of the post-election fetal position, and accept that things are difficult right now, but the most important action is to take care of yourself and your friends. “I wanted this song to express acceptance of these fluctuations within myself and others. It’s OK to be moody, or freak out!” says Gabby, who also plays the upright electric sitar. “It’s all part of what makes finding balance so difficult and so rewarding. As a community and in our case, a band, it is important to be there for one another and act as a guide in leading each other down the yellow brick road and back to that place that feels like home.”

Watch “Trampoline of Emotion” below, and try to have some fun tonight.

PLAYING DETROIT the Mourning After: Martha and The Vandellas “Dancing in the Street”

If you were like me, you likely stayed in bed this morning a little too long wanting nothing more than to wake up but without ever having to open your eyes. The future we collectively rallied behind, hoped for, and deserved became a hungover breach in clarity. “Did this happen? How did this happen?” Where am I?”

This morning, however, was remarkably similar to many of my mornings. Cats pawing at my chest and the sound of children’s laughter, squeals, and declarations of play invited itself to wake me, through closed doors and windows. The Ellen Thompson preparatory academy located in the backyard of my apartment building holds recess sometime around 11am. The school is at least 95% African American and at least 5% of the children have hollered at me through the chain link fence “Are you Taylor Swift?” while I take my trash out. Playing along, I say yes but promise them to secrecy. This drives them wild and they frantically disperse in fits of excitement, laughter and the belief that maybe I am telling the truth. Today I stood with my face against the fence, trash in hand, watching the recently emptied tire swing sway like an uneasy and haunted pendulum. I watched it slow to a stop as the last of the tiny jackets disappeared behind the school doors. In the deafening silence, I hummed to myself a familiar song about dancing and the need for sweet, sweet music.

“Dancing in the Street” by Martha and The Vandellas was innocently inspired by Detroit residents who resorted to fire hydrant water to cool themselves from scorching the Summer heat. Released during the summer of 1964 in the thick of the Civil Rights crisis and in the midst of the Vietnam War, the upbeat chart-topper became an unexpected anthem of freedom for the disenfranchised and a nightmare feared by those who trembled in the shadows of social progress. Banned from radio stations for allegedly eliciting riot behavior and rebellious violence from the African-American community across the country and most notably in Detroit, the pop song about a party urgently ushered a call for change, unity and yes, even 52 years later, the power of sweet, sweet music.

This morning was remarkably similar to many of my mornings. Except today was different. I have more hope than I did yesterday. Not because of what has happened but because of what will happen. Recess will resume tomorrow and so will the future; the daily sea of toothless grins and bouncing pigtail braids promise this.

PLAYING DETROIT PREMIERE: Nydge “El Segundo (ft. Kim Vi)

What better way to express an impassioned, tumultuous romantic entanglement than through a tropical, pop whirlwind that is as torn and collaborative in its conception as the aforementioned relationship? “El Segundo” is the latest sonic story from Assemble Sound resident producer and synth-pop artist Nydge who is as masterful as a collaborator as he is a solo entity. With an impeccable flair for sophisticated and positively infectious hooks and shoulder-shimmying beats, here Nydge finds an accessibility without conceding his innately distinct auditory architecture. “I try and be as intentional as I can with making music and with the Nydge project, specifically. I want to make pop music as interesting as possible while still being consumable,” explains producer/artist Nigel Van Hemmye. “Often times I find myself trashing musical sketches early on, sometimes less than an hour in. I now find my way to be more akin to mining for ideas. Sometimes I go deep into the cave of creativity to come out with nothing. My job, then, isn’t to make something amazing every day, it’s to be ready, patient, open and excited to strike gold; pickaxe in hand.”

Featuring multi-instrumentalist/vocalist Kim Vi whose contribution aided the tracks rolling momentum and solidified Nydge’s commitment to concise layers, “El Segundo” is refined yet grinds with a untamed attitude. “I’ve never been to El Segundo. I didn’t even know it existed until Kim Vi spouted it out for the first line of the first verse. Kim is a welcome asset to any writing session.” Nigel says. “Throughout the song I used his arsenal of abilities, ranging from guitar, bass, singing, clapping and chordal changes.” The result? A textural playscape that is tender and frustrating with an intoxicatingly pop-purist bounce that could just as easily be a dance-floor groove or a fiery backseat rendezvous.

Listen to the latest from Nydge (ft. Kim Vi) below:

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TRACK PREMIERE: The Hamiltons “Take the Hit”

An instant pop classic with an old-fashioned twinge, The Hamiltons’ latest single “Take the Hit” is a timeless piece that’ll have you swooning. It’s a unique genre-mashing track in that it’ll transport you from smack dab in the 60s to the mid-90s over the course of a few lulling notes and jazzy vocals.

Based in London after relocating from Sydney, this sibling duo not only performs their own music, but also produce and write it. And their investment in their music is apparent in “Take the Hit”–it’s dripping with passion and affection, carefully honed to present you with an entrancing final product. With influences in jazz, folk, country, and cajan, it’s no wonder their sound is so eclectic.

TRACK OF THE WEEK: GEMOLOGY “Come Around”

“Come Around” is a song that celebrates that rare friendship you consider yourself lucky to have, if you can find one like it at all; someone who’s always there for you, wherever they happen to actually be at the moment. That’s the situation the GEMOLOGY duo found themselves in when they composed “Come Around,” with singer/songwriter Joanie Wolkoff living in Brooklyn and producer/instrumentalist Natasha Chitayat in Los Angeles. They started the project after being stuck together in a recording studio during a rainstorm, and though there’s a whole continent between them now, they haven’t let that diminish their friendship or their sound. They describe their process as writing together “through the digital ether,” which is reflected in lines like “I get my heart worked up every time you dial.”

Propelled by synths and layered in a shimmery haze, “Come Around” is a reassuring burst of warmth. The track opens with a chiming melody that settles into a steady beat for Wolkoff’s voice to float over and takes its time opening up, adding layers and themes before ending with a soft whisper.

PLAYING DETROIT: Bevlove “Talk That Shit”

The incomparable maven of Detroit pop, Bevlove released her EP Talk That Shit last week which pop, locks and drops feral beats with a disciplined hip-hop assertiveness that undoubtedly rewires the game.

The 5-track EP is unexpectedly varied but remarkably consistent. It’s as if each song is a chapter describing the same night out documenting the fun, the madness and the humanizing need to not go home alone all filtered through Bevlove’s prismatic scepter of diva-dom. Yes, Lady Love reigns supreme on Talk That Shit but unlike other commanding, radio-ready pop endeavors, there is nothing isolating or exclusive about this particular journey into Detroit’s after-hours and Bev’s sexified psyche. It’s a call to bad bitches and vulnerable vixens to not just get lit, but to shine through the club fog and to rise above the unreturned text messages from that dude.

Opening with “Do What I Say,” a BDSM, girl-gang anthem that self-satisfies without apology leads into “Freaks” which modernizes Whodini’s 1984 classic and acts as a word of warning to future gentrifiers and suburban visitors. Then comes Bev’s brand of satiated delicacy with “Save Me” which doesn’t stray sonically but explores her range of tenderness and soaring vocals that are reminiscent of vintage Rihanna. Bev’s emotional duality is a vibrant essence especially when she goes from achingly wanting someone to stay and save her and flips the script on “Leave With Me” which details a one night stand and mixed signals, where (once again) she takes control; the EP’s constant and Bevlove’s secret weapon. Collectively, Talk That Shit is an immovable powerhouse that is relevant yet stays two steps ahead. However, the closing track “Champagne Bubbles” is unbelievably self-realized and there’s no doubt that Beyonce herself would envy the song start to finish. From the placement of vocal flight and the cathartic, heart-opening sonic build, “Bubbles” is a complete thought and is evidence of Bevlove’s inevitable ascent to the next-next level.

Turn up and bow down to Bevlove’s latest below:

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INTERVIEW/EP REVIEW: Luna Aura “Madhouse”

Some of us spend our whole lives trying to appear normal and follow the crowd, but sometimes the key to success is living your own brand of insanity. Artist Luna Aura has fully embraced this concept, by appearing in a straight jacket on the cover of her EP Madhouse, boldly stating “Crazy looks good on me” on the opening track, and radiating a sense of total independence that’s just as prevalent as the catchy pop hooks on her five songs. She may admit to craziness, but she’s free from any restraints, whether they be real or perceived, self-imposed or attempted by outsiders.

Luna took the time to answer our questions about her EP’s concept, production, and the start of her career as well as its future. Read our interview, and listen to Madhouse, below.

AudioFemme: Sometimes, women who think out of the box are dismissed as “hysterical” or “crazy.” Is the title Madhouse, and the act of appearing in a straightjacket, an attempt to spin or dispute that concept?

Luna Aura: The word “crazy” gets tossed around so easily, especially when somebody is doing something that is outside of the social norm, or pushing boundaries. People love comfortability. They spend their whole lives stifling the parts of them that make them special or different because there’s this fear that people won’t like or understand them. The straight jacket I’m wearing on the cover of the EP symbolizes me embracing what makes me different from the rest of the world. I’m reclaiming what it means to be “crazy.” I want to show people that it’s something to be proud of, and something to run towards as opposed to running away from.

Some may say that even trying to pursue a musical career is “crazy.” Did you ever encounter any criticisms in the early stages of your career? If so, how did it affect you?

I’ve always wanted to pursue a career in music, and of course, as a kid, I had adults that I respected telling me that I needed to focus on school or, at the very least, have a plan B to fall back on as an adult. I had this little voice inside of me telling me the exact same things. That voice still talks to me every once in a while. Usually when I’m making artistic decisions or big moves in my life. Everyone has that inside of them, and I want to be the person who never listened to all that negativity. I believe in myself and my dreams, and I’m sacrificing a lot to make them a reality. At least I know I’m not wasting a single moment of my 100 years on this planet.

What is your musical background? How did you become a singer, and who are your idols?

I started singing at the age of three. I fell in love with music early on, and I’ve never stopped making it a priority in my life. I began writing at the age of 10, performing at the age of 15, and here I am now! Some of my biggest influences were Janis Joplin, Bowie, Whitney, Toni Braxton, No Doubt, Norah Jones, and Katy Perry. None of these people were scared to be themselves, and I feel like that was always something that spoke to me as a kid.

How was the experience of writing and working with producer Evan Gartner?

Easy. Evan is brilliant, and so young, and so full of inspiration. Working with him was like doing a school project with your best friend. We knew what our end goal was and we just laughed, built off of each other’s insanity, and knew by the end of it that we made something very special.

Do you have any upcoming releases we should know about?

We are currently in the process of filming music videos for each song. Three of the videos are already pretty much finished which is exciting. I’m just so excited to show the people who love my music who I am as a person. I think these videos are great representation.

https://soundcloud.com/lunaaura/sets/madhouse

PLAYING DETROIT: Gosh Pith “True Blue”

It’s been a while since we’ve checked in with our favorite cosmic trip-hop duo Gosh Pith, who have spent the past few months touring sporadically while teasing tracks from their forthcoming record. Most recently, Josh Freed and Josh Smith dropped “True Blue,” a love song at its core inspired by getting pulled over by a state trooper after a gig. What Gosh Pith is getting a stronger grip on these days is the power of duality. Clashing bass serves as both an opportunity for an impassioned bump and grind and also viscerally alludes to wavesrelentlessly beating the shoreline. The lyrics are relatable in their indecisiveness; running to and from, pulling away and in. Relating the fear of the law with romantic entanglements, it’s easy to picture yourself escaping the swirl of red and blue lights on foot, dipping through highway brush and hopping fence lines with the same endangered fire you might escape to/from the arms of the one who’s got you feeling all types of crazy.

The lyrics are relatable in their indecisiveness; running to and from, pulling away and in. Relating the fear of the law with romantic entanglements, it’s easy to picture yourself escaping the swirl of red and blue lights on foot, dipping through highway brush and hopping fence lines with the same endangered fire you might escape to/from the arms of the one who’s got you feeling all types of crazy. There is a, dare I say, Bieber-esque moment with the harmony surrounding the chorus that is pleasantly poppy and roots the track to the duo’s hidden, soft-spoken accessibility. If “True Blue” is any indication of what we can expect from their next album, it’s apparent that Gosh Pith is still pulling us into their beautiful world where the waters run deep and being trapped means another chance to break free.

Pull over and turn up with “True Blue” below:

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PLAYING DETROIT: James Linck “No Future”

It would be easy to assume that an EP titled No Future would be a completely defeatist collection of woes, worries, and shortcomings but in the case of producer, soul-pop performer James Linck, “No Future” does not mean surrender but acts as an invitation for us to explore where we’ve been, where we’re going and why we may never get there…and why that’s totally okay.

There’s something tongue and cheek about Linck’s embodiment of growing up, making art and not having any answers to the big questions. But the playful manner in which these themes are explored do not lack sincerity or warmth. The danceable rhythms to which these themes are paired only hammers in the juxtaposing struggle even deeper. Effectively curious and confused, No Future is a party for an occasion that most people wouldn’t celebrate like getting a divorce or not landing that job you wanted. Humility is needed here and is dished out through cleverly arranged hip-hop swagger, synths that clap and vocals that go from whispers to heavily (and almost comical) autotuned. And it’s hard to not smile when you hear the opening to “Black to Black” where Linck takes us back 15+ years by using dial-up interent sounds.

The closing track “When Cars Fly/One More Snooze” is an autotune saturated list of apocalyptic, futuristic scenarios and imagery in which Linck’s love is declared, including the gnawing line: “I’ll still love you when the tide drowns the shore.” Midway through the track pauses to introduce some radio commercial interruption as if signals have been crossed leading into “One More Snooze,” a soaring embrace of finality and uncertainty that pulsates with a video game-esque panic driven synth breakdown ending with a calm Linck speaking the word “Okay.” A swan song of sorts, yes, but “When Cars Fly/One More Snooze” does not dance with the downtrodden or hopelessness but instead waltzes with acceptance and the existential misfiring of an entire generation, something that No Future encompasses with an un-ironic unseen shrug emoji.

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Tag: Pop

INTERVIEW: Alice Ivy Talks Dreamy Debut Ahead of SXSW

PLAYING DETROIT: Tunde Olaniran Goes to Bat for Sleigh Bells at El Club

INTERVIEW: Taylor Grey on Debut LP Space Case

ALBUM REVIEW: Common Holly “Playing House”

PLAYING DETROIT: Tunde Olaniran Goes a Shade Darker on “Symbol”

TRACK PREMIERE: Lily and Horn Horse “Next To Me”

TRACK PREMIERE: Pine Barons Talk “Chamber Choir”

ARTIST INTERVIEW: Friend Roulette Discuss ‘The Matt Sheffer Songbook’

PLAYING DETROIT: Britney Stoney Holds Tight with “Grip”

TRACK REVIEW: Marika Hackman “My Lover Cindy”

PLAYING DETROIT: Flint Eastwood “Oblivious”

PLAYING DETROIT: Stef Chura “Spotted Gold”

TRACK PREMIERE: Citrus & Katie “Sludge”

TRACK REVIEW: Frederick The Younger “Horoscope”

TRACK OF THE WEEK: DRUZY “How You Feel”

VIDEO PREMIERE: Snow Angel “Trampoline of Emotion”

PLAYING DETROIT PREMIERE: Nydge “El Segundo (ft. Kim Vi)

TRACK PREMIERE: The Hamiltons “Take the Hit”

TRACK OF THE WEEK: GEMOLOGY “Come Around”

PLAYING DETROIT: Bevlove “Talk That Shit”

INTERVIEW/EP REVIEW: Luna Aura “Madhouse”

PLAYING DETROIT: Gosh Pith “True Blue”

PLAYING DETROIT: James Linck “No Future”

Ticket Giveaways

Each week Audiofemme gives away a set of tickets to our featured shows in NYC! Scroll down to enter for the following shindigs.

See you there! xoxo